If you don’t like this, I invite you to get away
Agreed. Also I didn’t think ix knew that much theory.
That’s not how I nor anyone I know in real life makes music. We don’t make music to avoid tritones at all, we make music to just sound good. If a tritone sounds good, I guess it’s in there, no big deal. If it’s not, who cares, it still sounds good. If you don’t like how a tritone sounds, then just take it out.
well if ix knows a lot about music theory then he could probably get a real job rather than just comment about how people are geeky for knowing music theory.
Ixsetlf sounds like your taking music theory… What you heard about Not using tritones is just for the Classical period… You can do whatever you want know a days… except for tritons with 2 singers… you can’t really do that.
Actually it was Fire who said how people are geeky for knowing music theory. And ix might be too young to get a job, and he mightn’t want to be a music teacher (or whatever) anyway.
Well you don’t have to be a music teacher, you could just do freelance music or get a job at a company like Ravensoft. And you don’t really have to be any particular age to do music for flash games, possibly not even commercials if your over 13.
I use tritones, but it’s important to know where they are located, so you don’t use it accidentally or have to go down a weird interval to use it/avoid it, also that is how keys were invented, also they are my favorite interval.
The church focused on avoiding tritones 600 years ago because they thought tritones released demons, and developed modes. It doesn’t matter anymore and if you hear it, just do something else if you don’t like it. It really only actually ever matters if your doing classical music. Otherwise you can just decide if you like any particular chord or interval. No one really even uses the term modes, or for that matter, any any mode other than the Aeolian mode (major and minor scales), there’s occasionally a Phyrigian mode or some mode like that, but most people don’t even realize it’s that and it sounds good anyway. Otherwise there might be a different scale entirely like a Hungarian scale in the country your born in.
Here’s a song that uses a triton interval (Eb and 
and it sounds decent before it becomes cliche.
Come on guys you all think I hate tritones? They are my favorite interval and they have a distinct sound, which is why I wrote a block of text on them. Also they are very food for Heavy Metal which is where I discovered this information, looking at the Locrian and Phygrian modes.
We didn’t say you hated tritones, we say people from Bach’s and Beethoven’s time hated tritones.
I just used a tritone in mine and QVX’s collab. It sounds great! 
me too! isn’t that great, seems all three of us are doing collabs with each of us.
So … straying off the topic of tritones, when’s it best to use augmented/diminshed chords? They mostly sound a little odd when ever I use them.
Diminished chords sound really good after a couple minor chords, usually on vii. Augmented chords I usually just never use unless I’m playing something in a Neopolitan scale.
Could you give me an example?
It’s in D Natural Minor. The second chord is a first inversion of iv or G minor. The third chord is the accidental viiº of D minor which is normally major, but natural minor scales have two vii.
But … I don’t get that, why would there be an accidental in a natural minor?
Well, when people were making minor scales, they decided that they wanted/discovered minor scales could have a good sounds using either the major VII or like the major scale, a viiº. Not only that, but when you play a minor-major 7 chord in a minor scale on the tonic, the 7th is only a half step away from the next tonic.
wouldn’t the 7th be a whole step away? the half step is true for a major scale, maybe you got them confused.
the 7th of the tonic in A minor is G which is a whole step away, and in C major it is B.
Dude, there’s like 8 different types of 7 chords. Some of them can be a half step away from the tonic. And like I said before, natural minor scales have two vii.