QUOTE (Zynex @ Feb 5 2009, 01:23 PM)
If that is what you mean, the only thing I can say about this is that a chord progression can have more than 1 root note. Jazz and fusion have this alot. I often write music for my band that contains 2 root notes, cause I think it sounds awesome
.
I might give that a try
correct me if im wrong, but u are talking about a modulation somewhere and not mixing to keys in the same time, right? im not sure, but wouldnt it sound a bit messed up?
no need 2 apologize
all these answers has contributed ALOT to my knowledge and inspired me
QUOTE (Emir Hot @ Feb 5 2009, 01:46 PM)
Every chord has one or more sacle/arpeggio that works. This now depends on many things. If you write down the progression and the tonal center (key) the I might be able to suggest some scales. Pedja is great with these things I hope he can reply with more detailed explaination.
y
got that thing, which scales fit each chord (the chords should be contained in the given scale)
QUOTE (Muris Varajic @ Feb 5 2009, 01:56 PM)
Lets say A Aeolian( natural minor) is your real root.
You play few chords from it like Am, F, Dm and Em.
Then you add flavor of A Dorian which is D chord, major subdominant.
You go back to Am and now for Phrygian flavor, that would be Bb chord
since A Phrygian has Bb note as second degree and there is major chord, Bb chord.
After that you go back to Am and finish pattern with pure Am key chords,add F and G per example.
There are many ways, depends how deep you wanna go.
That with the flavours was exactly what i was after
up until now, i've just randomly switched major and minor 3ths and so on.
QUOTE (Pedja Simovic @ Feb 5 2009, 02:56 PM)
I am glad you had some experiences with non diatonic chord progressions.
Here is couple of things you can use as HINT when changing keys :
1) Whenever you change key use DOMINANT CHORD to get to your I chord (or modal interchange chord).
Lets take an example
I am in key of C , I am playing around C D min E min G7 etc type chord progression. Lets say I want to modulate to A major now (down a minor 3rd or up a major 6th interval inversion), I should use E7 (dominant 7th) chord to approach my new I chord which is A major !
Ok so this is pretty common trick used a lot in the classical music as well
Another example of this is same key change (from C to A major) but lets say I dont want A Ionian but rather F# Aeolian sound ! So in this case my Dominant 7th chord would be C#7 resolving to F# min7. Later during couple of chords, things will be much clearer to listener as you establish some sort of Aeolian cadence.
So thats the main trick - using dominant chord of your target key (or mode) to approach the new key.
Thats called PREPARED MODULATION .
Unprepared modulation is opposite and I did that in my last Fusion Collaboration. I went from A minor to C minor to F# minor. None of these chords have DOMINANT 7 chord approach new key (which could be any minor type of key or mode
but rather have DIRECT modulation into harmony.
The reason why this works and why I applied it is because : a) I use same type of chord sound
I used same chord voicings
This concept in music is called CONSTANT STRUCTURE. When you move chords that have same chord quality and voicing around - thats called constant structure
Ok I can write you billion more tricks like this but I think for time being this is enough.
I will talk a lot about this on my board soon I hope
Hope this was useful to you !
P.S. Muris gave you great tip with MODAL HARMONY and how to combine modes from same root. This concept in music is called MODAL INTERCHANGE when you basically take same ROOT and borrow from that root chords from different modes starting from that root ( A dorian , A phrygian , A aeolian , A lydian for example and you combine it all in one chord progression
Very fun stuff to do
DUDE !
this is the best ! i've searched everywhere for this. i need to learn all these sorts of tricks, im especially gonna practise That Prepared modulation, really like the idea of giving a hint, that u are gonna change, my ear havent grow accustomed to those rapid key-changes, it just sounds to random and messy. BTW its very well explained, ireally get it
ty
QUOTE (Vasilije Vukmirovic @ Feb 5 2009, 03:43 PM)
Cool thing that I learned is that the last chord in the chord progression is the weakest(usually) so you can play almost anything. Like blues progression. On the last chord you can play whole-tone scale, diminished scale, chromatic scale...You can stay in the same key(A minor lets say) or go to F melodic minor for example....I mean it's the weakest chord, so you can get away with anything, it is good to experiment a little.
sounds interesting
im still not able to apply all this theory to my lead (im to lazy to learn all those positions, but its getting there, its only been 2 years with the guitar
). I might use it on my piano
ty all for those comprehensive replies
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