Interesting. I know a lot of theory, used to play a lot of instruments, basically just did thirds in D on the keys, and edited.
I don't really play videogames, but wouldn't mind find something to get into. Ff7 is classic
I haven't been doing a lot of game playing in the past decade. There was a time I got into intense, hyper-fast Dr. Mario playing. It pushes your brain to the limits of its ability to process information. One mistake starts a cascade of mistakes. By the time your brain processes that you've made a mistake, you usually end up making even more mistakes, and it's just a big disaster.
Advance Wars went through a few titles initially. Now I think there are modern updates on the Switch or whatever. The third one was called Dual Strike and featured an old George Soros-esque villain that had an energy chair keeping him alive. His super power was called Ex Machina. It caused serious damage to units in a 13 tile area and left them paralyzed for a turn. The chair was draining energy from the planet itself and causing the plant life to die out and creating desserts everywhere. It's totally the kind of thing elite Jews would do.
As far as music goes, I find everything comes down to musical intuition. It's better to have all musical intuition and no formal music theory at all than to have all theory and no intuition. Your mind should be telling you to play or not play notes or chords or whatever. Through continual playing and development, you can go from not having this to having it. Technically, though, a lot of these no music theory musicians have their own personal understanding of music that could actually be translated into formal music theory. They'll be saying stuff like, "That thing that happens when you do like this." From what I've heard, the Beatles figured out secondary dominants in an experiential manner without knowing what a dominant chord is or any formal concepts related to that.
I was thinking about how I once learned a chord that is a bass note with the minor 7th, 9, 11, and 13, and then I tried to figure out where I could put this chord. I concluded that 5th position was best. Now I'm laughing at it like this is a dominant chord with extensions on it, and I figured out you can put a dominant chord in 5th position.
I like a bit of both feel and theory. Sometimes simple sometimes complex
Yeah, that's what I'm working with. I learned a lot of things in a textbook kind of way, but it all comes down to real music application.
Lately I've been slogging through this musical theory stuff involving neighboring chords. C is the easiest key to play and talk about with A minor as its relative. It's really easy to see these chord relationships on a keyboard while a guitar is more complicated. Anyway, if you go one chord up or down in key, this chord will share 0 notes with the starting chord. So C shares 0 notes with B and D. If you go two chords up or down, these chords share 2 notes with the starting chord. Am and Em share 2 notes with C. If you take a bass note such as C and play 2 chords up in key, essentially Em/C, you get the 7th chord that fits in your key. Em/C is essentially just Cmaj7. If you go down, you get a 6 chord. Am/C is essentially C6. This works with any chord you choose in the key.
I found a cheap trick kind of application that might actually make some good music if used well. Basically, you just retain a bass note while altering the upper notes of a chord to the next chord up or down. This switches all the basic triad notes to a bunch of extensions. Since it's a chord alternation, it'll be very open to this change. From there you can switch chords, go back to the basic triad, or go up to the 7th that's two chords higher. On a guitar it's easy to accomplish this with open string bass notes.
I've also been working with bringing the notes of the previous chord to the current chord. I was working on this with a simple A minor only background. So you just bring the notes of a G chord up to A minor. This gets you making strong 2 note phrases that end on a note in the chord. Then you can explore the next chord up, B diminished going back to A minor. Then you can try bounce backs and bounce ups where you start on A minor go to the preceding or following chord and then go back to A minor. Then you can play some run throughs from a note in A minor to the next note in A minor with a non-chord tone in between. Then you can try going from out of chord notes to the various notes in the chord to get away from simple step changes to more interesting leaps. Then after warming up like this, you can try using your intuition to put all of this together and try doing it on more complicated progressions than just one chord.
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