And now I'm back to haunt you again! MWOO-HA-HA-HAAAA!!!
Here's an easy one that sounds very film-score:
Instead of using triads, use just two notes per hand.
1. Play a perfect fifth (let's say F-C an octave below middle C) with the L.H.
2. Over this sustained pedal, play slow-moving major thirds in the octave in between your L.H. and middle C with the R.H., say E-G# that goes to G-B then up to A-C#.
Orchestrate with strings and there you go.
With triads things can get pretty complicated so if I'm using them lots of times I'll just use a triad over a single bass note part and shift around like I described above. This way it is much easier to control the chromaticism. I'm leaving out the nuts and bolts mode/harmony theory stuff, of course, but the point is this:
The simpler the density, the easier it is for the ear to lead the way.
Happy mind-melting!
Clark
P.S. I'm terribly sorry to hear about your father. You and your family have my sympathies.
Here's an easy one that sounds very film-score:
Instead of using triads, use just two notes per hand.
1. Play a perfect fifth (let's say F-C an octave below middle C) with the L.H.
2. Over this sustained pedal, play slow-moving major thirds in the octave in between your L.H. and middle C with the R.H., say E-G# that goes to G-B then up to A-C#.
Orchestrate with strings and there you go.
With triads things can get pretty complicated so if I'm using them lots of times I'll just use a triad over a single bass note part and shift around like I described above. This way it is much easier to control the chromaticism. I'm leaving out the nuts and bolts mode/harmony theory stuff, of course, but the point is this:
The simpler the density, the easier it is for the ear to lead the way.
Happy mind-melting!
Clark
P.S. I'm terribly sorry to hear about your father. You and your family have my sympathies.