Timeline for How would you notate the chord G# F B E as a substitute for a G7 chord leading to C?
Current License: CC BY-SA 4.0
17 events
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| Nov 8, 2023 at 15:18 | comment | added | William Oliver | @Kaz yeah, that is the way I think about it. I often use the relative melodic or harmonic minor to solo over this, and I often think of it as the "relative major" version of something like Fm6 or tritone substitution leading to Am. | |
| Nov 8, 2023 at 4:42 | comment | added | Kaz | G# in C major is often a telltale sign we have (perhaps temporarily) modulated to the relative A minor, in a harmonic or melodic mode. G# is the leading tone to A, and we likely have an E dominant. | |
| Nov 7, 2023 at 21:15 | answer | added | moonwave99 | timeline score: 2 | |
| Nov 7, 2023 at 14:19 | comment | added | piiperi Reinstate Monica | I know you have that logic, but note naming doesn't work that way. You can think about a note as being five semitones above G, but you don't call it G#####. Saying "G sharp" means, the note named "G" in my seven-note letter-named scale is sharp. This model works as long as you don't have more than seven different pitch classes at the same time. You also can't alter the root pitch, the root is your point of reference. It's like saying "G minor sharp three". Or C major omit 1 omit 3 omit 5 add 2 add 4 add 6. It doesn't make sense. | |
| Nov 7, 2023 at 13:35 | comment | added | William Oliver | @Tim Yes they are played in ascending order | |
| Nov 7, 2023 at 13:13 | history | edited | William Oliver | CC BY-SA 4.0 |
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| Nov 7, 2023 at 13:08 | comment | added | William Oliver | I just added my reasoning for why I spelled it the way I did. (Tl;dr really thinking about it as a G13 with a sharp root. In other words, an alteration of G13) | |
| Nov 7, 2023 at 13:06 | history | edited | William Oliver | CC BY-SA 4.0 |
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| Nov 7, 2023 at 13:02 | comment | added | Tim | Are those the notes played in ascending order? | |
| Nov 7, 2023 at 9:23 | answer | added | John Belzaguy | timeline score: 4 | |
| Nov 7, 2023 at 7:36 | history | became hot network question | |||
| Nov 7, 2023 at 5:28 | comment | added | piiperi Reinstate Monica | @user1079505 Those were rhetorical questions. I tried to explain the note naming system, because it affects chord naming, and IMO helps in reasoning about what's what in harmony, if you want to see a tonic/subdominant/dominant/etc structure. It does get a bit messed up if you want to overlay a diminished scale, which has more notes than there are note names. But seven notes per octave is a working helper grid for a song like this. | |
| Nov 7, 2023 at 2:08 | comment | added | user1079505 | @piiperiReinstateMonica how OP is supposed to be sure if it's G# or Ab, if they are asking exactly about how to interpret these notes? I agree that within classical theory Ab would be more logical, and I would be very interested to read a convincing classical interpretation. By the way, I realize now that in the recording, the whole thing is shifted a whole tone up, but the notes are correct otherwise. | |
| Nov 7, 2023 at 1:08 | vote | accept | William Oliver | ||
| Nov 7, 2023 at 0:41 | comment | added | piiperi Reinstate Monica | If you say "G#", it means that you make a claim that your G IS SHARP and therefore G cannot be natural at the same time. Are you 100 % sure your G is sharp, and cannot be natural? Are you 100 % sure that your A is not flat instead, which would leave open the question of your G's being natural or whatever? | |
| Nov 6, 2023 at 23:24 | answer | added | user1079505 | timeline score: 7 | |
| Nov 6, 2023 at 23:05 | history | asked | William Oliver | CC BY-SA 4.0 |