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Sorry another quick theory question (now with interesting thing about black holes)
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| Sonic_c |
Again im in Bb natural minor
Bb,C,Db,Eb,F,Gb,Ab
I really like
Bb Bb Db -> B B Eb -> Db Db F -> Eb Bb Eb
The B is not in the scale, now I know it sounds lovely but what exactly am i doing there? am I augmenting the iv as the Bb is the 5th of the iv so the swap to a B would be an augmented iv, in which case my bass note would be Eb
Or am i just breaking the rules and playing a Bmaj chord without the 5th in which case my bass note would have to be B right?
Either way I like it just want to know why it works?
:conf: |
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| Kysora |
| Well I could be wrong, but without any C's it fits the key of F# major/D# minor. |
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| Morvan |
| It's a III - IV - V - VI progression in a different key |
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| Sonic_c |
| quote: | Originally posted by Kysora
Well I could be wrong, but without any C's it fits the key of F# major/D# minor. |
Maybe thats it would make sense anyway :D . |
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| cryophonik |
| quote: | Originally posted by Sonic_c
Bb Bb Db -> B B Eb -> Db Db F -> Eb Bb Eb
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These are just the bass notes, correct?
If so, the B would actually be its enharmonic equivalent - i.e., a Cb (c-flat) note - and the key would be either Gb (G-flat) major, or Eb (E-flat) minor, depending on what your tonic is. Based on last three notes, which read like a i-V-i progression, I'd guess that this is in Ebmin.
The bass line looks like it's just outlining the following progression:
v | VI | VII| i-V (or v) -i or
Bbmin | Cbmaj | Dbmaj | Ebmin-Bb (maj or min)-Ebmin
In the first three bars the bass appears to be playing root-root-third.
Also, another possibility regarding the last measure is that the chord is just a i (Ebmin) chord and the bass is playing root-fifth-root, rather than a i-V(v)-i progression. |
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| Sonic_c |
| quote: | Originally posted by cryophonik
These are just the bass notes, correct?
If so, the B would actually be its enharmonic equivalent - i.e., a Cb (c-flat) note - and the key would be either Gb (G-flat) major, or Eb (E-flat) minor, depending on what your tonic is. Based on last three notes, which read like a i-V-i progression, I'd guess that this is in Ebmin.
The bass line looks like it's just outlining the following progression:
v | VI | VII| i-V (or v) -i or
Bbmin | Cbmaj | Dbmaj | Ebmin-Bb (maj or min)-Ebmin
In the first three bars the bass appears to be playing root-root-third.
Also, another possibility regarding the last measure is that the chord is just a i (Ebmin) chord and the bass is playing root-fifth-root, rather than a i-V(v)-i progression. |
No they are chords without the 5th and double root note however i have beefed them up a bit now with some extensions and things.
have a listen http://www.sendspace.com/file/lhpg64
I thought i was in Bb nat minor thats why when i used a bmaj chord i was wondering if i broke the rules or if im actually in a diff key or what? |
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| cryophonik |
I've uploaded an mp3 of the chords that I think outline what you're trying to do:
Pardon the crappy playing - I just recorded my piano straight into SoundForge.
Anyway there are 3 versions of the progression
1) Bbmin | Cbmaj | Dbmaj | Ebmaj
2) Bbmin | Cbmaj | Dbmaj | Ebmaj-Bbmaj-Eb
3) Bbmin | Cbmaj | Dbmaj | Ebmaj-Bb-min-Eb
SonicC_chords.mp3
To me, the first one sounds most natural for dance. The second one sounds too "classical" to me. The third one sounds OK, but not as good as the first. HTH. |
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| Sonic_c |
| quote: | Originally posted by cryophonik
I've uploaded an mp3 of the chords that I think outline what you're trying to do:
Pardon the crappy playing - I just recorded my piano straight into SoundForge.
Anyway there are 3 versions of the progression
1) Bbmin | Cbmaj | Dbmaj | Ebmaj
2) Bbmin | Cbmaj | Dbmaj | Ebmaj-Bbmaj-Eb
3) Bbmin | Cbmaj | Dbmaj | Ebmaj-Bb-min-Eb
SonicC_chords.mp3
To me, the first one sounds most natural for dance. The second one sounds too "classical" to me. The third one sounds OK, but not as good as the first. HTH. |
Cool man thanks, it is what im going for. I don't know how you do this stuff by ear or however you guys do it. I really love what I seem to have happened upon been a dry spell for me lately and i think i can get a tune out of these =) |
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| cryophonik |
| quote: | Originally posted by Sonic_c
No they are chords without the 5th and double root note however i have beefed them up a bit now with some extensions and things.
have a listen http://www.sendspace.com/file/lhpg64
I thought i was in Bb nat minor thats why when i used a bmaj chord i was wondering if i broke the rules or if im actually in a diff key or what? |
OK, disregard my last post - I posted it while you were posting this. Here's what I am hearing in your clip:
Bbmin (Bbmin7)| Cbmaj | Ebsus | Dbmaj
I'm not really hearing it want to resolve to a tonic chord, so it's hard to tell which key you're in, but it's definitely based on a Gbmaj/Ebmin scale, so it could be one of the modal variations.
BTW, this sounds great! |
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| KilldaDJ |
| see, i would transcribe them chords either up a note or down one, because them flats and sharps are just awkward to work with. |
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| nightowl |
Im finding this an interesting thread, even though its going deeper into theory than I can remember these days (I did know it once, honest).
Surely though the length of time a chord in progression plays for and how it ties with any lead melody will also change its impact too? If we had a chord that sits less comfortbly with what precedes it and thus demands being resolved, how long this lack of resolution carries is also important?
Also wouldnt it matter whether these chords appear early in a phrase or late change the listners expetation of the whole phrase too?
Please excuse my inability to use the works suspended, tonic, etc here :crazy: |
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| cryophonik |
| quote: | Originally posted by nightowl
Surely though the length of time a chord in progression plays for and how it ties with any lead melody will also change its impact too? If we had a chord that sits less comfortbly with what precedes it and thus demands being resolved, how long this lack of resolution carries is also important?
Also wouldnt it matter whether these chords appear early in a phrase or late change the listners expetation of the whole phrase too?
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Yes, absolutely to everything. That's why context is so important from both the listener's POV as well as from a music theory point of view. That's why any good music theory instructors will go to extreme lengths to emphasize the importance of listening to music, rather than just looking at the notes on the page, when analyzing a piece of music. That's also the reason you'll typically see guys like RichieV, Sonic_c, etc. post audio examples - it can't be emphasized enough.
| quote: | Originally posted by KilldaDJ
see, i would transcribe them chords either up a note or down one, because them flats and sharps are just awkward to work with.
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Yes, be a slave to the white notes! :whip: :p |
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