Haven't read the whole thread so I might be saying something that's already been mentioned, but V7-i is a nice little 2-chord progression to get the feeling of minor tonality.
What scale does V7-i come from?
What scale does V7-i come from?
The Dominant 7th Cadence does not come from any scale. It's all about Chord Function via Dominant 7th to Tonic, conceiving any scale or mode.
To demonstrate the "common practice" let us first take a moment for embracing the Dominant, Tonic , and Subdominant in our "user friendly" Relative Keys of C Major and A minor .
Key of C Major : G C F ~ D T S
Key of A Minor: Em Am Dm ~ d t s
Now that we have established our keys we may begin to conceive our variant "Harmonic" Dominant 7th Cadences generated.
Key of C Major: D7-G & G7-C & C7-F ~ (D7)D & (D7)T & (D7)S
Key of A Minor: B7-Em & E7-Am & A7-Dm ~ (D7)d & (D7)t & (D7)s
The other "Epic Cadence" via Subdominant.
Here will progressively go forth conceiving our variant "Harmonic" Minor Subdominant 6th Cadences generated.
Key of C Major: Cm6-G & Fm6-C & Bbm6-F ~ (s6)D (s6)T (s6)S
Key of A Minor: Am6-Em & Dm6-Am & Gm6-Dm ~ (s6)d (s6)t (s6)s
Now take note my fellow Troubadour's ,Dominant,Tonic,and Subdominant chords of our Relative Keys are Tonic Parallels of one another and along with their respective cadences may function or deviate without destruction of the Tonic Key
What are "secondary dominants" ? Can we drop the fancy words?
Every Tonic Chord has the potential of embracing two other "Parallel Chords" . These are vaguely referred to as "Secondary Chords" and when they function as Dominant 7ths or Minor Subdominant 6ths "deviation from the tonic chord " you see the "fancy wording" of Secondary Dominants .
#1. Our Tonic Parallel Chord is conceived by its "whole tone change" and shares two common tones with our Tonic Chord
e.g. Key of C Major: G-Em & C-Am & F-Dm-F ~ D-Dp T-Tp S-Sp
e.g. Key of A Minor: Em-G & Am-C & Dm-F ~ d-dP t-tP s-sP
#2# Our Tonic Counter Parallel is conceived by its "half tone change" and also shares two common tones with our Tonic Chord.
e.g Key of C Major: G-Bm & C-Em & F-Am ~ D-Dc T-Tc S-Sc
e.g. Key of E Minor: Bm-G & Em-C & Am-F ~ d-dC t-tC s-sC
Obviously we may easily embrace a much greater array of Chord Functions and Cadences via Tonic Chord and it's respective Parallels,but we have only attempted to show the "common practice" Now let it be known my fellow Troubadours ,those who aspire relativity with this phenomenon will surely be endowed for exploiting the most dynamic aspects of musical harmony .
Last edited by TheJasbo at May 23, 2013,
Here's an easy song with chords for singing that should tune anybody's head into shape with minor tonality https://www.youtube.com/watch?v=DpIjPr63paw
After 20 years you've never learnt how to use minor chords? Did you have massive gaps in those 20 years? Its hard to find a song that doesnt use them.
Unless the only chords you ever learned are C, G, F and D... I have no idea how you can play music for 20 years without using a minor chord.
Even if you play C, A5, F, G, The A5 is still a "minor chord" you're just not playing the third, which is what gives it the minor color... But it's not like whatever is going on above the A5 doesn't lend itself to a minor tonality.
I consider Jazz and Pop to be in the same boat.
Well trad jazz was the pop of it's day, kind of the first "young people's music" and swing was big in dance halls but then Bebop flipped all that shit on it's head...so basically my point is you're wrong, dead wrong, and have been wrong since the 1930's.
How's about analyzing songs that have those examples and playing them to get a feel? I think you can use chords out of key too so that roadmap is a narrow picture. Then go back and look at theories of why they work to get the big picture.