#46
|
|||
|
|||
Quote:
Another thought: the main "problem" with "aug" or "#5" or "+", as they are often indicated on lead sheets, is that they are going to basically be in CONFLICT with notated part-writing. That's because the conventions for naming chords written above the staff are different from the conventions used in naming individual pitches on the staff. The names of chord symbols are based on sound only basically. So if something is notated in the score as E G# C D, we'd write the chord symbol: E7#5. That's because chord symbols are based on sound and ease of reading. If the 5th isn't voiced in that chord, basically, it sounds like a #5, when technically, "theory people" might say it's really a E7b13(no 5th) or something. Musicians at different levels eventually just learn to see E7#5 as being the V7 scale degree of harmonic minor, with all of the harmonic subs available to that sound: melodic minor modes, other modes, augmented scale, whole tone scale etc. |
#47
|
|||
|
|||
Quote:
__________________
"Militantly left-handed." Lefty Acoustics Martin 00-15M Taylor 320e Baritone Cheap Righty Classical (played upside down ala Elizabeth Cotten) |
#48
|
|||
|
|||
Quote:
Cm, Cmin-maj7, Cm7, Cm6 Kind of a cliché in some circles but I like the way they sound in the right place. Want to get fancier? You can reharmonize em if you like. For example: Cm - G/B - Eb/Bb - F/A or Cm - B7 - Bbm7 (or Eb/Bb) - F7 or Cm - Bdim7 - Bbm7 (or Eb/Bb) - Adim7 Voicings to suit. To me just as effective to play it straight. Similarly you can have rising fifths too. hunter |
#49
|
|||
|
|||
Quote:
since I talked about it in another thread, here is (what a coincidence) the first progression Ted Greene takes as an example to illustrate his introduction to chord chemistry. It is in Eb minor, if you want to play it in Cm, just go down 3 frets. You'll have to change the strings set though :-) Ebm x68876 Ebm/maj9 x5436x Ebm7 x4x342 Cm7/11 x3x341 Note that the chromatic motion is on the bottom note. Just didn't want to charge the name of the chords by adding another slash ;-) Note that the Cm7/11 voicing, in this case, can be seen as a Ebm6, since no G is played in the chord (and that would make a that Eb major. Beautfiul isn't it ? That's Ted Greene. |