# Tag Info

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Nice explanation of modal theory by Joe Satriani can be found here: http://www.desktopmetronome.com/c5/index.php/products/chords_and_scales/modal-theory-for-guitar/ Although he is guitar player he explained it clearly so everyone interested can understand

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I need to confess your question was not easy to me to understand. We normally use these concepts on western music without thinking, and you really made me think. Thank you! :) I think the other way to ask your question is: If I hear a major third as a "perfect" interval, why a perfect fifth is made of a major third plus a minor third instead of two major ...

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Counting up from a note, alphabetically, using the first as number one. C-D-E-F-G. So G is number 5. Start on C# and do the same. G# is number 5. A perfect fifth is a bit of a misnomer, as is perfect fourth. I'm sure a more apposite word should have been used, but we're stuck with it now! The space between 1 and P5 is always 7 semitones. It just is. When ...

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You need to know a little bit more about perfect fifths than just how many semitones they are away from the root. Remember F double sharp and A double flat are also seven semitones away from C but are in no way perfect fifths. Now the word perfect tries to say two things to you. It tries to firstly indicate that these intervals have a very pure and easy ...

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The perfect fifth's size is 7 semitones. So, let's count them from C: C-C# C#-D D-D# D#-E E-F F-F# F#-G. If we count 7 semitones, we end up on G natural, and not G#. Also, if we had a chord that consisted of C,E and G#, it wouldn't be C major; it would be C augmented. A major chord is built with a root, a major third and a perfect fifth. The ...

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There is of course nothing stopping you from playing any number of the notes in the full six string chord. You don't even have to play the fifth as just root and the third will already give a reasonably clear tonality. It just gives the guitar a fuller, richer tone to play as many octaves as possible of the notes in the chord but as I say it does not always ...

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Because the notes might be 3, but they are repeated. For instance, here is an open E major chord: As you can see, the notes are only 3 (E,G#,B), but the root (E) is being played three times and the 5th (B) is being played twice.

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If you're still wondering about the chord progression of two major chords where the second one is one half-step lower and the second one also functions as the dominant chord of a tonality, you may want to look into augmented sixth chords, which you can read about here. In your case, the Eb Maj chord would be similar to a German sixth chord in G minor. Though ...

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The D major chord is the dominant chord (V) of G major with the next chord being G major it makes sense this modulation would work. Typically in Bb major, you would build a D minor chord instead, but it's not unheard of to use different quality of chords especially when you want to change what chords you emphasis(like utilizing secondary dominants) or ...

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The major key has two dominant chords: V (G) and vii (Bdim). Both of these are dominant to the Cmajor chord (tonic) and also have a dominant function to the A minor chord which is also a tonic chord and contains the same chord tones as a C6. Additionally, there are secondary dominant chords, these are found outside the key. The secondary dominant for the A ...

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The A major chord is the dominant chord (V) of D minor. The chord leads very well back to the Dm chord because of the use of the leading tone (C#) and it's very typical to use in a minor key even thought it's not in the natural minor scale (it is however found in the harmonic and melodic minor scales). There are many questions that go into more detail about ...

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If I remember my circle of fifths, the relative major key of D Minor is F Major, which has an A major chord in that key, so it makes sense that it fits with the rest of the song. Also if I remember correctly, the exact opposite key on the circle of fifths is that key's relative major/minor, so that's likely why it is on the opposite side. You are correct ...

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The bass is so important because it imposes its presence on all the other sounding notes via three main characteristics: Its harmonics interact with all the higher pitches. It has a strong amplitude (see @leftaroundabout 's answer) and in practice is often doubled by many instruments in a variety of styles. It stands out by virtue of being an outer voice. ...

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It's right I think how it's explained may be confusing you though. Think of an open chord as a chord that you can squeezes another chord tone into (in this case a C, E, or G because it's a C major chord) while a closed chord you cannot. Here's a picture of all the voices together to make it more clear: If you look at this you'll notice the first can ...

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It's not the same chord - watch closely... One is C G E G the other C G C E The first is open because of the C missing between G and E...

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TL;DR: when you "learn harmony" it's about a different style of music than when you "learn counterpoint." Nearly everyone agrees that harmony and counterpoint are related, and that you can't avoid learning about one when you learn about the other. But what you're really asking about is harmony and counterpoint as topics of study. Harmony courses (textbooks, ...

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Harmony can be as simple as one melody with an accompaniment. Counterpoint is a conversation between equal voices. There is an exchange occurring between the voices. The very best counterpoint does in fact combine both, because the voices when played together generate a chord progression (as I found out when examining the opening of the last art of fugue ...

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My answer will neither be complete, but I have more to say than what a comment allows. Is it at all possible to derive benefit from Elementary Training for Musicians without a teacher? I have no dreams of great music talent, but I did teach myself through Fux. Looking for an honest take here. Yes, absolutely. Like anything that you teach yourself, ...

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This not a complete answer, by any means, but it might be useful to share some of my experiences. I am in a similar situation, having played classical guitar for many years, and taught myself some counterpoint, but never really got much further than treating it as a sort of musical sudoku puzzle - in that I could make a (possibly?!) decent attempt at solving ...

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I have always found learning (and thus teaching) is better achieved when new concepts are introduced incrementally. I would suggest, in the first instance, teaching the basics of triads as based on a major scale. Then triads based on a minor scale (for simplicity, probably best to choose the relative minor of the previously-studied major!). I would hope any ...

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The "vertical" and "horizontal" dimensions are an analogy with conventional western music notation. "Vertical" means the relationship between the different notes of a chord, considered in isolation. "Horizontal" (or "temporal") means the relationship between a chord and the preceding and/or following chords. I'm struggling to understand your difficulty ...

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In F major the subdominant chord is Bb7, and E7 is the tritone substitution of that chord. The tritone interval G#-D appears in both chords. In the E7 chord the G# functions as the 3rd and the D functions as the 7th. And if you respell G# as Ab then the same interval Ab-D appears in the Bb7 chord, the Ab functions as the 7th and the D functions as the ...

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It's just a passing chord on the way to Gm7 from F. From Gm7 to E7 the D is common and the other notes are moving chromatically to get to Gm7. If you look at the notes each contain you'll see: F -> E -> F A -> G# -> G C -> B -> Bb C -> D -> D You'll notice the chromatic descending line in A to G and C to Bb and The F - E - F ...

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If that is the cadence the piece ends on then it very well may be A Picardy third, Picardy cadence or Tierce Picarde. That is to say a Cadence in a minor key that ends on a Major Tonic chord. It traditional harmony this is only done at the very end of a piece but it could be that some popular music just liked the sound and went with it. Read more here.

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You will find that most chords can be derived from more than one scale - usually this will change the chord's function. Consider the humble C major chord. It can be the Tonic (I) chord in C, the Subdominant (IV) in G and the Dominant (V) in F. The same is true for other major and minor chords. In other words, it's not enough to look at the root and type of ...

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