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DeFrag
Moderator
USA
3409 Posts |
 Posted - 07/07/2009 : 15:34:51
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It's easy to play a single note scale but when you play a scale using chords (inevitably, chord progressions in a song), you must follow the requisite harmonic formula for it to sound just right, or consonant. I recommend you learn Major & Sevenths first as they will be much easier.
Let's see an example:
The formula for traditional harmony in Major is:
Major minor minor Major Major minor diminished Major or
M m m M M m o M with Roman numerals assigned to each scale degree as such:
I ii iii IV V vi viio I.
So, playing a scale using chords in the key of C Major, we play:
CM, Dm, Em, FM, GM, Am, Bo, C where the 7th degree "o" is diminished.
Now, doesn't that sound a lot better than playing all major chords from tonic to octave?
Here are the other harmonic progressions:
Natural minor (melodic descending)
minor diminished Major minor minor Major Major minor
Harmonic minor
minor diminished Augmented minor Major Major diminished minor
Melodic minor (ascending)
minor minor Augmented Major Major diminished diminished minor
Sevenths
M7 m7 m7 M7 Dom7 m7 half-dim M7
Common Chord Progressions
D-A-G
E-B-A
E-A-D
D-A-Bm-G & Bm-G-D-A
D-G-Bm-A & Bm-A-D-G
D-Bm-G-A
G-D-C
I - IV - V
I - IV - V - I
I - IV - V - V
I - I - IV - V
I - IV - I - V
I - IV - I - V - I
I - IV - V - IV
I - ii - V with ii-V-I turnaround
I - IV - V - V, which ends on an unresolved dominant, may be "answered" by a similar version that resolves back onto the home chord, giving a structure of double the length
I - IV - viio - iii - vi - ii - V - I
I - V - I
I - IV - V - I
I - ii - V - I
I - ii - iii - IV - V - IV - iii - ii - I
I - IV - vii - iii - vi - ii - V - I circle of fifths progression
i - VII - VI - V
i - III -IV (or iv) - VI
Typical turnarounds in jazz include:
I - VI - ii - V
vi - ii - V - (I)
V/ii - ii - V - (I)
bIIIo7 - ii - V - (I)
vi - bVI7#11 - V - (I)
When used in a twelve bar blues pattern, the twelfth bar may end on the dominant rather than the more conventional tonic.
"major-minor parallelism"
minor: v - i - VII - III = major: iii - vi - V - I
minor: III - VII - i - v = major: I - V - vi - iii
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Edited by - DeFrag on 07/07/2009 16:42:07 |
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zerksies
Double Platinum Member
USA
3406 Posts |
Posted - 07/07/2009 : 23:11:53
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| you have had some free time defrag |
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bassinyourface
Bronze Member
France
76 Posts |
Posted - 09/23/2009 : 21:02:23
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Nice topic !
1 small correction though:
in Major harmony the 7th degree (Locrian) is half dimished (minor third - regular fifth) instead of diminished (minor third - flat five)
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Witloofboer
Gold Member
Belgium
513 Posts |
Posted - 09/23/2009 : 21:53:40
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You can also use the altered scale of the dominant chord, over a minor II-V-I.
This gives in the key of C the following progression: Dm7b5 - G7 - Cm7. You can use G altered. That's G(root), G#(b9), A#(#9), B(3), C#(#11), D#(b13), F(7). You could also use C melodic minor or harmonic minor. |
Edited by - Witloofboer on 09/23/2009 22:04:04 |
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Traditional Harmony
