mdc

It's a Vc. The G and E notes are decorative, inner pedal and passing note respectively. If we're going down the classical route.

The open e note moves by step to a chord tone. It's just not so obvious cuz the progression is played as block chords.

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chronowarp

What's not logical about I-V-bVII-I?

It's a deceptive cadence then a plagal cadence. bVII is probably one of the most common borrowed chords in a major key.

The shit is a "logical progression"? Are we gonna bust out the wheel from Music Theory 101 that says V-->I, sometimes vi. IV--> or IV-->ii or IV-->I

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W4RP1G

Ok, I knew I was making a mistake asking Hail to clarify his stance on modes, I'm far from understanding them. Thanks sleepy_head for trying to clear that up, but I'm just gonna stop thinking of modes altogether and worry about other areas of theory.

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chronowarp

good man!

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Life Is Brutal

I'm going to assume that from the C Major (IV), than you go back to G (I).

When you play that F Major (bVII) you naturalize the F, then move to a C Major, and then G Major. (I guess we're saying the progression ends on G Major?)

When you naturalize the F, it weakens the idea of a (I) Cadence on G major.

Because you did, We're going to call that second chord D Major.

In G Major the progression is: I-V-bVII-IV-I

In C Major the progression is: V-II-IV-I-V

Both of these work out perfectly fine, but I feel that treating the progression as though its in C Major would work better, as the F# is naturalized before the cadence.

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chronowarp

I wonder what's stranger...a bVII borrowed chord or a V/ii that doesn't even attempt to resolve.

If you really believe what you're preaching see how much you like sound of an F natural over all the changes except the D...Or better yet...just sit there hitting a C continuously over the progression, tell me that C sounds like home...

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Life Is Brutal

I've played it both ways. I like mine better.

I'm done.

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chronowarp

i want a recording of you playing a C like it's the tonic.

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TheAscendant

Clint is the man (:

mdc

How do you play your progression rhythmically, TS? Is it 4/4 time, one chord per bar etc or...?

Just wondering, cuz harmonic rhythm can have an affect on how a progression resolves.

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TheAscendant

This section is in 3/4 timing like the rest of the song. The rhythm I play these chords in is
q ss q q q q. q = eigth, s = sixteenth. Take what you like from that(: I've never heard of harmonic rhythm, care to elaborate?

chronowarp

The rhythm by which the harmony moves.

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mdc

Harmonic rhythm is a fancy classical term that just describes the rate at which the harmonies change. Nothing more than that.

So in this case it's not too busy, it's just one chord per bar. It's not to do with the strumming or anything like that. That type of rhythm, and harmonic rhythm are two different things.

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TheAscendant

Gotcha. So harmonic rhythm is more likely to occur within the guitar solo itself and how the notes played accompany the rhythm of the chords being strummed? (:

chronowarp

No, no.

It's not something that "occurs"...it is just a description of the rate at which the chord changes are happening.

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Sleepy__Head

"Harmonic rhythm" might be described as "How often the chords change".

For example, the chords might change:

Once every 4 bars - Slower
Once every 2 bars
Once every bar
Twice every bar
Once every beat - Faster

But (there's always a but), it has more to do with how often the chord root changes than it does to do with embellishment. So if you get the following progression with the chords changing each bar:

|| C | CMaj7 | F | FMaj7 ||

The chords change once every bar, but because the root of C and the root of CMaj7 is C, and the root of F and of FMaj7 is F, we might say the harmonic rhythm is "once every 2 bars"

Given the above "Harmonic rhythm" might be better expressed as "How often the chord root changes".

But (there's always a but) diminished 7th chords (root, minor 3rd, diminished 5th, diminished 7th) contain four notes, and any of those notes can be the root so you have to pay attention when there are diminished 7th chords involved because "how often the chord root changes" can trip you up if the same dim 7 chord is spelled differently.

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20Tigers

It's not about logic. It sounds resolved on the G and it doesn't on the C. That's really all there is to it. You don't "treat" it like it's in C major. It is in G. That's all.

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Si
Explaining Modes part 1
Explaining Modes part 2 (continued)

mdc

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Hail

what have i done

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