Zatz
07-02-2002, 04:05 PM
Hi folks!
As far as I remember a similar topic has been discussed here but I have searched all through the forum library to add to an existing thread but still couldn't find what I was looking for. I guess it was Peter_traj who started it. Anyways... :)
I like this topic very much and I'm interested to know every little whit about it. But prior to asking advice I would like to share my own experience so we can discuss the issue here if you find it worth your attention.
Considering the subject of my post I want to talk about the use of combined Major/Minor tonality which we have to deal with very often implicitly or not. Here's what I actually mean. Let's have a look at C major scale:
C D E F G A B
What comes next is of course natural minor:
C D Eb F G Ab Bb
Here we have b3, b6, b7 contrary to major.
In rock music guitar players use power chords oh so much enabling borrowing chords from both major and minor scale whatever tonality we play in while the root chord is also powered one. The idea that comes to mind immediately is to play all the chords with the roots from such combined Major/Minor scale:
C D E Eb F G Ab A Bb B
Let's avoid acoustically complex chords like Bm-5 containing diminished 5th interval and recruit candidates for power chords from this extended scale :). Here follows the complete list of em:
C5, D5, E5, Eb5, F5, G5, Ab5, A5, Bb5.
Plus we get 3 new major chords:
* Eb, Ab which contain root chord note (G & C respectively) and hence adding to III, VI group of chords which may substitute the root in some cases.
* Bb sounding like analternative approach chord with tension towards C.
Now we have 9 power chords to operate. The main advantage of this approach is ability to construct good riffy progressions. But what is the harmonic tension rules within such a scale? Here we have to remember about the circle of fifth. The possible movements are:
* Diatonic (chord by chord with possibly some chords ommited). Ex: D5-E5-Ab-C
* Counter-clockwise on our circle of fifth (chords may be omitted here too).
Ex: C5-F5-G5-C
* Clockwise (especially in the left part of the circle) (used a lot in rock music).
Ex: Ab-Eb-F-C
http://www.cyberfret.com/theory/circle-of-5ths-major/images/th_maj_key_cir_5ths.gif
* Any combination of these movements
Ex: (spiral movement) Bb-Ab-F-C
Now we have a lot of vivid possibilities to construct progressions with brand new and fresh sound here:
* ... VIIb-C
* C-VIb-C (especially disturbing one)
* a lot more
Could you please guys share your experience here or maybe correct me? Waiting for your posts!
Ultra mega best regards,
Zatz.
As far as I remember a similar topic has been discussed here but I have searched all through the forum library to add to an existing thread but still couldn't find what I was looking for. I guess it was Peter_traj who started it. Anyways... :)
I like this topic very much and I'm interested to know every little whit about it. But prior to asking advice I would like to share my own experience so we can discuss the issue here if you find it worth your attention.
Considering the subject of my post I want to talk about the use of combined Major/Minor tonality which we have to deal with very often implicitly or not. Here's what I actually mean. Let's have a look at C major scale:
C D E F G A B
What comes next is of course natural minor:
C D Eb F G Ab Bb
Here we have b3, b6, b7 contrary to major.
In rock music guitar players use power chords oh so much enabling borrowing chords from both major and minor scale whatever tonality we play in while the root chord is also powered one. The idea that comes to mind immediately is to play all the chords with the roots from such combined Major/Minor scale:
C D E Eb F G Ab A Bb B
Let's avoid acoustically complex chords like Bm-5 containing diminished 5th interval and recruit candidates for power chords from this extended scale :). Here follows the complete list of em:
C5, D5, E5, Eb5, F5, G5, Ab5, A5, Bb5.
Plus we get 3 new major chords:
* Eb, Ab which contain root chord note (G & C respectively) and hence adding to III, VI group of chords which may substitute the root in some cases.
* Bb sounding like analternative approach chord with tension towards C.
Now we have 9 power chords to operate. The main advantage of this approach is ability to construct good riffy progressions. But what is the harmonic tension rules within such a scale? Here we have to remember about the circle of fifth. The possible movements are:
* Diatonic (chord by chord with possibly some chords ommited). Ex: D5-E5-Ab-C
* Counter-clockwise on our circle of fifth (chords may be omitted here too).
Ex: C5-F5-G5-C
* Clockwise (especially in the left part of the circle) (used a lot in rock music).
Ex: Ab-Eb-F-C
http://www.cyberfret.com/theory/circle-of-5ths-major/images/th_maj_key_cir_5ths.gif
* Any combination of these movements
Ex: (spiral movement) Bb-Ab-F-C
Now we have a lot of vivid possibilities to construct progressions with brand new and fresh sound here:
* ... VIIb-C
* C-VIb-C (especially disturbing one)
* a lot more
Could you please guys share your experience here or maybe correct me? Waiting for your posts!
Ultra mega best regards,
Zatz.