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21

There is a rather more fundamental, physical reason for this than so far mentioned: the bass fills not only the bass frequency range, but its harmonics actually reach well into the midrange where all other voices have their fundamentals! In fact, since the bass has typically the strongest amplitude1 of all tuned instruments (save perhaps trumpets, lead ...


19

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 ...


15

I would argue that your premise that the chords used in a song should be comprised of notes that occur in the scale of the tonic key doesn't really hold. Yes, the majority of songs tend to use almost exclusively diatonic triads, however, there are many example of non-diatonic chords, for instance, borrowed chords and secondary dominants. In traditional ...


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

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 ...


11

Yes it is the dominant chord. The third is sharpened to G# to make a major chord, which gives a stronger cadence when moving V-i. This is why the Harmonic Minor has a sharpened seventh degree, to create the sharpened third in the dominant chord (or leading note in the scale, whichever way you want to think about it). In common-practice harmony, the strong, ...


11

On a basic level, this is just a modal chord progression using the Mixolydian mode, which contains a b7 scale degree. That makes the notes you're using G A B C D E F G. The G major triad (G B D) and the F major triad (F A C) are both right in there. But doesn't necessarily reconcile other chords aside from those two (assuming not all the songs you're talking ...


10

Tritone substitution is as it says. The substitution of one chord for another, that is a tritone away from the one being substituted. Thus a V7-I ( G7 - C ) becomes Db7 - C. Because the Db is a tritone, or 3 tones away from the G. Exactly half way, as it happens. G7 is spelled G,B,D and F. Db7 is Db,F,Ab and Cb. The two common notes of F and B (Cb), being a ...


10

You were right on when you said that this chord "toys with switching to the minor scale." In classical musical analysis, the major chord built on the flattened third is considered a "borrowed chord", a chord that is borrowed from the minor version of the key. In Roman numberal analysis, it is written exactly as you would expect: ♭III. Like many other ...


10

As a bass player, I am typically trying to either play something unexpected/less than intuitive, or really awesome. Only when I am asked to fulfill a role in a band with a traditional approach to the bass part do I consistently end up relying on standard sorts of lines or the expected notes (there are definitely times where it sounds better to just chug on ...


9

I'm sure someone more experienced will come to help, but for now, here are some suggestions: Make use of dissonant chords. In particular, augumented fifths, and diminished major sevenths. In particular I'd just look into the various scale modes (e.g. Lydian) and pick out chords from there. If it's a slow horror song I'd suggest using a Dorian mode for ...


9

A single bassline can be harmonized in a number of different ways. Assuming you are working only with diatonic triads (three note chords that require no accidentals), you'll typically have three options for your harmony for each note. In the key of G major, those options look like this: G: I, vi6, IV64 A: ii, vii°6, V64 B: iii, I6, vi64 C: IV, ii6, ...


9

I think, Dom, that you would need to do a few things: Truncate the tonic - it will always be root and third. (This kind of truncation wasn't all that unusual in late Renaissance and early Baroque modal polyphony, by the way, even though the Locrian mode itself wasn't used at all.) Borrow procedures from the Phrygian mode, which is the closest in ...


9

Melodic Inversion Where the original melody goes up by an interval, the inverted melody goes down by the same interval. Sometimes you do it where you keep the same number of semi-tones (sometimes you do a "diatonic" inversion and just keep the scale degree). It's a technique for taking given melodic content and constructing more, related melodic content. ...


8

The basic idea of the melodic minor scale is to be able to traverse the minor scale by step while having the option to take advantage of the leading tone while avoiding the augmented 2nd interval. It may seem random when you use melodic and when you use natural minor scale degrees, but there is a very simple test: Are you going to the tonic or are you ...


8

This is called Transposition. For instance, if you are in C major and have this melody: C-F-E-G-C and you move to E major scale, the melody would be: E-A-G#-B-E. You have to keep the intervals the same (A perfect fourth remains a perfect fourth etc), but the notes change.


8

What education did Mozart receive in order to know basic harmony rules, like consecutive fifths are bad? As pointed out, he was educated by his father. He would have received basic training in Rule of the Octave, counterpoint, etc. Instruction in Mozart's time was essentially in voice leading, not harmony: harmony training didn't really exist until ...


7

On many non-keyboard instruments performers will play slightly different notes; these slight differences reflect/determine how these notes behave in a given harmonic and melodic context. In at least some cases, these differences are related to (approximations of) just intonation; in other cases there are ideas of expressive intonation, which again result ...


7

It's figured bass and while typically associated with analysis and chords the meaning typically differs. As you said typically when thinking in chords or analysis in a V9 the 7th is implied. However, in figured bass only the typical triad is implied unless otherwise noted so just putting the 9 would make the harmony add9 instead of dominant 9. So yes it is ...


7

One of the central harmonic (and melodic) innovations of early 20th-century music was the conflation of the linear and harmonic dimensions. That is to say, a collection of pitches might just as easily be a motive or a melody as it might be a chord. In the common-practice world the linear, melodic dimension tends to be dominated by whole and half steps while ...


7

As you know, the II V I progression is the most important progression in jazz. Since there is a very strong root motion of a descending perfect fifth, not only between V and I, but also between II and V, this II-V-progression has become an independent unit, which is frequently used without the need to resolve to the related I chord. It is important to ...


6

As MartinK said, this alternative is simply the same chord sequence, modulated to another key. What I'd still like to say: even in a given key, it may be possible to use notes which aren't in the key's standard scale. For instance, it's possible to substitute a D chord in another way into the original sequence: C G D7/F♯ F That would sound quite ...


6

It is correct to a certain extent. You are absolutely right that the 'natural' A minor scale has no sharps in it, and the v chord would be an E minor. However, minor scales come in several 'flavors'. There is the natural minor, harmonic minor, and melodic minor. The harmonic minor is the same as the minor scale with the 7th raised by a semi-tone. Ergo, ...


6

Casey Rule gave a fine answer, I just want to point out a few things about harmonizing in general and you should be aware of while trying to harmonize a bass line. iii chords are quite rare in a major key, in fact in all my classical theory studies I don't remember analyzing anything that used any type of iii chord in a major key. While vii° is a viable ...


6

Adding to @Casey Rule's answer: the set of chords that generally works with a key are (in C) C, Dm, Em, F, G, Am and Bo, with their 7ths if appropriate. There is also, in theory, the set of chords from the 'parallel' minor.In this case, Cm - (relative major being Eb). This gives the chords from Eb major - Eb, Fm, Gm, Ab, Bb, Cm and Do.There's now a far wider ...


6

Either one, really. It depends on the voice leading to a great extent. (I'm assuming common practice voice leading here.) Let's have a look: The first example holds the common note (G) in the descant, and uses the usual G-C drop in the bass. The neatest place for D to go in such a case is to E; otherwise you're faced with a bare fifths sonority (which can ...


6

It depends on what you are trying to do. If you are using the chords as harmonic colour, parallel triads work fine. If you need some independence between the voices, parallel octaves and fifths aren't so good. Both with and without are perfectly acceptable, and have been since the end of the 19th century, provided you accomplish what you are setting out to ...


5

It is unlikely that this is Ab major because the progression doesn't have an Ab major in it and also doesn't typically have a Bb chord. If it has a Bb chord it is usually followed by a Eb chord. I see it as a progression in F minor as a i VI VII IV. The IV is technically not from F minor, but could have easily been taken from the relative major. Another ...


5

I wasn't clear what your question really was to be honest, but I think you were asking how you create such colourful sounding chords, so I've added that question and I'll try to answer it a little bit here. There are 3 aspects I'd like to talk about, but they both stem from a similar concept of dissonant. When you hear a single tone, what your ear is ...


5

You can't really apply these functional terms to modes. A mode refers to a specific scale and its characteristic melodic phrases. The problem with Phrygian, when you try to build classical harmony on its scale, is in fact constructing the "dominant" harmony, i.e. the triad on the 5. step. It has a diminished fifth (in "White Key Phrygian" on E this would be ...



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