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#81
Quote by Life Is Brutal
If you go from a C Major to a G Major, thats a half cadence.

G-?-F-C-G

In C major, thats: V-?-IV-I-V

Which is a perfectly logical progression.

If you analyze it in G, you get: I-?-bVII-IV-I, but that bVII does absolutely NO GOOD if its trying to pull back to G Major. But if instead you process the bVII as a IV chord, you get better results.

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.
#82
Quote by Life Is Brutal
If you go from a C Major to a G Major, thats a half cadence.

G-?-F-C-G

In C major, thats: V-?-IV-I-V

Which is a perfectly logical progression.

If you analyze it in G, you get: I-?-bVII-IV-I, but that bVII does absolutely NO GOOD if its trying to pull back to G Major. But if instead you process the bVII as a IV chord, you get better results.

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
#83
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.
#84
Quote by 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.

good man!
#85
What's not logical about I-V-bVII-(IV)-I?


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.
#86
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...
#87
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...




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

I'm done.
#90
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.
#91
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?
#93
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.
#94
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? (:
#95
Quote by 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? (:

No, no.

It's not something that "occurs"...it is just a description of the rate at which the chord changes are happening.
#96
Quote by 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? (:


"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.
Quote by Hail
oh shut up with that /mu/ bullshit. fidget house shouldn't even be a genre, why in the world would it deserve its own subgenres you twat
#97
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.
Si
#98
Quote by Life Is Brutal
Nope, resolves to C.

Also, the G and F natural are more prominent than the single use of the F#, so they outweigh it, and you can call the F# a passing tone with little weight in comparison.


1-3-5-11
3rd-3rd-7th


1-3-5-7-11
3rd-3rd-3rd-Tritone


Because they don't have the tritone between scale degrees 7 and 4.

Maj7(#11) are really awesome though.


Quote by Life Is Brutal
If you go from a C Major to a G Major, thats a half cadence.

G-?-F-C-G

In C major, thats: V-?-IV-I-V

Which is a perfectly logical progression.

If you analyze it in G, you get: I-?-bVII-IV-I, but that bVII does absolutely NO GOOD if its trying to pull back to G Major. But if instead you process the bVII as a IV chord, you get better results.


Quote by 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.

Last edited by mdc at Oct 4, 2012,
#99
what have i done
Quote by Kevätuhri
Hail isn't too edgy for posts, posts are not edgy enough for Hail.


Quote by UseYourThumb
You win. I'm done here.
#100
Quote by Hail
what have i done

you've officially memefied clint eastwood!
Quote by Xiaoxi
The Byzantine scale was useful until the Ottoman scale came around and totally annihilated it.
#101
You're in the key of G (E Minor). As far as scales go, you could use G Ionian (major), A Dorian, B Phrygian, C Lydian, E Mixolydian, E Aeolian (minor), or even the E minor pentatonic scale. any of these will suffice. if you're playing a more rock-influenced song, I'd recommend E Aeolian, Em Pentatonic, and C Lydian. if you're playing a more heavy style, C Lydian or Em Pentatonic would work perfectly.
#102
Quote by brandon12502
You're in the key of G (E Minor). As far as scales go, you could use G Ionian (major), A Dorian, B Phrygian, C Lydian, E Mixolydian, E Aeolian (minor), or even the E minor pentatonic scale. any of these will suffice. if you're playing a more rock-influenced song, I'd recommend E Aeolian, Em Pentatonic, and C Lydian. if you're playing a more heavy style, C Lydian or Em Pentatonic would work perfectly.

#105
Quote by brandon12502
You're in the key of G (E Minor). As far as scales go, you could use G Ionian (major), A Dorian, B Phrygian, C Lydian, E Mixolydian, E Aeolian (minor), or even the E minor pentatonic scale. any of these will suffice. if you're playing a more rock-influenced song, I'd recommend E Aeolian, Em Pentatonic, and C Lydian. if you're playing a more heavy style, C Lydian or Em Pentatonic would work perfectly.


You do realize that if you're in the key of G (or Em) and play any of those scales then its still just G major(or E minor) right? What purpose does it serve to give modal names to the same scale?
I'm an
Engeneer
Enginear
Enginere

I'm Good at Math
#106
Quote by J-Dawg158
You do realize that if you're in the key of G (or Em) and play any of those scales then its still just G major(or E minor) right? What purpose does it serve to give modal names to the same scale?

He might be referring to the scale positions (ie not understanding what he's talking about, they are the same scale)????
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Bach Stradivarius 37G
Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
#107
Quote by brandon12502
You're in the key of G (E Minor). As far as scales go, you could use G Ionian (major), A Dorian, B Phrygian, C Lydian, E Mixolydian, E Aeolian (minor), or even the E minor pentatonic scale. any of these will suffice. if you're playing a more rock-influenced song, I'd recommend E Aeolian, Em Pentatonic, and C Lydian. if you're playing a more heavy style, C Lydian or Em Pentatonic would work perfectly.

based on this and your response in the other thread, spend the time you're currently using to post attempting to actually learn this stuff

you won't look like a sillyhead who's just rattling off names to make his dick grow
#108
Quote by macashmack
How The Hell Is This Alive!
Kill It! Kill It With Fire!!!!!


And have it hung and drawn and quartered ... and whipped and boiled ... and then chopped up into little bits! And do it some more! And then take all the little bits and jump on them! And carry on jumping on them until you get blisters ... [/Arthur Dent]

Can I just ask: What is it with guitarists and 'modes'? They're not even proper modes for heaven's sake.

The original Lydian scale goes:

¼ 2 ¼ ¼ 2 1 ¼

and has nothing to do with playing C major with a different finger pattern.

I think I'm going to go and have a little cry now.
Quote by Hail
oh shut up with that /mu/ bullshit. fidget house shouldn't even be a genre, why in the world would it deserve its own subgenres you twat
#114
Quote by W4RP1G
Does anyone know which episode that is?


s5e9

show wasn't bad for the first good handful of seasons but it's never been good enough for me to keep up with it beyond reruns back in high school

was far better than friends and raymond, but that's not really saying much
Quote by Kevätuhri
Hail isn't too edgy for posts, posts are not edgy enough for Hail.


Quote by UseYourThumb
You win. I'm done here.
#115
Sorry to sound like a chauvinistic, but the US shouldn't try and copy the UK's shows...

... and Ricky Gervais is a genius, so...

Lol
#116
Quote by mdc
Sorry to sound like a chauvinistic, but the US shouldn't try and copy the UK's shows...

... and Ricky Gervais is a genius, so...

Lol
I suppose you could also categorize that as, "ethnocentric".

OTOH, "The Office" blows. Even the people in Scranton, PA, where the show is supposed to take place, aren't fully on board with that crap. I've seen interviews of people saying, "it puts us in a bad light". I go so far as to avoid movies with people from the show cast in them. I'm still waiting for Steve Correll to say one thing I find funny.

But for a quick return to the issue of ethnocentricity.The simple fact is, people in the UK, and US, have different senses of humor, and different references to draw upon for that humor.

All that said, I bought an early "Genesis" album. I absolutely didn't get it. The slang was completely inaccessible. However, as Phil Collins gained status as a solo artist, the material became much more "colony friendly".

So, I suppose it could be said, that when you're not being "chauvinistic" towards us, (by your own admission), you're pandering to us....

Although, I would like to take a moment to apologize, on behalf of the American people, for Tony Blair being led into disgrace, by the idiot son of the Bush family.

If "Wubba" were a Kennedy, they'd have stored him in an attic.

If you want an American comedy that actually IS funny, I suggest "Two Broke Girls".
Last edited by Captaincranky at Oct 8, 2012,
#118
Quote by Captaincranky
All that said, I bought an early "Genesis" album. I absolutely didn't get it. The slang was completely inaccessible. However, as Phil Collins gained status as a solo artist, the material became much more "colony friendly".


Why is this discussion even going on.

And why is 'Genesis' in quotes.

And it isn't necessary to get all of the references and quirky humour to see that early Genesis are great.
.
#119
Quote by Captaincranky


If you want an American comedy that actually IS funny, I suggest "Two Broke Girls".

Id recommend big bang theory before 2 broke girls. A lot of us sitcoms have really bland uninspired writing. I feel like I've been hearing the same bad jokes since 1992. I'd expect the office to only catch viewers who can relate (people who work in offices)

It's always sunny in Philadelphia wins though, i'd recommend that show to anyone with an actual sense of humor