Search found 68 matches

by Niliov
May 31st, 2006, 3:18 pm
Forum: Guitar and Music Theory
Topic: Quezzie...
Replies: 4
Views: 1279

Here are two "exotic" fun scales. How about the octatonic scale which is half step - whole step - half step - whole step etc.: C, Db, Eb, E, F#, G, A, Bb There are only three (transpose and you'll see). You can use this baby on dominant chords but with moderation. If you like Robben Ford and wonder ...
by Niliov
May 31st, 2006, 2:28 pm
Forum: Guitar and Music Theory
Topic: Chords in relation to key
Replies: 24
Views: 5296

Just a little thought: F minor in the key of C comes from the Moll Dur Scale which is in fact a major scale with a lowered 6th degree: C, D, E, F, G, ->Ab<-, B, C This scale affects the II (Dm7b5), IV (Fm) and VII (Bdim) in C major and is often used freely to "darken" the sound of common progression...
by Niliov
May 26th, 2006, 10:26 am
Forum: Guitar and Music Theory
Topic: Working on Minor keys, and have come to a few questions.
Replies: 7
Views: 1900

Oh by the way! VI in harmonic minor is major!! So in the key of Am -> F (major) or Fmaj.7 if you want to play the fourtone chord. If you're building chords from scales I'd just go the easy way and skip one note after you add one to the chord so: VI : F, skip G#, add A, skip B, add C, skip D, add E -...
by Niliov
May 26th, 2006, 7:42 am
Forum: Guitar and Music Theory
Topic: chords
Replies: 11
Views: 2385

Haha, no! My mistake I read:

020120 , which is completely different I know, I am crazy apparently!

Sorry!
by Niliov
May 26th, 2006, 7:30 am
Forum: Guitar and Music Theory
Topic: chords
Replies: 11
Views: 2385

Actually Biker-Jim the voicing you provided for the E7 is not an alternative perse; it has an added note for flavour (C#) so the chord should be spelled: E7(13) or E7add13 . You can indeed use this chord as an alternative for E7 in a Blues progression or sometimes even in a (major) V - I (E7 - A) bu...
by Niliov
May 26th, 2006, 7:18 am
Forum: Guitar and Music Theory
Topic: Working on Minor keys, and have come to a few questions.
Replies: 7
Views: 1900

I Understand your problem, but just remember that chords are built of thirds. The interval from F to G# is an augmented SECOND so not a third. The chord should be (Dm) D - F - A which is indeed a minor chord. Same goed for VI of course.
by Niliov
May 25th, 2006, 6:11 pm
Forum: Guitar and Music Theory
Topic: chords
Replies: 11
Views: 2385

There are many, many ways to play 7th chords! I assume you mean dominant chords (i.e.: G7, C7, etc.). Here are three easy ways:

G7
3X34XX or a little bit more complicated 3X343XX

C7
X323XX

C7
X35353
by Niliov
May 23rd, 2006, 2:38 am
Forum: Guitar and Music Theory
Topic: are modal interchange different with pitch axis?
Replies: 19
Views: 7051

I guess this thread is considered "hi-jacked" by now, but interesting nonetheless! I have a question for both of you! Are you both saying that a dominant chord can't set up a modal harmony? So let's say if "So What" would start with one bar A7 before the sixteen bars Dm7? If so there are many compos...
by Niliov
May 19th, 2006, 5:17 pm
Forum: Guitar and Music Theory
Topic: Mixolydian Blues Lick
Replies: 5
Views: 1862

I think it is important to understand that the 7th chords on I and IV in a blues do not function as traditional dominants (thus resolving to a tonic) but are static chords which do not need resolution. A common extension on static dominant chords is #9 (the C on A7). Notice that that is not the same...
by Niliov
May 19th, 2006, 4:57 pm
Forum: Guitar and Music Theory
Topic: are modal interchange different with pitch axis?
Replies: 19
Views: 7051

Very good point about Bartok! He is known for his obsession with symmetry. One of his more well known pieces "Music for Strings, Percussion and Celeste" is a classic study in symmetry. Worth a listen, I reckon!
by Niliov
May 13th, 2006, 4:56 pm
Forum: Guitar and Music Theory
Topic: Asus(minor 13) chord help
Replies: 7
Views: 2129

I have a question! I am really curious as to what the next chord is after the Asus in the progression of your friend. Could you find out and post it?

Thx,
niliov
by Niliov
May 9th, 2006, 6:22 am
Forum: Guitar and Music Theory
Topic: b5 subs
Replies: 5
Views: 1124

Thought I'd add this: for those who can't quite figure it out immediately it is very easy to see on the guitarneck: Let's take G7 and play it like this: 3X34XX with these fingerings: 1X23 now play Db7 (its tritone substitute) like this: X434XX with these fingerings: X213 If you try this you can see ...
by Niliov
May 8th, 2006, 4:30 pm
Forum: Guitar and Music Theory
Topic: b5 subs
Replies: 5
Views: 1124

hehe, Noteboat and me answering at the same time, lol!!
by Niliov
May 8th, 2006, 4:29 pm
Forum: Guitar and Music Theory
Topic: b5 subs
Replies: 5
Views: 1124

I assume you are referring to tritone substitution? If so, that only applies to dominant chords: C7 / F#7 D7 / Ab7 You can indeed substitute one with the other if the melody allows this. You could even put the II chord of the substitution key in front of it (something Brad Mehldau is very fond of in...
by Niliov
May 7th, 2006, 3:23 am
Forum: Guitar and Music Theory
Topic: Maroon 5: "This Love"
Replies: 20
Views: 10939

Yes, noteboat, you are of course absolutely right!! But wouldn't you agree that if we'd all strive to play pop songs with the best voiceleading possible (sometimes it is not possible, of course!!) they would sound so much sweeter (fuller, richer). Whenever I play pop (on piano) I try to focus a lot ...