Most interested melodies that I’ve created was a result of improvisation/random play with 960 sequencer of creating melodies by bricks drawing in ableton. No theory, no mechanical memories of scales/patterns.

If you need some basic hints how to play on keyboard: just use only white keys on keyboard - it’s C-maj and A-mol scale. Just use transpose/frequency knob to modify it from C/A to different major/minor scale.

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If you’re going to stick to the white keys, I’d recommend exploring what it sounds like if you start from / hang around somewhere other than C or A. Modes are heaps of fun.

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Oh man. Be prepared to get sucked into a very large YouTube rabbit hole!!!

CHORDS OF ORION does a really good job of teaching and demonstrating ambient guitar techniques.

ANDY OTHLING has an “ambient guitar tips” series that is really useful.

There are lots of others too. I loooove big washy guitar sounds. Feels like a perfect fit for interplay with modular synths.

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I enjoy these artists. But their work only supports my assertion that “ambient” does not have a generally agreed upon definition.

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This is also ridiculously helpful:

https://randscullard.com/CircleOfFifths/

I just leave it constantly open in the background while recording.

(Read the user guide.)

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Yay. I have a plastic one. I like the touchy feelyness of it. Very useful device though.

Can’t agree more that listening is one of the biggest things you should be doing to really develop a sense of what works, what sounds you like, how sounds work together, etc. It took me a long time to jump back into making music after my punk rock guitar days pre-family. But it seemed a lot easier for me to put things together, due to the amount of listening I do via my work running a record shop, once I jumped into the synth world.

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it was just an advice to start for novice.
In my case I needed almost 15 years to refresh my interest in playing on keys after classical training :slight_smile:

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Yup, you don’t actually have to learn it, but even the things you learn all alone are theory. And it’s easier to learn it formally than to learn it by ear. You have to listen wider, but it helps to learn wider too. Jazz theory, for example, is a mess to understand by yourself. It’s just easier to have the written rules to make your ears understand what happens more easily. The more complex forms of music or languages require a lot of work to learn, when you want to go out of the simple rythms or basic chord changes.

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ok, so i just randomly stumbled across a video analyzing the donkey kong country soundtrack, of all things, but it actually provides one of the most informative lessons on concepts behind ambient composition that i’ve ever seen. for the folks in here like me who have no formal theory training, i actually found this still very easy to follow along with.

Youtube Link

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This was really lovely, thanks for the link!! I also loved his take on Chrono Trigger’s nonfunctional harmony—the intro of a younger him going “whaaaaaat this is wrooooooong” in response to strange chord progressions is something I definitely have felt myself too :sweat_smile:

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Thanks for posting this. Aquatic Ambience is one of my favorite video game tracks; I used to put DK in the corner of that level and stop playing just to listen to it.

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Now I just desperately want to play Chrono Trigger. …

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Works for me if I let Flash run in Chrome:

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I built a computer for David Wise many years ago. Kinda didn’t really appreciate who he was at the time. It had been a long time since he had done anything at the peak of his powers to be fair. Hindsight makes me feel like I could have got a lot more out of the encounters we had together though.

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I finished it for the first time 2 nights ago – such a good game!

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The user guide on that is super helpful. Thank you for the link.

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Thanks for being so thorough and thoughtful. I went to the same university a few years after you, though I graduated from the liberal arts school after getting discouraged with the BA/BFA program. That was always something of a disappointment for me, and I’ve spent a lot of time wondering what if. I’d studied theory, and was good at it, but because of red tape, it was a nightmare to take classes there. Instead, I just played in indie rock bands and recorded musicians for grocery money when I was sick of eating cream cheese and ketchup sandwiches.

I learned about Eurorack after getting well-enough established in a non-music career. Initially it was Kaitlyn Aurelia Smith who drew me in, and only after I bought my first oscillator I learned about the YouTube videos. I’ve approached this with the opposite point of view as you: I’ve felt like I didn’t have enough theory or performance hours under my belt, and have tried to cram about six years’ worth of downtime into the last year to catch up. I’ll come up with something that I like but then worry that it isn’t, I don’t know, theoretical enough.

Anyway, I appreciate this thread. This has made me confront a lot of the biases I’ve had in approaching music, and the roadblocks that have stopped me from actually making it.

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Ah, it’s the feeling that the grass is greener. It’s helpful to hear your perspective.

I think we discovered Kaitlyn’s music around the same time. February 2015, Euclid. Just before I bought my first module. I heard the album and started to consider getting an Easel instead of the Eurorack direction I had been researching for so long. But then my friend Sean brought over his, which he had just gotten and I had too much trouble with the intonation, so I went Eurorack. Ha. Whatever the case, that album holds a special seat in the ears of my heart.

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I have enjoyed immensely going through this thread and reading everyone’s contributions, from suggesting reads to their thoughts on how they approach it. Thank you.

For me I enjoy learning about theory because it helps sometimes in putting what I’ve done into a framework. So if for example I come up with a 3-4 note sequence I can cross reference modes and when I’ve targeted where I’m at its liberating to then be able to work inside that framework. Ofc I allow myself to go outside if I want but the sense of grounding is helpful.

I have a question: is there any reason to avoid learning music theory by way of “mod12”? So for example (and please correct me if I’m wrong) a minor key is: 0-2-3-5-7-8-10-12 and I know a 7th chord in minor is 0-3-7-10. Since working with synths and sequencers I find this a much easier way to try things.

Thanks again!

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