I said that i would post some examples, so here they are. The clip is of the examples below. http://rapidshare.de/files/12574036...armony.mp3.html


Diatonic harmony is when you move each note up by the selected scale degree and keep all the notes in the same key. Parallel harmony is when you just move every note up a certain interval, therefor some notes may not be in the original key.

A major - diatonic 3rds (both lines are in A major)

D-------------------6-7--
A-----------5-7-9--------
E--5-7-9-----------------

D-------------------9-11-
A----------9-11-12-------
E-9-10-12----------------


A major - parallel major 3rds (only the first line is in A major, for the second line i just moved each note up by a major third)


D-------------------6-7--
A-----------5-7-9--------
E--5-7-9-----------------

D-------------------10-11
A----------9-11-13-------
E--9-11-13---------------

I'm downloading your shit right now. Can't wait to hear it and apply some of this to my own playing.

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Are you using a harmonizer? And you have one fucking metal voice there

How old are you? And can you tab out the fast lick you played? You've got some killer chops there.

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hes 18

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Jacksonguitars, i hope this is right- It didnt sound too complex or difficult so i'd figure it give it a shot by ear so you could have it now

Attached Files

harmony excersise[1].ptb (1.3 KB, 234 views)

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Thanks, I want to see if I can play it that fast cleanly.

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it didnt seem too hard, but i was sort of sloppy. But i've only been playing for one year, so meh. I'm suprised i tabbed it, thats my first effort tabbing anything at all. Also, If your having trouble you can try it legato, This is one of the easiest sequences to do legato i find.

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Thanks. I didnt use a harmonizer, there are 2 tracks on that recording.
I wrote the tab in notepad then copypasted it into here so i hope the size doesnt fuck up.

Guitar 1

D-------------------------------------------------------------
A-------------------------------------------------------------
F---------------------6-7-9-7-6-----------6-7-9---------------
C---------------6-7-9-----------9-7-6-7-9---------------------
G---------5-7-9-----------------------------------------------
D---5-7-9-----------------------------------------------------


D----------7-9-10-9-7-------------------------------------------
A---7-9-10------------10-9-7------------------------------------
F----------------------------9-7-6-7-9-7-6----------------------
C------------------------------------------9-7-6----------------
G------------------------------------------------9-7-5----------
D------------------------------------------------------9-7-5----

Guitar 2

D---------------------------------------------------------------
A---------------------------------------------------------------
F---------------------------9-11-13-11-9--------------9-11-13---
C-------------------9-11-12--------------12-11-9-11-12----------
G-----------9-11-12---------------------------------------------
D---9-10-12-----------------------------------------------------


D------------10-12-14-12-10------------------------------------------------------
A---10-12-14----------------14-12-10---------------------------------------------
F------------------------------------13-11-9-11-13-11-9--------------------------
C-------------------------------------------------------12-11-9------------------
G---------------------------------------------------------------12-11-9----------
D------------------------------------------------------------------------12-10-9-

use the "code" function on tabs if you're going to post them in a thread

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You played pretty damn in sync then since you weren't using a harmonizer. Damn, thats good.

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Amerok, what equipment are you using?

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As long as the notes are correctly spaced it doesn't really matter that much.

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Nice post. Indeed you do have that deep metal voice. Nice playing too. Parallel harmonies sound eerie as hell.

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yes, it didnt matter when he posted it. but sometimes if the --------- is too long or other things (font) dont line up it gets messy. usually best to go with code


anyways, back to his deep voice...

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rg3120 with emg 85/81 into a 5150 on a marshall 1936 cab. message me on ssamerok (aim) so this doesnt get off topic

Haha yeah I know this guy, he does have some fucking fast fingers.

Thanks for the explanation and example along with the mp3, that helps a real lot for people (such as me) with little knowledge of the subject

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how long have you been playing?

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he said don't get off topic. IM him if you really want to know, but he's been playing the same amount of time as me. maybe a little more..around 7 years or so

now cut it out!

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Yeah, you tell them Transient.

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You will find a lot of parallel harmony in Cannibal Corpse' recordings. Usually they have the two guitars harmonized a minor third apart on accented notes.

sounded badass dude.

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harmonies pwn

Which interval creates that really classical "pretty" if you will harmony?

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Well that depends on your definition of pretty, but usually a lick with alternating major and minor thirds (all depending on the key) has that effect.

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When everyone was saying he has a badass metal voice I though the recording was of vocal harmonies.
Now if parallel harmonies sound insane on guitar, they must sound like Lucifer for vocals .... only bad things is that any band that wants to do this (live) will need two vocalists, both of whom are fairly good at picturing notes (so that they don't accidentally revert to the diatonic harmony, which is easy to slip into).

Good post though. I'd like to see a similar one on counterpoint, which in my opinion is much harder but so cool when properly pulled off.

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could you or someone expand on that please?

http://profile.myspace.com/index.cf...riendID=6354625
Check out the song insomnia, those kind of harmony's.

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Look up diatonic harmonies. It's the relationship of intervals within the major scale. Diatonic 3rds sound quite 'pretty', so do octaves, with some effects. I will often alternate between 3rds, 4ths, 5ths, and 6ths and create melodic lines of harmony. You can create tension and have it resolve to a smooth solid interval.

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10ths are also pretty, in a Bach/Baroque sort of way.
10ths are 3rds with an octave in between.
The Beatles "Blackbird" is full of them, and the famous bass line on "Walk on the Wild Side" uses a couple.

Here's a row of 10ths in key of C:

Just in case anyone is confused, as I sure was!

If you're struggling with the term Diatonic and how it is used in harmony and music in general, this is a great little run-down of it:
Diatonic Harmony

I know it's a Bass website but the theory still applies. Basically when you harmonize, you want to play the 3rds, 4ths, whatever you want, that are within that scale

Sorry if this is really obvious, the term 'Diatonic' just kept throwing me off. And as said above 3rds and octaves do sound very very good.

Edit: Further reading (Diatonic scales ) shows that i'm actually incorrect, sorry

Is that still a safe way to create decent harmonization by playing, say 3rds, to harmonize with regards to the scale you are working with?

So if you're using E harmonic Minor: E - F# - G - A - B - C - D# - E

So if you play E F# G you could harmonize with G A B, at least in theory?

Sweet action guys, thanks!

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No, I think you're correct.
"Diatonic" has two related meanings:

(1) a type of 7-note scale. The derivation is "though the tones" or "across the tones", and originally referred to the old modal scales, derived from joining two tetrachords (4-note groups spanning a perfect 4th). Sometimes this meaning is defined as "composed of tones and semitones" (whole and half-steps), but that strictly excludes harmonic minor, which ought to be among the set of diatonic scales we work with.

(2) "within the key or scale" (as in "diatonic harmony"). This is the sense we're using here, and it's perfectly valid. (The opposite of this sense is "chromatic", or "outside the key".)
Absolutely. The theory (as I'm sure you know! ) only follows what musicians think sounds good anyway.
Most pop or rock musicians who harmonise (at least vocalists) do it by ear, and the notes they find that they think sound good are highly likely to be diatonic ones, and will probably be chord tones - IOW, a 3rd, 4th, 5th or 6th above the main note (depending perhaps on any other harmony notes present).

see "16th c. basse continue." It's all improvised, usually on a harpsicord.

If I have the time, I may see about doing one for 16th c. and one for 18th c. counterpoint, because those are 2 classes I've taken here at college.

What I personally enjoy, is medieval polyphony, or specifically "organum." Polyphony is by far my favorite for applying to death metal, which I have done many times for my large stash of MIDI tunes.

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Organum is awesome.

Experimenting with counterpoint is truly exploring the possibilities of harmony, especially in metal. It's great stuff and can be used to really enhance a piece of music. Just listen to Anata or Cynic to agree. Although I would never study it in periods, I just layer different melodies if I'm using it or experiment with completely different parts.

There was an interesting example of vocal harmony in one of Stockhausen's vocal pieces, Kontakte maybe? But there was one bit where the singers were singing at minor seconds to eachother, sounded out of this world.

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