New answers tagged

1

The G#m7 sounds like Tommy Emmanuel just wanted spice it up with something a little bit "outside" and not so obviously V dominant, and G#m7 was readily available after the F#m7. In a more stereotypical, but perhaps boring and predictable form it would be G - C - F#m7 - B7 - Em7 - Am7 - D - G. If you want to get rid of the last remaining out-of-scale ...


0

The progression starts in G major (first two chords) then goes "somewhere else" in the middle (next 2-3 chords), and ends in G major (last 3-4 chords). Therefore I don't think it will be very controversial to say that the as a whole the piece is in G major. But I also suspect that you'll find a lot of different ways of analyzing and interpreting that "...


3

Write the enharmonic equivalents of D# and A# (=Eb and Bb). Then you have the progression V-bVII-IV-I. Eb is a borrowed chord of f-minor. (As the other chords are are sus4 we even don’t know whether they’re major or minor. But if you are soloing in f-minor, it will be f- minor - or you have blue notes in mind ...). Is this o.k.? Every pthing is o.k. ...


8

If you are basing your harmony off of F minor, this chord progression makes a lot of sense especially wanting to use C major instead of C minor. This is very rooted in the traditional study of harmony by weaving though the 3 minor scales which are F natural minor, F harmonic minor, and F melodic minor which gives the following sets of notes: F natrual minor ...


4

No scale (I could find) contains those chords. Well, one scale that definitely contains those chords is the chromatic (12-tone) scale. You're free to use all those notes in whatever way you want! It's also likely that there's a way to see your progression in terms of diatonic scales too, if that's important to you. But to answer your question directly, If ...


0

Due to the fact that the previous two chords were based in a B minor, if you play this progression you would very much notice that this last chord sounds very much also like B minor chord. To my ear, it doesn't sound at all like a B minor chord. How you analyze it and how you hear it out depends on context, and you're missing the context of the next chord ...


4

Yes, something interesting happens when you bring in the B or Cb chord. What happened? Or maybe you should ask what could happen after that. Many things could happen! To demonstrate the "borrowing" idea in practice: you can use the Db chord as a short step to another key, for example Eb minor or Gb major. How short or long it is and how serious you make the ...


4

First - and most important - there is no requirement to choose all the chords of a piece (or section) of music from the same scale. But some people have a fixed idea that there SHOULD be. So they work out complicated systems of 'interchange' and 'borrowing' to justify 'outside' chords. They aren't in the home scale, but they're in some other scale. So ...


5

Play the same progression in C major and you will see the chord in question is Ab = bVI. Transposing to C or a minor is what I always do if I don’t understand a degree or function. Like moonwave99 says: bVI in E♭ is C♭, not B.


18

You are actually playing a Cb major, enharmonic equivalent of B. It sounds good because Cb can be seen as borrowed from the parallel minor (Eb minor), so you get that juicy, unexpected sound. It works because it resolves back to Eb (in second inversion) this way: Gb -> G Eb -> Eb Cb -> Bb You can notate the chord as bVI. Experiment in other keys as well! ...


1

Let me add that the predetermined values of the numbers in chord notation (i.e. the qualifications of the intervals when the numbers appear alone) come from the interval qualifications that result from the dominant chord of the major scale, which is the first chord to which tensions are added if we follow the logic of tonal music. In the key of C major, the ...


-1

Its a string of IV-I resolutions. Take it one further, to D, and you've Done The Time Warp. Again. Not uncommon in today's music.


1

Richard's answer already points out the possibility of a harmonic sequence. I just want to elaborate on that a bit. As you pointed out roots by descending fifth are the well known circle of fifths progression. As a two chord gesture it starts like this... ...if you sequence that down a step, you get the beginning of the circle, but also notice that each ...


2

I wouldn't try to explain it with anything fancy, the G major is the only small surprise there, bringing D Dorian taste, as opposed to, say, a Gm or Dm chord. If the chords were just Bb - F - C - Dm, I guess you wouldn't feel a need for any sort of analysis? I think the G major is the "money chord" there, bringing some recognizable character to the harmony. ...


0

What I do with students, to help them understand chords on standard guitars, is to make a list of notes needed, for example, E major is E G♯ and B. Then try to find a set of those notes on frets close to each other. Not always easy, or doable, but it produces some chord shapes, most of which are the ones found in many chord charts. I suggest you do ...


1

@Richard gave a fulfilling answer; Another approach you can take is that, after a listen to this intro, you can hear that they play Bb and C chords in the second inversion. So, there is a triad 'sliding' into third and fifth of F and G chords from the top. To me it feels more like a IV - I movement, so it sounds more like two plagal cadences, one after ...


2

There could be a thing as secondary subdominants, but we can also explain this particular progression a bit more simply: we talk about V–I resolutions creating a large descending circle-of-fifths progression. G–C–F–B♭, for instance, is one such descending circle of fifths. But here, we're going in the opposite direction: B♭–F–C–G! As such, this is ...


2

First one's correct! Never heard of 'broken'. Interrupted maybe? Not going to do the homework - even if it's not! Teach a guy to fish and all that! As simply as possible: cadences only involve the final two harmonies, whatever comes before doesn't count. Perfect - V>I or V>i in minor. Plagal - IV>I, or iv>i in minor. Interrupted - usually V>vi, but will ...


1

You really have to listen to the song to determine what the harmonies are doing here. Otherwise, you're just guessing. After listening to the song, I agree that the song is in G minor, but I also feel a pretty strong pull to B♭ major, the relative major key, right on that F chord. This is a loop of three chords, and I think there's definitely merit in ...


0

This song leaves the prison of minor - major tonality and modes behind. But nevertheless we can hear a tonal center: is it Cm or is it F? or Gm - as you say? I'd rather say: Cm - dorian (i v IV) The rest is a sequence of IV-I (or I-V) progressions in whole steps downward. Don't look to much for traditional harmonic analysis where there isn't any ... ...


1

Scale tones in G Aeolian = G A Bb C D Eb F Some extrapolated chords = Gm7, Cm7, FM, EbM7, Bbsus4 The AbM7 is only one half step off (A instead of Ab); the C, Eb, and G are already in the scale. It's impossible to know with certainty the songwriter's process without asking them but perhaps they just liked the sound of a chromatic raise (as so many writers ...


0

The ♭III chord is also used in the Mario Bros 3 water level theme :-) I - IV - iii - ♭III - IV - V


3

First create fretboard diagrams for the chords in the first bar, and then drag the diagrams where you want them to be on your page. Then add labels for them, for example as chord symbols. Select a note or rest and press Cmd-K (maybe Ctrl-K on Windows), type the chord's name and drag it where you want. This is MuseScore 2.x. It might be different in 3.x.


1

Yes, for example the min9 is actually a maj13, 3 semitones away E.G. Gmin9 = BbMaj13 Very useful in jazz when you want to move somewhere other than the predictable (ii-V) patterns, e.g. if G wanted to move to C it can now instead move to Eb (Bb being the 5th Eb as G is to C). It's good to know and gives more options.


2

These chords are all less than an octave. So you should be able to reach the notes. You’ll notice the hands are placed on the black keys and the white keys are played in between You need to do this. This requires more strength than stretch as you need to play further up the fulcrum of the white key. I would highly recommend a good teacher if you wish to play ...


1

How old are you (I'm only asking to find out whether your hands will grow, no need for a specific age)? There are some things you could do. For a start, I'd do what I have been doing for years: practise all your scales with their diatonic chords every day. No need to practise in all 12 keys. You can dedicate 6 days of the week to 2 keys each and revise them ...


1

The diminished triad doesn't give a strong sense of having a root. Depending on how it's treated, the diminished triad can sound like an incomplete dominant 7th, e.g., D F Ab might be used/perceived as a Bb7 without the root. It's hard to say much about I ii I as a progression, because it doesn't come off as functional harmony. A better example might be ...


2

There are two parts to your question though that may not be obvious. First, "How does one compose in a minor key?" (even if only for a few bars). Second, "How does one re-write a given piece from a major to minor key?" The answer to the second requires answering the first. Melodies are not generally too much a problem. One can often tell by ear whether one ...


3

It is not quite clear to me what you are trying to do but I think you are transcribing or changing the progression to a minor key from a major. So, in C major the I and ii chords are C maj and D min. As 7th chords they'd be C Maj7 and D min7. All you need to do to get the correct chords in sequence in a major or minor key is look at the triads created by ...


3

Literal transposition from major to minor doesn't work very well. You have discovered one of the reasons. You seem to think minor' just means 'natural minor'. There's the Harmonic and Melodic minor scales as well. Those non-flattened 6ths and 7ths are very useful options when attempting functional harmony.


3

This is not remotely a complete answer, but just a hint: There are many "flavours" of minor that you can mix and use in various combinations. For example, try this. (And do try it now, if possible, before you read further, so the first impact is not influenced by the theoretical aspect) Take your C minor scale, and see how it sounds over this progression: ...


3

The problem is that you cannot transpose from major to minor. You can observe the analogies and differences between parallel keys, but they are not supposed to work interchangeably. Playing a sequence of chords in a key or mode does not guarantee you a similar effect in any other key or mode, because you are playing completely different notes. Of course ...


3

I would just like to add something to Tim's answer. I do not think it's good to think of natural minor in the way you do ("I'm going to flatten the 3rd, 6th and 7th degree"). I was taught to think of minor keys in terms of their relative majors, not their parallel majors, and I think it's a lot better, especially when you start to get into modes (natural ...


2

It's always going to be a compromise going from major to minor. Mainly beause minor consists of one change in the lower 5 notes of the minor scale - the 3rd, going major to minor. The defining note. Still going up the scale(s) gives lots of options. In fact all the remaining notes chromatically! So you stating flatten the 6th and 7th doesn't have to be the ...


0

To start with, that quadruplet notation is ugly. I'm pretty sure it would be much better to write this rhythm by taking the three quarter notes and dividing them into four dotted eighth notes (tied and beamed appropriately). Tuplets could make sense, but only if the intended effect is to take the listener on a departure from the prevailing meter, which doesn'...


0

Should we invert a chord to fit the melody, use them for their sound? There is a connection between the melody and bass and what chord inversion to use, but it's probably best to think in terms how the bass part works in the harmonic progression. Let say a song in the key of C has the melody in the fifth bar start with E and the chord is C major, should ...


0

I don’t trust the chords in your sheet music! Dm should be on the first beat in measure 1 and 2. Or what do you think to play there? Ok, as you write D ... also F is possible. Bar 3 you can let drop dm! Possible solutions: 1 2 3+ 1 = Gm (em) 3+ = D7 (B7) alternatively you can play gm (1 2) and Dsus7 (3) I think the next chord in bar 4 will be ...


0

"I use arpeggio (1- a bass string, 2 - first three strings, 3 - first three stings again) to play it." And there's your problem. This piece is more harmonically intricate than that. Though you could maybe get away with two bars of Dm, one of Gm. If there MUST be only one chord in a bar, the one that starts the bar is likely to be the most important. ...


2

Basic answer - get so that you can play it properly! Simple fix - always play the 1st beat/chord of any bar at least. In 3/4, 1 is obviously the most emphasised, so a low G note from your example is important.The next Gm also comes on a beat (the third), so is more important than the preceding Dm, and should be played. The D7 at the end is a short note, but ...


1

Your thoughts are in the right place but you are over thinking it. There is an algorithm for building chords and that is independent of the Key that the cord is being used in. We always refer to the notes of the chord relative to a major scale starting on the root of the chord. As an example when we build the minor triad we don't say (1, 3, 5) on the ...


2

It's a sharp eleventh above the chord root. So with Fmaj9#11 you have a "sharp" eleventh. Notice the quotes. The sharp can be misleading, because it give the impression an actual sharp would be used to spell the chord. The default would be an 11 figure assumed to be a perfect eleventh. The # means raise it a half step. But, what if the root were Bb and a ...


1

'...is going to be different depending on the key' - not really. Any chord in any key will always contain the same notes - and all called by the same names.Regardless of whatever key it's found in. What you allude to is your Fmaj9♯11 happens to have a root of F. It will, it always does! But in your scenario, it happens to be found in a piece in key C....


1

Not enough rep to comment, but to me (probably because I'm not a guitarist) F D A and E♭ C G are inversions of Dm and Cm respectively, making your chord progression I7 - V - IV in the key of G (natural) minor.


4

Chord names relate to the root note of the chord, not the key. This makes sense and is helpful: it means a chord name always tells you exactly what intervals are in a chord; it means you can have chromatic chords within a key. So, for instance, a #11 is always an augmented 4th above a root (or some octave displacement of this), no matter what the key or ...


2

To me the chords look like: Gm7 - F6 - E♭6 and it could continue for example like this: B♭/D - Cm7 - B♭maj7 - Am7 - D7 Translated into three-note combinations like in your question: G - F - B♭ (Gm7) F - D - A (F6) E♭ - C - G (E♭6) D - B♭ - F (B♭/D) C - B♭ - E♭ (Cm7) B♭ - A - D (B♭maj7) A - G - C (...


2

...so it's almost C minor but with sixth degree raised half step @awelotta's answer already points out the collection of tones is the Dorian mode. But I think the more important thing that makes this almost minor - as in the key of C minor - is not the sixth degree but the seventh degree. The general minor family is first defined by a mediant (3rd degree) ...


10

A minor scale with the raised sixth degree is called the Dorian scale. It is actually a mode of the diatonic scale, which is the same as starting the major scale from the second degree, or starting minor from the fourth degree. As a sidenote, G F B♭ could be considered a G minor 7th chord without the fifth. The fifth can often be omitted since it's not ...


1

A common notation in violin sheet music for chords to be played with the upper note first is a straight vertical line with a down arrow. Wavy lines are usually not applied. Here are two examples: The first one where the violin player has drawn a down arrow by hand. The second one where the publisher has printed down arrows.


0

I would avoid the use of the arpeggio symbol unless you want the notes played in sequence. If you are going for an "inverse triple stop," then you will have to write it out explicitly, showing whether to play the top two simultaneously then the bottom two, or play the top note followed by a low double-stop. That is, write eighth- or sixteenth-notes for ...


1

This is an imperfect authentic cadence because 5-1 is not the bass. See https://music.utk.edu/theorycomp/courses/murphy/documents/cadences.pdf


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