#1
I know some people might just call it "going out of key" or something similar but what is the proper term for when you use a chord or two that don't fit into the original key but aren't changing the key? Ex. This chord progression (not mine) A C#m7 F#m Bm7 D C#7 F#m has chords that all fit into F#m/A maj (not sure which to call it, but I'm sure you guys know the process to determine whether it's a major or minor progression) except for the C#7. So what would you call this?
#3
Discordant I believe is the word you're after
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#6
the C# is pretty common in a progression,making the 3 chord major or whatever puts you in harmonic minor or whatever.....just play with it,the theory is good to go by,but you gotta make things fit right and just play with it too make it work.you know yah?

p.s....i think alot of people call it chord substitution when you go out of diatonic key? sound right?
Last edited by CAGEDtheory at Apr 30, 2011,
#7
exactly what he said ^^^. It depends on how the chord functions as to what to call it.

The secondary dominant part i mean, the chord has nothing to do with harmonic minor.
#9
Quote by liampje
This and neapolitan chords.

The Neapolitan chord in A would be Bb.
#10
Hmm that's disappointing, I was hoping there was some fancy term like blah blah modulation or something. . . But I don't believe discordant would be proper for this because going from the D to the C#7 (again I bet one of you has the fancy explaination for why) actually sounds quite nice. . . Also, I thought non-diatonic chords couldn't have any of the notes from the original key? (I'm probably wrong though. . .)
#11
Quote by rockgodman
The secondary dominant part i mean, the chord has nothing to do with harmonic minor.


Secondary dominant chords are by nature, borrowed chords. In this case, that C#7 is borrowed from the harmonic minor but it functions as a secondary dominant.
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#12
Please disregard my above post as I was typing (I'm a slow typer. . .) I didn't know I got so many responses. Apologies. . .
#13
Quote by Asada Hiruka
Hmm that's disappointing, I was hoping there was some fancy term like blah blah modulation or something. . . But I don't believe discordant would be proper for this because going from the D to the C#7 (again I bet one of you has the fancy explaination for why) actually sounds quite nice. . . Also, I thought non-diatonic chords couldn't have any of the notes from the original key? (I'm probably wrong though. . .)


A non-diatonic chord is simply a chord that has a different function than it usually has. For example a dominant II chord or a major VI chord. Correct me if I'm wrong on this.
#14
Thank You all for your responses, I usually try to avoid posting here (some people who frequent MT can be quite condescending and often arrogant and rude) but you have all been helpful and kind. Thanks again.
#15
Quote by Asada Hiruka
Thank You all for your responses, I usually try to avoid posting here (some people who frequent MT can be quite condescending and often arrogant and rude) but you have all been helpful and kind. Thanks again.

As a spammer here I have to agree with you about the arrogant and rude thing hihi.
Mostly when I say something in a thread they say No and I HAVE to ask them before they tell me why it is wrong, or sometimes they dont say it.
#16
Quote by blue_strat
The C#7 seems to be functioning as a secondary dominant to the F#m.
I was going to agree with you at first, but then I realized it could just be a V in F#m.

This is a pretty standard minor key cadence. You could call it modal interchange, but it's common practice to use the V from the harmonic minor scale.
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