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10

This chord progression is extremely common in a lot of rock, pop and R&B music and is usually called bVI–bVII–I (where the b's are flat signs). In other words, the A major triad is generally taken as defining A major as the overriding key, but the preceding chords are taken to be major triads built on the lowered sixth and seventh scale degrees. Bob ...


8

There isn't any hard and fast rule. The first thing is that the key signature narrows it down to two keys. So, for example, if there are no sharps or flats in the key signature, the key is either C major or A minor. Most of the time, the first few measures in the piece will establish whether you're in the major or minor key. Beethoven's 5th symphony is a ...


4

Interesting harmonies can often be produced by moving a single chord shape/type around (transposing it), rather than by strictly using chords within a particular mode, scale or key. One example that has always fascinated me, for instance, is transposing major chords by the intervals in a minor pentatonic scale, something that is often done in pop/rock music. ...


4

A good starting point is to write out all the notes in the chords you're playing (although if there are more than a few this might be harder). Usually (but not always), these chords are likely to be linked in some way harmonically, and so you may notice that all the notes are within one or more familiar modes or scales. For instance, the notes in the chords ...


4

It depends on how many different chords there are in the song. For jazz, the traditions of chord substitution, use of ii-V progressions, possible polytonality and shifting key centers may mean you have to look at a dozen chords and grok the chord movement to understand the key. But for the overwhelming majority of songs you only need one chord, the final ...


3

Chords, I'd say two. One will be the tonic, and the other, usually, the dominant. There are songs that use tonic and sub-dominant, which, funnily enough, is the same relationship, but the other way round.Given a minor key, the dominant may well be major, so it's easier to determine.Obviously, the more the merrier.Working through a song, three could be enough ...


2

Like many pieces of classical music, this theme features the movable scale degrees 6 and 7 of the minor mode, which can be either major or minor without leaving the key. What makes this theme especially freaky is that, instead of using B-natural in ascending motion toward the tonic (as is typical for melodic minor), this melody repeatedly employs unusual ...


1

Another way to look at it, apart from Bob's as usual, good answer, is to consider that E,D and A are all the major chords found in A major. If you were to solo over a piece in A maj., you'd use A maj. notes. O.k., you'd centre more on A, but probably on, say, E, you'd centre more on E. So the A maj. scale notes will still work, very similarly to how you ...



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