News from Dune89-sky

  1. I actually invert these so I use the #5 and the 5 as the same bass note for the two chords

  2. I see. Yeah, works well. Then we may have a (D#7#5#9/B =>) Badd9,b13 V->I situation in E major. The exotic V is without the b7 but another tritone {G C#}, notes [B D# G C# F# B]-[B E G# D# (F#) B]?

  3. It's written as g# minor on the sheet, there's a lot of interesting things going on in there

  4. Those Gm-G#m 'approach slides' I did pick up.

  5. Could you please explain the function of the bVI chord Dbmaj7? Why is this chord a half step diminished?

  6. No this chord is a major seventh chord: [Db F Ab C].

  7. I think you misunderstood the question. OP read bVI and thought it was a diminished sixth (minor sixth) because, I'm assuming, he reads VI in a minor key as already being a minor sixth. Or at least that's how the question reads to me.

  8. Indeed, thanks! I usually write romans in a ’major form’ as I mess outside minor key chord romans up easily.

  9. It is a Bb9b13. Bb+9b13 is incorrect as it rules out the F (nat5) and has both #5 and b13.

  10. Check out the difference between parallel and relative modes.

  11. So, I was looking at a chart of the seven Modes written out in Roman Numeral Analysis

  12. Unlike tonal music, modal music does not typically use chord progressions or (usual) cadences (predominant-dominant-tonic etc.) at all. The functional column labels of the table are misleading and not useful.

  13. One live version at least goes |:Dm |Gm |Bb |A :|, which is i iv bVI V in D minor. All diatonic, nothing is borrowed. The V with the lead tone C# is standard practice.

  14. I see. So that is why the second Gm sounds like tonic even though it is actually subdominant. I guess the purpose is to emphasize the section of the song.

  15. Later in the piece there is a move to D major. But this time the section lasts longer and we can talk about having ‘modulated to D major’. Now there is a new tonic - D major, for a while.

  16. Yes, that’s right ii V I V I in D major.

  17. If the sus chords can be played in a random inversion, you won’t be able to distinguish them.

  18. If he dug LCC, another ’out there’/advanced jazz theory book is Dave Lieberman’s

  19. Any one of those will be enjoyed,and will blow up the mind and open some avenues I am sure!

  20. This is all very helpful! I appreciate it. It's actually an electronic/hip-hop track that I'm making with a horn and vocal sample that I'm building around with layers of keyboard. It's just those two parts back and forth with variations. It's a very simple progression that I can practice soloing over. I do want to add more chord changes and it does sound very major. I'm still pretty new to piano and my goal is to get out of basic minor and major scales and work with changing keys, focusing on jazz/funk.

  21. Sounds good! G# Dorian scale will cover G#m7 and A#m7 well.

  22. I appreciate the tips and the depth that you went into! I'll have to breakdown your post a few more times since I'm still pretty new to music theory haha, but I'm getting the basic idea! I'll try throwing that D#m in there and see how it opens up the song.

  23. Going by how it sounds is best, rather than following some scale or some theoretical construct - have fun!

  24. I’ll respectfully disagree. I primarily play jazz and I’ve never used nor heard a 6/9 used as a dominant. As I and IV in a major key, yes, but never on the V. Is it possible you’re thinking of a dominant sus chord like G/A?

  25. Not A6/9 as V but we’d call it A13 as a V chord has a b7 instead of maj7 whether voiced or not. It usually has both 9th and 13th in the voicing. For example [A C# F# G B] or [A G B C# F#].

  26. A little rusty on my jazz chords, but wouldn‘t it be A9add13 since A6/9 has no 11?

  27. It's okay to leave out lower extensions in a chord label when voicing a chord.

  28. If you do want to play both the 3 and 11, put the 11 beneath the third in middle range. Avoids the m9 interval. For example C11 [C F Bb D E].

  29. Great answers already. I would add a recommendation for ear training of different chord types to learn to recognize their similarities and differences. Let their ‘emotions’ be deposited in your mind as you feel them.

  30. I can't think of any, and even if they did have the same progression, it wouldn't matter overmuch. Copyright law tells us that a "significant part" of a song copying another is required for one artist to have a genuine complaint against another for theft of their intellectual property.

  31. Yes - Taylor is a pioneer! We all need to learn how to recycle in order to preserve Mother Nature. So happily recycle them old chord progressions away!

  32. (Not a progression per se, but should be a simple answer)

  33. C/E is the correct name. Chord labels or names do not change even if some notes would be doubled. In general, chord labels do not specify the specific voicing; the order or the register of the notes. ’Slash’ notation can be used when a chord is not in root position, as you did.

  34. Compare it to some close alternatives. For example, in C (cleaner write, I’m lazy): C Fm/C Cm7 C°7 Db.

  35. What is the chord progression in Asap Rocky - Everyday feat Rod Stewart

  36. Seems to recycle 'While My Guitar Gently Weeps' chords

  37. the problem is that that D/F# doesn't sound dissonant enough, it sounds like some diminished chord in the song, but thanks

  38. Try C#addD#/E# or C#9/E# keeping notes D# and B from previous chords.

  39. Weird one but I’m working on songs in C right now… It’s All Coming Back to Me Now by Celine Dion has a bunch. Dm Em Am. I think Fm somewhere too.

  40. It seems you are talking about diatonic minor chords (in C major + the most common borrowed one: Fm), not minor chord inversions.

  41. But they are played inverted, or at least I play them inverted, and the melody follows that pattern too. The melody part is where I’m getting tripped up a little. I’m not sure if the melody follows an inverted pattern just because you’re playing inverted chords? Maybe I’m overthinking the question.

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