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54

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. ...


21

Harmonic mixing is the practice of using music theory in your dj sets. You can use this knowledge to achieve specific functions when mixing two songs (similar to chord progressions), or to know which songs are compatible with each other, just to give a few examples. The most common and basic form of harmonic mixing. If you don't want to know about the ...


19

The basis of counterpoint (point against point) is melody. Harmony is evident in counterpoint which, I suppose, is what is causing the confusion. A theory professor once told me that Harmony is a byproduct of the rules of counterpoint being used properly. Counterpoint changed from renaissance to baroque in some significant ways. Renaissance counterpoint ...


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

Counterpoint is a type of polyphony with certain restrictions on form. For instance, contrapuntally organized music focuses on melodic interaction between multiple independent voices rather than harmonic interaction. In other words, chords occur as a result of coincident notes in multiple melodic lines rather than as a primary textural element. Other forms ...


18

There are some very simple ways to transform the mood of a song by slight alterations in the melody, harmony or both. A transposition of the melody to the relative minor (ex. from C major to A minor) or to the parallel minor (ex. from C major to C minor) are both very simple ways to retain the melodic material, while drastically changing the sound. ...


18

I think there's an element of pragmatism to this. Some people are out for what they can get, but they also have an eye on what they could lose. Let's say you wrote Stack Exchange Blues, you're collecting royalties from it, and you hear my song Downvotes Got Me Cryin', which you believe steals enough to perhaps warrant a law suit. Well, you're going to have ...


17

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


17

This is an A minor chord in first inversion. A is the root note, C is the minor 3rd, E is the perfect 5th. As the C, the 3rd, is at the bottom, this chord is in first inversion. The musical excerpt below shows this with conventional notation. Each chord has the same three pitches of an A minor triad, A C E (R m3 5), but the change to the lowest pitch ...


15

Great question - I remember when I myself was confused about this very same thing many years ago, and indeed at first, it all seems completely random. In order to answer your question, there needs to be a little background: Historically, thinking about music in terms of harmonic progression is one that has really only come to complete prominence in the ...


14

In your average chord progression, most of the time all of the notes will stay in the scale that correlates with the key of your song. If the song is in G major, your chords will contain notes that are found in that scale- G major, C major, D major, E minor, A minor, B minor. When you find a chord in a progression that contains some note that is not part ...


14

They are absolutely allowed and are treated in many different ways. In order to avoid a continuance of asking so many specialized questions, I would urge you to study Johann Fux's Gradus ad Parnassum which is the foundation for counterpoint and studied by all composers. Also, for future reference, if Bach does it, then it's okay.


13

I think the difference you would hear would be the difference in the direction and rhythm of the lines. Counterpoint would fill in the melodic "gaps" rhythmically and harmonically. Basic harmony often lines up with the melody. Counterpoint frequently goes opposite the melody, thus its name. Listen to some Baroque music, where counterpoint was used heavily ...


13

I would actually consider this to be ♭III - IV - I in B major, with the ♭III borrowed from the parallel minor key. In fact, with the ♭III chord, it's somewhat similar in character to one of the "Fellowship of the Ring" themes: I - ♭III - I (in your key, that would be Bmaj - Dmaj - Bmaj). It's the first three chords here. Soundtracks aside, this type of ...


12

You are looking at the chords in an interesting way, but you are over complicating the subject a lot and have a few slight misconceptions. I to V or i to V is a very normal chord movement and it is quite strong, but the the opposite is much stronger i.e. V to I or V to i. The movement is so strong at the end of a phrase the movement is known as an authentic ...


12

In common-practice theory, secondary dominant chords are chromatic harmonies used to approach a non-tonic chord with greater urgency. Let's use C major for examples: I might want to approach the V chord (G) with a secondary dominant to give greater direction or "color" to the approach. I construct the secondary dominant by going to the V chord of the V ...


12

You are missing the fact that you are looking at two different keys. The chord progression (C G Am F) is in the key of C. The chord progression (G D Em C) is in the key of G, which contains F#. The first site you were looking at, shows you alternatives for a C major chord in different keys than C. (Maybe compare the third alternative when you are ...


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

Yes. A dissonance is an unstable sound - two or more tones sounding together that demand a resolution towards a consonance, which is a stable sound. "Resolving" a dissonant interval means that it is followed up by a consonant interval. Consonances are divided into perfect and imperfect ones. Perfect consonant intervals are most stable; they are the ...


11

Diatonic substitution is changing a diatonic chord into another diatonic chord with a similar function. For example, in a C major tonality, you can often reharmonize a melody harmonized with F[maj7] with Dm[7] (or vice versa). These chords share some important notes which makes them functionally similar (both have subdominant character). Chromatic ...


11

The primary answer to your question is that although pitch defines the basic frequency of the note, there is—at least in common-practice tonal music, and many other styles too—an entire other trait called function. A C# and a Db are the same pitch (at least on the piano, these will often have slightly different tunings when played by unfretted string ...


10

It surely can be done and it's largely used in, for example, games to signal mood changes to the listener while still conveying the original "idea" of the song. Take as an example the soundtrack to Final Fantasy VI (Final Fantasy III in the USA). The main theme for Terra - one of the protagonists - is a strong yet melancholic song with emphasis on the ...


10

The words denote totally different concepts and the difference lies in the arrangemental intent for the instruments playing tones in parallel octaves: Parallel, or consecutive, octaves If the intent of an arrangement is to have independent voices but two (or more of) them happen to move in parallel at the octave (or in unison, or two or more octaves apart) ...


10

This is an excellent and important question. In a minor key, all 4 possible combinations of 6th and 7th scale degree are used, and each combination corresponds to a scale: b6, b7: natural minor (aeolian) b6, 7: harmonic minor (creates a dominant V chord with a leading tone to the root of the key, so it was 'invented' for harmonic reasons) 6, 7: melodic ...


10

Well, yes, when listening to pop and rock music, it can seem like much of the vocal harmonisation moves in parallel motion (often in thirds and sixths), but there are plenty of examples of different motion out there, if you listen out for them. I've always thought that The Beatles used some subtly interesting vocal harmonies. Below are the first 8 bars of ...


10

We could call this an A7add11 arpeggio. (Or, more accurately, the notes from an A7add11 chord.) Although this is still a set of five pitches, it is no longer a pentatonic scale in the traditional sense; one feature of the related diatonic major and minor pentatonic scales, which are in common usage, is that they do not contain any semitone intervals. ...


10

bII7(b5) is a tritone substitution of the original dominant V7. Note that the roots of the two chords are a tritone apart, and the 7th of one chord equals the 3rd of the other chord and vice versa, so they share the most important chord tones.


9

Harmony refers only to the relative pitches of the different voices you hear sounding together in a nice way; it says nothing about the timing of the notes in the different voices. Counterpoint refers to different voices forming their own separate melodies: (many of) their notes are produced at different times and with different durations. Counterpoint ...


9

Visualizing harmonies takes place in what I and others call the aural image; basically, being able to hear music internally with little or no outside stimulus. When instrumentalists practice this, they usually do it by singing, since the voice is that much more closely related to the brain than any given instrument. For all of the above, though, it can be ...


9

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 ...



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