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-1

This was the initial post: Just for clarification about the term modulation: As a musical term it means the process of moving to another key (as TONICA) (root) by means of a chord-progression that clearly establishes the functional part (TONICA) of the new key. Sometimes it is enough to play a DOMINANT seventh chord to establish the new TONICA of a ...


1

One answer about b6 chords is that they are ALMOST ALWAYS mis-identified as such. In almost every real book/fake book/chart, if you see a b6 chord it has an enharmonic equivalent spelling that makes far more sense in the harmony analysis than the b6 chord spelling does.


0

I would rather say that there is no theory behind it but rather a kind of style and a tendency to connect chords in the shortest way possible. That meaning - every note of a chord has to go to the closest note of the following chord with the least possible resistance -> shortest movement and easy to sing if you see each chord progression as different ...


3

If you see it from a pure classical standpoint, a 6th can never be a part of a chord-signature. Every chord is built by adding another 3rd to its predecessor note - starting from the root note. So you only get 1 3 5 7 9 11 13... Even a chord like e.g. C6 is interpreted as a minor 7th chord with the 3rd of the chord as root -> A C E G (1 3 5 7) -> C E G A (3 ...


2

Well there is a chord that fits that description if you look at it that way, but you would never call it that. The actual chord is an augmented major 7th chord which built on C would be a C+M7. With a root of C it is spelled C, E, G#, B which can be respelled E, G#, B, C. The reason why you'll never see it called an E b6 is one it look way too much like ...


1

If you're going to call it C6, it's because it's in a sequence where C is more predominant than A, for instance, in a sequence C, C6, Cma7, C6. If it was preceded by the dom.5 of A,(E), it would then take the mantle of Am7. If it was, say, C6, 1st inversion, thus, in isolation, could be either, then the chords either side would dictate technically what it's ...


3

Context is always important when naming chords as many chords can be named multiple ways. When given a choice between a chord like Am7/C or C6 the default is to call it a C6 for a good reason because have the bass note be perceived as the root is very typical rather than assume the chord is in first inversion. In almost every case those two chords serve ...


1

This progression works because of its strong chromatic movement. Note that there are two chromatic lines moving downwards. One of them (in the bass) was already noted in Dom's answer. The first is the bass line: Ab-G-Gb-(F) (the Gb can move down to the F, which is the fifth of the Bb chord). The other chromatic movement is F-E-Eb-D. Apart from the chromatic ...


0

Written and played properly, it's also used as a blues turnaround. Often with the notes played as triplets, the first 3 being Ab-F-Ab, etc. Ending with F and D played together.


1

Just studying the basics of music theory and voice leading should give you the tools to notice what's going on. No matter what the chords in the progression, it's pretty easy to figure out what is going on by looking at the notes in the progression, how the move, and what they emphasize. I quickly sketched out one possible voicing for this progression in ...


1

Look for a book on harmony? Schoenberg builds things up from chord positions to progressions (and rants about The War And Other Things!) in "Theory of Harmony" while Piston uses examples taken from common practice music in "Harmony," to name just two books. Some knowledge of counterpoint may also be helpful, e.g. to better understand voice leading.


3

As others have stated there is a temporary modulation. But the particular change you are referring to (IV to iv) actually comes from the Harmonic Major Scale. The scale was named by Nikolai Rimsky-Korsakov. For instance a C harmonic major scale consists of the notes C D E F G Ab B (C). Contrary to the usual (ionian) major scale: C D E F G A B. Some good ...


4

The chord basic progression I - VI - IV - II - V - I has been around almost as long as tonal music. Pop song writers have used it hundreds of times, and so did Mozart. In the key of F, that is F - Dm - Bb - Gm - C - F. Add a few 7ths if you want, of course. But you can precede almost any chord with its "secondary dominant". The dominant of Dm is A, so F - ...


3

This progression immediately reminds me of Creep by Radiohead, though it is in C major, not F major. While there is no natural key containing F major and A major, these two chords together are very common in most genres, but especially in rock, which loves minor to major substitutions. D minor is the relative minor of F major, and while the key of D minor ...


5

A common place for this to occur is IV to iv, often then returning to I, which makes (in your F key) the Db a semitone from C, and Bb a semitone from A, both found in the F chord. The F, of course, remains static. It's the same sort of semitone pull that makes V7 work so well as a dominant, to I. 'Major to minor' is one way to describe it. Ironically, in ...


2

There a lot one can do when writing creating a progression to introduce chords that would not necessarily be found in within the same key. In fact, There isn't a key that naturally contains both an F major chord and an A major chord, but I'll focused on the chords you're interested in which is the Bb major and the Bb minor. For simplicity let's say these ...


3

It's just a temporary modulation. In jazz and older pop music, this shows up frequently in a progression called "downstep modulation", where you have sequential iim-V7-Is a whole step lower, so for example: Am7-D7-GMaj7 Gmin7-C7-FMaj7, Fm7 ...


0

Ignoring all discussion and answering only the title question: a b5 means you are replacing the 5 and keeping all other notes (including the 4 intact.) A #11 means you are replacing the 4th and keeping all other notes (including the 5) intact. So the answer is: whichever is correct when used in the context of the surrounding chords and melody of the song. ...


0

Whether or not notes are dropped on the harmony instrument (piano or guitar) partly depends on the voicing. It's perfectly acceptable to play both 3rd and 11 or #11, but you may choose to do this with a spread apart voicing rather than close together. The jazz pianist usually includes the third and seventh, as you know (or the 4th if sus), with everything ...


3

I agree with @MattPutnam's answer as far as chord inversions and close/open voicings are concerned, but I'd like to add an explanation of what drop voicings are. First of all, there are no "drop 2 chords", there are only drop 2 voicings of chords. The concept of drop voicings is often applied to four part chords. A drop voicing is obtained by dropping one ...


2

Listen to, oh, I dunno...Paul McCartney. He's ALL OVER THE PLACE in terms of busy lines. And his stuff works great. One of the issues with catching tension notes in the bass is the concept of "low interval limits." What happens when you violate low interval limits, is that the interval that you're playing ceases to sound like that interval, instead ...


4

Chord inversion simply refers to which note is in the bass (i.e., the lowest note). We start in root position with the root in the bass: for a C major chord, C is the lowest note. If we imagine a simple C-E-G triad, then we can "invert" the chord by moving the C up an octave, getting E-G-C, with E (the third) in the bass. This is first inversion. We do ...


0

I bet we could identify 20 or so "valid" spellings of that chord. And herein lies the rub: enharmonic spellings are the bane of existence for musicians trying to understand harmony. A chord symbol has two purposes: to name a particular grouping of notes such that it can be communicated to others intact, and to identify its FUNCTION within the harmony. ...


-1

That looks like a G augmented chord in first inversion with a ninth added and fifth doubled. If you are wondering if that D# is a raised fifth then I will say yes that is a G chord with an augmented fifth. Also my question will be if the other D in the chord is raised or not?


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I agree that writing a chord voicing that leaves out the 5 is a bit of a curveball. The reason it's a b13 and not a #5 is basically because it IS a G in a B chord, and that's the "least gymnastics" way to annotate it. Also, if there's any note you're going to leave out of a dominant chord voicing and still maintain the flavor, the 5th is the one that can ...


0

The book answer is incorrect. By convention, a B7(b9 #11 b13) has an unaltered fifth and also an augmented 4th (11th). The technically correct answer for the written chord is B7(b5 b9 b13), because the written chord does not have both the #11 and b5. The general rule is that notated available altered tensions do not replace or alter chord tones.


1

Your answer is fine. The books answer is fine. Jazz. Altered dominants. You could also call b13 a #5. avoiding the altered fifth nomenclature may indicate the 5th is included E.g. #11 might indicate inclusion of the fifth. While b5 mans no unaltered fifth. Same goes for b13 vs #5 b9 and #9 are also used on some altered dominants - These indicate not ...


0

Really, F6/9 is what I would call it. And bar 2 would be a D13. Would bet bar 3 is a Gm.


0

I agree with @fdreger that this is an F major chord and that the 2nd and 6th do not change its major quality. Normally the 3rd will determine if a chord is major or minor. This chord has no 3rd so we need to look at its root with respect to the key signature. Here the key is C and F is the IV of C, so we are correct to infer that it is major in the ...


0

This is an F major chord - the major 2nd and 6th do not change it's major quality. The voicing is jazzy but it's not too strange - it's hard to tell how off this will sound unless you listen in the context of the whole piece.


8

The Ma symbol is typically used to denote a major chord as in FMa7 (F-A-C-E) or FMa(F-A-C) , but this chord is not an F major chord because there ia no major 3rd which is A in this case. The chord depicted seems to be quintal in nature (built in 5ths) as from the bottom up we have the notes F - C - G - D and then the G and C repeat. This chord is almost an ...



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