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> Analysis Challenge Thread, Join the Fun and Work On Your Theory Chops at the same time!
AdamB
post Feb 4 2013, 11:36 AM
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QUOTE (The Professor @ Feb 4 2013, 10:31 AM) *
Nice one, I was thinking E Aeolian for the lick, but it has the same notes as C Lydian so all good.

The rest looks great. D Diminished might be a bit outside, but you could try it out and see how it fits. Would just need to make sure to resolve it back at the right time and in the right place so it didn't get too far out on you.

Nice work!


Cool. I chose C Lydian just because I thought it couldn't be Em pentatonic because of the F#, and I see that position on the fretboard as the C lydian 3notes per string shape (starting on the low E at the 8th fret).

What other scales can be used? I guess because it's power chords you can use E harmonic minor? What else?
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The Professor
post Feb 4 2013, 11:38 AM
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For scales, I would stick to some of these as the most common:


E Aeolian
E Harmonic Minor
E Pentatonic Minor

Those are the most commonly used sounds over a progression like this. Then I might also use some arpeggios like

Em - D - C arpeggios over each chord.


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Madfish
post Feb 4 2013, 12:13 PM
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QUOTE (The Professor @ Feb 4 2013, 11:31 AM) *
Nice one, I was thinking E Aeolian for the lick, but it has the same notes as C Lydian so all good.


Could I call it G Ionian as well? Or is it E Aeolian because the whole piece is in E minor?
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The Professor
post Feb 4 2013, 12:14 PM
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QUOTE (Madfish @ Feb 4 2013, 11:13 AM) *
Could I call it G Ionian as well? Or is it E Aeolian because the whole piece is in E minor?



Then have the same notes, but you're right. Since the progression is in E minor, I would call the scale E Aeolian just to relate it more closely to the key we're in.


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Jonas Tamas
post Feb 4 2013, 03:35 PM
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QUOTE (The Professor @ Feb 3 2013, 02:03 PM) *
Here is a brand new Analysis Challenge phrase. In today's phrase, try to identify the following.

1. The scale used in the opening bar
2. The key of the entire phrase
3. The chord progression
4. The name for the chord shapes being used
5. 2-3 Scales you could use to solo over these changes




As I'm from Hungary, I recommend a really cool scale for this progression, it's called "Hungarian Minor".

In the key of E minor, it would mean raising the 4th and the 7th note of the E natural minor scale. Another way to get the Hungarian Minor scale: raising the 7th note E harmonic minor scale.

So the notes are: E F# G A# B C D#. In the above progression, it could be used as a short interesting interlude section over the E5 power chord. I wouldn't use it during the D5 chors because of the clashing of the D in the chord and the D# in the Hungarian Minor scale.

Of course, a 16-bar solo using Hungarian Minor would be too much here - I'd only drop in a few notes during the 2nd and the 3rd cycle of the progression, to spice up the natural minor feel used until that point.

This post has been edited by Jonas Tamas: Feb 4 2013, 03:37 PM


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The Professor
post Feb 9 2013, 02:25 PM
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Hey Everyone

here is a new Analysis Challenge. Have fun and see if you can figure out.


1. The overall key of the progression
2. The secondary key in bars 6 and 7
3. The chord progression in numbers or roman numerals
4. The chord progression in this key
5. What scale you would use to solo over bars 1-5 and 8
6. What scale you would use to solo over bars 6 and 7

And for a bonus, what would the chord progression in the key of A?

Good luck!


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The Professor
post Feb 10 2013, 10:18 AM
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Do we have any takers on this week's analysis challenge?


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HungryForHeaven
post Feb 10 2013, 11:53 AM
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Spoiler:
1. C major
2. Don't know. G major?
3. I-iii7-vi-vi7-IVadd9-II-V-V7
4. Don't know.
5. C ionian
6. D mixolydian?

bIII-v7-i-i7-bVIadd9-IV-bVII-bVII7
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The Professor
post Feb 10 2013, 11:55 AM
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QUOTE (HungryForHeaven @ Feb 10 2013, 10:53 AM) *
Spoiler:
1. C major
2. Don't know. G major?
3. I-iii7-vi-vi7-IVadd9-II-V-V7
4. Don't know.
5. C ionian
6. D mixolydian?

bIII-v7-i-i7-bVIadd9-IV-bVII-bVII7



Nice work, very close!

1, 2, 5 and 6 are all correct.

For 3, there are just a few wrong chords in bar 2, and 4, well four is just a spelling thing as you wrote the right chord.

For the bonus, can you name the chords using letters like A, D7 etc?


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HungryForHeaven
post Feb 10 2013, 12:08 PM
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QUOTE (The Professor @ Feb 10 2013, 11:55 AM) *
Nice work, very close!

1, 2, 5 and 6 are all correct.

For 3, there are just a few wrong chords in bar 2, and 4, well four is just a spelling thing as you wrote the right chord.

For the bonus, can you name the chords using letters like A, D7 etc?

Spoiler:

Hmm.. then I don't know, really. Bar 2 isn't Em7?

4. I don't quite get what is asked for.

For the bonus, do you mean what would the chords be if the first chord was A? As in transposed to the key of A?
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The Professor
post Feb 10 2013, 12:13 PM
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Yeah, for the bonus spell it out as if starting on the chord A, that's all.

For bar 2 and 4 they are slash chords, so they are chords you know, but with a different bass note. So bar 2 is Cadd9/B and bar 4 is Am7/G.

Kind of a tricky one, wanted to put something in for folks with more advanced theory experience, so not a problem if you didn't get those. Just something to look out for in the future.


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HungryForHeaven
post Feb 10 2013, 01:24 PM
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Aahh, inverted chords.. I knew about them, not just used to doing this type of analysis so I guess I forgot to specify. smile.gif

However, I still don't get bar 2. It has E, G, B and D, making it Em7. The "bass note" is not E, so it's an inversion; in slash notation I would call it Em7/B. How can it be C when there is no C note in there?
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The Professor
post Feb 10 2013, 01:29 PM
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Yeah, that one's a bit tricky. It is the movement of the chords that really gives this one it's name. Since it's moving from C to Am, I to vi, it's common to put a Imaj7 with the 7 in the bass between those two chords.

You could call it Em7/B if you wanted, I just see it as Cadd9/B since it's moving towards the Am, the descending bassline keeps the chord as a C for me, but this one is kind of subjective.

The middle 3 notes stay the same between the first two chords as well, so that's another connection that I make to keep it as some sort of C chord.

We don't always have to have a root in the chord shape to give it that name, sometimes we can imply a chord, especially if we start to get too many extensions in there and dont' have enough fingers to play the root.


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klasaine
post Feb 10 2013, 05:41 PM
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In 'classical' or traditional analysis is the V/V chord (measure 6) considered the momentary key change?
As opposed to the jazz way of thinking of it as II7.


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The Professor
post Feb 10 2013, 05:44 PM
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QUOTE (klasaine @ Feb 10 2013, 04:41 PM) *
In 'classical' or traditional analysis is the V/V chord (measure 6) considered the momentary key change?
As opposed to the jazz way of thinking of it as II7.



That's a tough one. It would be written V/V there, moving to V and then returning to I at the top of the form.

I could see it as a Secondary Dominant, but I don't think there is a key change as such. Just a momentary slip into the V and then back to the I again. Had that cadenced in V and then continued in that key going forward, it would be a stronger argument for a shift to the V there as a new key center.


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AdamB
post Feb 12 2013, 03:49 PM
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My answer, not sure on some of it but I gave it a good try!

1.) C Major

2.) D Dorian? (or is it some weirdness where the Dm becomes a temporary I chord?)

3.) I, iii m7, vi, vi m7 , vi sus4, ii, V, V7

4.) C, Em7/B, Am, Am7/G, Am7sus4, Dm, G, G7

5.) C Major Pentatonic, Am pentatonic, Ionian/Aeolian scales

6.) Maybe D Dorian or Am pentatonic with an added note for the 6th (to make it hexatonic) and then raise the 6th to get the dorian feel?

7.) A, C#m7/G, F#m, F#m/D#, F#m7sus4, Bm, E, E7

QUOTE (The Professor @ Feb 9 2013, 01:25 PM) *
Hey Everyone

here is a new Analysis Challenge. Have fun and see if you can figure out.


1. The overall key of the progression
2. The secondary key in bars 6 and 7
3. The chord progression in numbers or roman numerals
4. The chord progression in this key
5. What scale you would use to solo over bars 1-5 and 8
6. What scale you would use to solo over bars 6 and 7

And for a bonus, what would the chord progression in the key of A?

Good luck!


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The Professor
post Feb 12 2013, 07:14 PM
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QUOTE (AdamB @ Feb 12 2013, 02:49 PM) *
My answer, not sure on some of it but I gave it a good try!

1.) C Major

2.) D Dorian? (or is it some weirdness where the Dm becomes a temporary I chord?)

3.) I, iii m7, vi, vi m7 , vi sus4, ii, V, V7

4.) C, Em7/B, Am, Am7/G, Am7sus4, Dm, G, G7

5.) C Major Pentatonic, Am pentatonic, Ionian/Aeolian scales

6.) Maybe D Dorian or Am pentatonic with an added note for the 6th (to make it hexatonic) and then raise the 6th to get the dorian feel?

7.) A, C#m7/G, F#m, F#m/D#, F#m7sus4, Bm, E, E7


Hey, good try man, very close!

You labelled the D7 as a Dm and that's what through you off. Before I correct your answers, if you want to go back and redo a few things knowing that bar 6 is a D7 chord, then that might fix things up for you.


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AdamB
post Feb 13 2013, 12:16 PM
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QUOTE (The Professor @ Feb 12 2013, 06:14 PM) *
Hey, good try man, very close!

You labelled the D7 as a Dm and that's what through you off. Before I correct your answers, if you want to go back and redo a few things knowing that bar 6 is a D7 chord, then that might fix things up for you.


Oh yes! I missed the # on the F. How come it's D7 and not D major - is the C note implied some how?

Edit: Oh and that makes the key G Major in those bars, and then returns to C major when you go to G7 (the 7 implies it's chord V and therefore back in C). Then you could use G Major Pentatonic, E minor Pentatonic, G Ionian, E aeolian to solo-a-fy it.

This post has been edited by AdamB: Feb 13 2013, 12:18 PM
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The Professor
post Feb 13 2013, 12:18 PM
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Sorry. Just a normal D, my typo.


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AdamB
post Feb 13 2013, 12:38 PM
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QUOTE (The Professor @ Feb 13 2013, 11:18 AM) *
Sorry. Just a normal D, my typo.


Oh right! haha cool. Yea I think I understand it. Is G Major right for that part?
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