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#18
05-15-2017, 09:39 AM
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 I might argue that the wholetone scale (not to mention the augmented scale) is a synthetic one, created to fit the chord, rather than vice versa. But then one could also argue that harmonic and melodic minor are equally synthetic, mere implications of alterations to natural minor. No need to go there in this thread... 
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. 
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#20
05-15-2017, 10:13 AM
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Yeah, wait, I haven't told you everything I know about music theory yet!
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#21
05-15-2017, 04:22 PM
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I wanna know!
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"Militantly left-handed." Lefty Acoustics Martin 00-15M Taylor 320e Baritone Cheap Righty Classical (played upside down ala Elizabeth Cotten)
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#23
05-16-2017, 03:53 AM
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Er, you want more? OK... "G#dim7" = G# B D F, comes from A harmonic minor. If you want to say B is the root, then you need to spell it B D F Ab (doesn't matter what order the notes go in), and it comes from C minor. Likewise: D F Ab Cb = vii chord in Eb minor (or Cx E# G# B = vii in D# minor) E# G# B D = vii chord in F# minor Of course, all four chords sound exactly the same (inversions of each other) so, in practice, it doesn't (usually) matter how you spell them or how you use them. I.e. their most common use is as vii chords in minor keys, but they're also borrowed for major keys. So G#dim7 will go to A major as well as Am (not to mention C and Cm, Eb and Ebm, and F# and F#m of course, although strictly you need to respell it in those cases). But dim7s have two more uses - and only two other possible ones. Usage one (above) is where one note - any note - of the chord goes up by half-step to the root of the next chord. The "leading tone diminished" or viio. Usage 2: one note - any note - of the chord goes down by half-step to the root of the next chord. The "chromatic diminished", or "passing diminished". (Often this usage is simply Usage #1 reversed.) Usage 3: one note - any note - of the chord is the same as the root of the next chord. The "common tone diminished". I guess you could say there are a couple of other possibilities: a dim7 descending (or ascending) by half-step to another dim7. But a dim7 down to another dim7 is really the same as usage #1, because the second dim7 is really a rootless 7b9 chord. E.g. Adim7 going to G#dim7: make the latter a 7b9 (any one of 4 possibles) and then one of the Adim7 notes will rise by half-step to the 7b9 root. (Go on, don't just sit there, try it...) A dim7 going up to another dim7 would be extremely rare - although it's a good way of creating extreme melodramatic tension. (Yeah try that too. It's so uncool it's almost cool.) Obviously is a dim7 goes down by whole step to another dim7, then that's identical to going up a half-step... Dig? Phew, hope you enjoyed that (I certainly did). Now I'm going for a little lie down....
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen.
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#26
05-16-2017, 07:05 AM
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__________________
"There is a crack in everything. That's how the light gets in." - Leonard Cohen.
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#27
05-16-2017, 07:06 AM
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Quote:
__________________
"There is a crack in everything. That's how the light gets in." - Leonard Cohen.
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#28
05-18-2017, 03:00 AM
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And of course who needs all these rules and guides as the example below shows with use of dom 7ths out of key and measure .
http://www.cjam.lassecollin.se/songs...ues160727.html just to confuse me more than i am already .
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#30
05-18-2017, 05:17 AM
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Yes i am most interested in common practices so i learn some kind of system first .I am nearly there in theory but i need to play more ....I find it mentally and physically draining to learn to play new chords and progressions
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