Tag Info

Hot answers tagged

47

There are a ton of easy and great-sounding substitutions, and you can use them in the turnaround or anywhere else you want. Here are a few of the most common: ii-V sub: Substitute ii for IV, so that you have a ii-V turnaround. For example, if you're playing in the key of C, the V chord is G7 and the ii chord is Dm7. So instead of C-F-G7, play C-Dm7-G7. ...


44

There are formulas and sets of harmony formulas that musicians know of. ie. Chord Formation. I, IV, V7 sets of harmony; Chord Substitution; Fifth Motion, Dominant motion; Diatonic Cycles of Fifths, Chord Tone Substitutions, etc. Each chords in each set have their own characteristics that you need to know what they represent. I can be indicative of what each ...


21

There are three possibilities: The musicians are "faking it" based on their knowledge of theory. This notion may be romantic but in my experience it is rather unlikely. There's simply too much that could go wrong. This isn't a jam session or a concert, it's a TV performance to showcase a singer. That said, in other situations they might be perfectly ...


19

The key change you are describing is known as a Chromatic Mediant Relationship. This type of modulation rose to prominence in the Romantic Period and has been used by composers and musicians ever since. Chromatic Mediant Relationships are ones in which the roots or tonal centers of the keys are a non-diatonic 3rd apart. If diatonic (within the key), it ...


18

There are, of course, an enormous variety of chord progressions used in jazz. That said, here are three you should know: 12-bar Blues The basic 12-bar blues as played in jazz (not as played in blues) usually goes something like: I-IV-I-I-IV-IV-I-vi-ii-V-I-turnaround In blues, all these chords would be dominant sevenths. Jazz players, however, ...


16

The ♭III is a borrowed chord from the parallel minor. A bit more info: The bIII is commonly followed by the IV, giving it something of a subdominant function relative to the IV. The ii here is acting as a IV (it's the relative minor of IV) in a plagal cadence, so functionally what we have is more similar to I bIII IV, a common rock progression. Also, the ...


15

Why? It sounds good. Music would sound boring after a while if all you played were the notes in the scale. I would be hard-pressed to find music that doesn't have notes outside of the scale--scales are just the basis for melodies, and the home base from which you can stray in creative ways. In this particular context (and your chords would be better ...


13

Well, the I-IV thing is in a sense problem-complete of the question. It shows the relationship of the chords to the tonal center (the key). So we have to do some harmonic analysis just to do this translation. I'll do House of the Rising Sun because that's the one I know. The Am is the root chord i (but the proof is really in the second and fourth lines of ...


13

There seems to be a general confusion here. Everything you can play or imagine is possible. Theory is a means to describe music, but music is by no way bound to any theory whatsoever. Major scales are typically not a good way to describe (or play) Blues. Better suited are scales that are aptly named "blues scales" (see ...


12

Assuming they don't already know the specific song (it's quite likely they do), it's possible it's a contrafact: a song based on the chord progression of a jazz standard; e.g. 12-bar blues or rhythm changes. Or a pop song using a common progression with just 3 or 4 chords; e.g. I I IV V or I V IV V or I IV vi V or I iii IV V, etc


12

Here are quite a few standard substitutions take from page 36 of the free PDF you can download here: http://www.jazzbooks.com/mm5/download/FQBK-handbook.pdf


12

Before you replace chords with 3 or 4 notes with those with 5 or 6 notes (or even more), re-harmonize a melody by applying these 2 complementary strategies recursively (i.e. each is applicable to the result of applying them, so you can do it in many passes) to chord changes: 1) replace one chord with two (duration of 2 chords in new version = duration of ...


11

Yes, there is a very good explanation. The III chord can be much better expressed as a secondary dominant. Basically, III happens to be the V of vi. A secondary dominant is using a non-diatonic chord (in other words, a chord that does not naturally belong in the scale, containing an accidental, like the G#) to provide a means to change key or shift to ...


11

Start out by learning the characteristic sound of a V-I progression. Play only the guide tones (3rd and 7th) and note how the 7th of the V moves down a half step to become the 3rd of the I. Then do the same for the ii-V, noticing how the 7th of the ii moves down a half step to become the 3rd of the V. Then put them together. There are many possible ...


11

That is a very complex question. If you are just looking for simplicity, you could follow some fairly straight-forward guidelines though. Choose some "candidate" chords. I would think I, ii (minor), iii (minor), IV, V, and vi (minor) are all very good candidates for a nice sounding progression. vii° could be a used very sparingly (it would be a ...


11

Be careful with the Maj 7 on I chords (ie DMaj7), which will quite often conflict with the root (D) played in the melody : you tend to get a b9 interval between the 7th (left hand) and the root (right hand) with sounds very bad. In that case, substitute DM7 with D6 which will sound smoother. The IVM chord (GM in our case) can often be replaced with a IIm7 ...


11

Fm/Ab stands for F minor with note Ab on bass. Generically, X/Y is Chord X with note Y as lowest note. This second chord could be read as Gb major with major seventh and added 9th. The slash after a chord alteration serves only as a separator to indicate every simultaneous alteration you should apply to the chord.


10

The short answer is - because they can hear how the song goes, and they know how to translate those pitches into a chord progression on their instrument that quickly. Because they went to music school or because they have many years of experience or both. It's not faked or rigged or a trick. While it does look like magic, it is a surprisingly common skill ...


9

TV-show bands research the music of guest artists beforehand, including the keys in which they work. They do this for a few reasons, not the least of which is the off chance that there is an improvized request for a tune. But on the whole everything is staged including what looks to be a spontaneous jam. The best perfomer in the world will sound bad with bad ...


9

Both progressions contain two subsequent major chords, the first one one whole step below the second. That step is classically reserved for IV - V, as in the cadence I - IV - V - I; and classically, it's among the most "mandatory" things that after this V there be a I. But in both examples that's not what happens! In Karazhan, Bb - C would in fact be the IV ...


9

Here are some (partly overlapping) suggestions on how you can vary the sound of a iii-vi-ii-V-I progression: Use different additional chord tones (sevenths, extensions, and alterations) for your chords such as flat and augmented 5ths, 6ths, (major and minor) 7ths, (sharp, flat, and regular) 9ths, (sharp and regular) 11ths, (flat or regular) 13ths, and also ...


9

The chord progressions you want will depend on the sound you're after. You can do quite a lot of creating songwriting without ever straying from the basic "in-key" chords: I-ii-iii-IV-V-vi-[vii], and if the Top 40 charts are any indication, you can make a pantload of money with very "safe" chord progressions. However, if you don't want to be safe, and want ...


7

You can make a pleasing accompaniment to most melodies using three chords: I, IV, and V. The reason this works is that between them, those chords have all of the notes in a standard scale. For example, if the song is in the key of C major, then the I chord has the notes C, E, G, the IV chord has the notes F, A, C, and the V chord has the notes G, B, D. ...


7

When writing down progressions in the roman numeral system, most of the time you'll simply be writing the chord relative to the tonal center. Thus, in the examples you mention, a B chord would be III and an F chord will be a bVII. In the first case, you are altering the modality of a chord that is already in key (Bm to B). In the second instance, you're ...


7

Use the chord ladder to determine your chord progression. There's a thorough explanation of it here, but basically, you want to move down the ladder. So the iii goes to the vi, which can go to either the ii or the IV. Note that in the last measure, you can either resolve to the I, ending your progression or you can go back to the second rung and play the ...


7

Your question covers several different topics but I think what you're interested in is Harmony. This is a very vast subject. As for the importance of what you lack as a rhythm guitarist, it largely depends on the style you play. Lots of artists just don't know what they're doing when writing stuff and just happen to know empirically what goes well with ...


7

I would recommend that first of all, you define 'happy', because it means many different things to different people. Here's an exercise I'd use to find out what to do in your own music Find examples of the mood you're trying to set. Write down as much as you can about the tempo, the instrumentation, possibly the scales and types of chords used(from sheet ...


6

There are a few observations that can be made here. First, as others have noted, the sonority is the dominant. Always make sure to take the entire context (including both staves as well as the surrounding sonorities) into account when determining what to call a sonority. In the first movement, as @moberhau mentioned, you do have all members of the ...


6

Consider how the key change is approached. In Bb, the chord progression is just going from I to IV and back again, i.e. Bb - Eb - Bb - Eb. The key change comes right off of one of those IV chords, so you get a movement from Eb to Eminor. This sounds like a key change up half a step, which is rather common in this genre--this hides the fact that the tonic ...


6

Try playing a sequence C - F - G - F in a loop. Think of it as the basis of a song. This is probably what you'll hear on your play-along CD. Now see what happens if you simply stop after the final F. Most people would agree that it hasn't ended properly. It's hanging; the listener expects something else. It is unresolved. Now try ending by adding that ...



Only top voted, non community-wiki answers of a minimum length are eligible