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7

It's because of the dissonant tritone interval B-F that wants to resolve. The B leads to the C (root) and the F leads to the E (major third of the C major triad). This is the traditional view. Note that e.g. in the blues, a dominant seventh chord is not considered unstable; it's used as the basic chord on the I, IV, and V.


4

I do not know where you read this term "highly unstable", but what you are referring to is its function in a chord progression. In the key of C major, G7 is the dominant seventh chord, meaning that it has a particular function. In music theory, the dominant seventh chord appears at the point of the musical phrase that has the most musical tension. After the ...


3

The minor pentatonic scale is just the minor scale without two notes (the 2nd scale degree and the 6th). Any harmony that you can create with the notes of the minor scale also work for the pentatonic scale. So all 6 natural power chords in C minor (C5, Eb5, F5, G5, Ab5, and Bb5) you can use with the minor pentatonic scale as there is at least one note in ...


3

Well that's not exactly the way to practice scales because that's not how our memory works. A memory is stronger if it is related to more memories. And remember that you are exercising your brain, not your fingers. If the exercise doesn't make you think then it's not a good exercise. Now, the most basic way to practice a scale while making you think is ...


2

If you have a hardware instrument with quarter-tone support, you can certainly record audio from it into Garageband. However, none of the virtual instruments in Garageband will support quarter-tones played from a MIDI controller. But within Garageband, you can use any virtual instrument that uses the AU (Apple Audio Unit) protocol. If you can find a ...


1

Power chords (As in Root-fifth-octave) don't have a minor or major quality (they lack a third). Buuuut, you could imply a major or minor tonality by following the scale degrees. The Cm pentatonic scale is C Eb F G Bb. If you want to stick to pentatonic, you could use any of the above. For example, C5-F5-G5 would do a I-IV-V progression, which is super ...


1

First it's important to understand when it is appropriate to mix minor and major pentatonic scales. If you have a piece in minor you will want to stick to a minor (pentatonic) scale. If you have a piece in major which is not meant to sound bluesy, you want to stick to a major (pentatonic) scale. You only want to mix the two in a blues context, i.e. either in ...


1

First, let's establish what those notes are. C maj pent. contains C, D, E, G and A. C min pent. has C, Eb, F, G and Bb. So, the common notes are G and funnily enough, C. C, being the root of each, is pivotal, as is the perfect fifth, G. Playing over a C major accompaniment, Eb will hardly sound diatonic, which is why it often gets bent up at least a little, ...


1

Modes are just a very old type of scale. It was just the way in which the pre baroque era Medieval music was made. It is in essence the musical system that predates the current classical inspired system. If you want to go in depth about how you can see the different modes for what they are you can always just look where the semi tones in the scale / piece ...



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