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15

It's known as a tritone substitution. In jazz you can substitute any dominant-seventh chord with the one a tritone (b5 or #4) away. This works because of the major-third and minor-seventh which are in every dominant-seventh chord. These make the interval of a tritone, which is exactly half an octave, and so gives exactly the same notes when transposed by a ...


5

The first thing to note is that to specify a key, you need both a root note and a formula. A root note on its own is not sufficient. A minor and C major contain the same notes, so we can say they are different modes of the same scale. Another way of saying this is that A minor is the relative minor of C major, and C major is the relative major of A minor. ...


5

Dom's answer is of course correct, but I think there's a misunderstanding as to what is meant by 'pattern'. In Dom's answer, he refers to the interval structure of a scale as 'pattern'. In this sense he is of course right that the patterns of major and minor pentatonic scales are different. However, I believe that Chris refers to patterns on the neck of the ...


4

There's two things going on that you need to understand. The pattern for the major and minor scales are different. If you were to play a C major pentatonic scale you would play the notes C, D, E, G, A. If you were playing the C minor pentatonic you would play the notes C, Eb, F, G, Bb. Both are shown below: There are major and minor pentatonic ...


4

You can try to use chords that are common to both keys, and re-interpret their function. For your example (A minor and B minor), the common triads are D, Em, E, and G (note that in minor both the 6th and the 7th scale degree can be either minor or major). Also note that a ii-V progression always leads nicely to the I chord. Examples: || Am | Dm | Em ...


3

the third (A) and seventh (Eb) of F7 also correspond to the third (Eb) and seventh (A) of B7, so you are basically substituting B7 for F7 (with some of the tension notes altered on the B7: #4 and b9 which are typical modifications on a dominant 7th).


3

A good way to a modulation is via a diminished chord. Thus Am - Ao - F#7 - Bm. As the dim contains A and F# (Gb for purists, maybe?), it bridges nicely. Or going bluntly, Am - Bbm - Bm. Or a staccato stop on Am, Then a rest, then straight into Bm. It shouldn't be difficult to re-pitch if that bit's sung.


3

It seems that culture may come in here. In some countries, the solfege system is thought of as quite important. In France, for example, it's a fixed doh at C, and all the notes are named from this. So there, it would be useful. In England, there's not so much emphasis, so learning dots makes more sense. No doubt, other countries will have their own views, ...


3

Morton Feldman is a major composer in this sort of music. His style was very quite, slow enough to be essentially ametric, and in his later works he become interested in extremes of time - his String Quartet No. 2 is over six hours long. Rothko Chapel is his best-known work. Feldman's does often included some quite strong dissonance, unlike much other ...


2

Most of the time in classical, but not always - sometimes the half-measure ends up being more important (irregular phrase lengths). Not always in much of classical music. You don't have to look far to find pieces in which the inner voices are absolutely essential, and not just as harmonic filler, but as focal points - just look at some of Mozart's string ...


2

The old standby is to treat the last link in the chain as a deceptive cadence, i.e., V-vi or V-♭VI. It's an old chestnut, but very effective at breaking the pattern and keep things moving at the same time. Other landings are possible - Bach used ♭II6 to usher in the coda of the fugue of BWV 582. If you're really feeling sneaky, you can break out earlier ...


2

One big chord in question is the 7. In minor, if unaltered, this chord is a subtonic chord, as opposed to its altered version where it is the leading-tone chord. So in C minor, diatonically, the 7 chord (subtonic) is Bb D F, while the leading-tone chord would be B D F. You can hear right away that in the minor mode, the subtonic leads just fine to the ...


2

It is more like a preferred usage and style than being a rule. You can find cheerful songs in minor and dramatic songs in major especially in Baroque and some classical music derived from folk music. Lots of style elements and personal preferencese like harmonic progression, melody structure, use of intervals (especially minor 2nds and pentatonic modes ...


2

This is going into modal territory. There are also 'minor' scales in some of the modes. Obviously the Aeolian, as mentioned, but Dorian and Phrygian also sport that important minor third from the root. The F# mentioned will appear in the C Lydian mode, although it's perceived as a major mode.That F# can also be thought of as a b5 as in blues. Actually, any ...


1

The reason why the circle of fifths progression works better in minor than in major is the higher flexibility of minor, in the sense that more notes are available than in major, without the need for alteration. In minor, all notes from natural, melodic, and harmonic minor are available without leaving the key. This is not the case in major. The consequence ...


1

Probably because that elusive dim chord moves towards the V then to i in minor better.Or it sounds better as a m7b5 as a 4 note chord, giving the same effect.In major, it sounds quite weak without the root (a 5 note) which would make it a V7.


1

If the piece starts or ends on the root of the relative minor then it is a good deal that it is written in the minor key. If the Anacrusis is build on the fifth scale degree of the minor key then it is a good bet it is written in the minor key. Also always check whether the leading tone of the minor key is raised or not.


1

Essentially the same notes as the relative major a minor 3rd above, for instance the same collection of notes for A minor as for C Major. The tonic, subdominant and dominant (A, D and E in A minor) will be referenced frequently at phrase boundaries; you will normally (not always) see accidentals as the melodic seventh is sharped to lead into the tonic (e.g., ...


1

Yes it fits well. It is basically the same scale that starts on different notes with the exception of the leading tone of the Harmonic minor which is raised by a semi tone and in the case of the Melodic minor both the Sub Mediant and the Leading Tone is raised when going up and also then lowered when going down (Natural Minor).


1

In a-minor: G# is coming from the dominant of a-minor (E-G#-B). F# is coming from the subdominant of a-minor (D-F#-A). Generally, the scale is fitted to the harmonic progression in accordance with where the scale moves. Because of the dominant chord used when progressing from G to A, G is augmented to G# in the ascending scale of a melodic minor ...


1

I would suggest Irving Berlin's "Blue Skies" as an example of a cheerful song in a minor key. However, it can also be viewed as an extended musical pun on the term "blue" as used in the linguistic phrase that is the title, an indicator of happy circumstances, contrasted with the term as a style of music. A masterful piece, it served as inspiration for Monk's ...


1

Try listening to works by Vaughan Williams. Some parts of his works are very atmospheric. An example would be "Fantasy on a Theme by Thomas Tallis". It was used in the film "Master and Commander" to give an atmospheric feel to a little boat in a big ocean.


1

One-Finger Soloing It's a very simple technique but I came across this recently. You literally choose one finger on your fretting hand - index most likely - and are only allowed to use this finger. The idea is it breaks your ingrained muscle memory of playing scale patterns. And also, following the scale is now no easier in terms of finger movement than ...


1

NOTE: Althogh the question sounds specific, it goes to a lot wider discussion. Consider my answer as notes on the subject. "Melody" sings over "harmony" type instrumental music mostly originates from imitating songs with instruments which already have song forms. Later instrumental music developed more complex structures with respect to the instrumentation ...


1

Interesting idea! It's somewhat 'chicken and egg'. A sequence of 4 or 5 notes may have several chords which will underlie them. Similarly, a sequence of chords may have any number of melodies played over them - ask any jazzer! For some note sequences, there will be one overriding set of chords that will be best fit. Similarly, vice-versa. Some, if not most. ...


1

You need to know theory because: Music composition is a craft. You may very well do something intuitively, but that doesn't change the fact that you need to learn the craft. More often people have an intuition for melody and harmony but they rarely have intuition for form, and form essentially is composition. Without form your music is at best sound design ...


1

Just a brief meta-theoretical note: Rockin' Cowboy's answer above recapitulates a whole line of 19th-ct attempts to derive the basic functions of tonal music from the major triad (which at least one theorist called the "Chord of Nature" because of the way it follows the overtone series). In order to do that, they constructed a dualist system: that is, for ...



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