#1
Okay so I was noodling around and came across this thing in C?
After it grew a few legs, I decided to see if I could try keep it all to basically C chords?

I was wondering if someone might be able to shed a little light on this thing as to why it sounds like it's moving, yet the chords are basically just a whole bunch of C chords?... or not?

I have highlighted a few areas of question in Red and Blue:

Measure 4:
This is where it first sounds like the music is changing to another chord instead of something "C", yet the 3rd fret A string sounds like it's keeping things in C?

Is the chord name I used allowed? (Csus2/Aug5th) so as to keep the all chords, as "C" chords (you'll notice it used again in the 6th Measure?) ...and using the "C" thing again to the point of ridiculousness in Measures 9 & 10 (damn that F minor chord!)

Measure 6:
Again here is where it feels like it's moving away from the C chords.
Same question again here... Q: Are the chord names I use allowed?

Measure 7:
And what about that Diminished chord in between the 2 augmented chords, how does that work?
Anyone else notice on the Cdim chord (in the score) how the note differ on the 2nd count of it (above the 3 in the TAB), it was just the way the Tab editor wrote it, but the piece still sounds how it should.

I know that some people aren't great fans of TAB, so I punched it into a crude Tab editor to get some sort of score happening so I might get a wider range of analysis here! (Apologies for all the ties in the score, as the editor didn't seem to allow individual note values?).

NB: After going into the Tab editor, oddly enough the tune seems to sound okay in reverse also?... weird. (sounds best through Tab editor with string ensemble)

Of course, thanks in advance for any help!

Last edited by tonibet72 at Apr 17, 2014,
#2
They don't really really look like C chords, it's just that you are using C as the root note (For example measure 4 looks like Ddim with c root Ddim/C)
#3
Yeah, C is definitely not the root note of every chord.

I would call the Csus2#5 either an Fm6/C or a Ddim/C. I would call the C7sus2 a Gm/C and the next chord an Abadd#11/C. The Csus4#5 should just be Fm/C. The lowest note of the chord is not necessarily the root. Here you are using C as a pedal point. I would also call that Cmaj9 chord a G/C.

IMO the aug chord doesn't really sound that great after the dim chord. IMO it lacks the flow. It may be due to the voice leading (which is pretty poor here). Try to avoid big jumps. Use different chord voicings.
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
#4
Thanks guys, yes I think I see what you mean, I didn't think it just stayed at C? (yes I know my music terminology is shocking!) especially at trying to explain things out of my depth...
"...measure 4 looks like Ddim with c root Ddim/C..."
Iinitially the Ddim/C wasn't in their as although on my guitar it sounded okay but admittedly through the editor it did come off sounding a bit sparse and un-uniformed... perhaps this is that voice leading you speak of?...
"...IMO the aug chord doesn't really sound that great after the dim chord. IMO it lacks the flow. It may be due to the voice leading (which is pretty poor here). Try to avoid big jumps. Use different chord voicings..."
...actually I left it in there (the Ddim/C chord) because (oh this is gonna sound bad) because I have heard things from greats that obviously go waaay over my head... like just the first ten seconds of this for starters...
www.youtube.com/watch?v=kkvLdivRHzs
are you telling me those 2 chords at 5 seconds into this video HAVE FLOW and good voice leading??? Wow?... Go figure huh? (Sorry Talmage!) FYI: that's not me having a go at you BTW, it's just me thinking aloud and trying to voice why I left that Ddim/C chord in there? (thinking someone might explain that it actually does fit... somehow???)
"...I would call the C7sus2 a Gm/C and the next chord an Abadd#11/C..."
yeah I see the Ab chord now, although Ab in C??? (must be that chord borrowing thing I have seen a few times at these forums?)

I have so much to learn...

Thanks MaggaraMarine I enjoyed your critique...
Thanks Ri_
Last edited by tonibet72 at Apr 17, 2014,
#5
^ Well, there's a lot of chord borrowing in your track. Cmadd9, Ddim, Gm, Ab(add#11) and Fm are all borrowed from the parallel minor. C dim (which could also be called F# dim) and Caug are also non-diatonic chords.

And when I talked about voice leading, it wasn't just those two chords that didn't have the flow (I think they just felt the most out of place - a dim chord almost always wants to resolve to a chord a half step higher). Try to find better voicings for the chords. Avoid big jumps in every voice. Maybe treat every chord tone as a spearate voice and try to listen to where they want to go. Keep the chords if you want but change the voicings. Voicings do change the sound and give it a better flow.
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
#6
Quote by MaggaraMarine
^ Well, there's a lot of chord borrowing in your track. Cmadd9, Ddim, Gm, Ab(add#11) and Fm are all borrowed from the parallel minor. C dim (which could also be called F# dim) and Caug are also non-diatonic chords.

And when I talked about voice leading, it wasn't just those two chords that didn't have the flow (I think they just felt the most out of place - a dim chord almost always wants to resolve to a chord a half step higher). Try to find better voicings for the chords. Avoid big jumps in every voice. Maybe treat every chord tone as a spearate voice and try to listen to where they want to go. Keep the chords if you want but change the voicings. Voicings do change the sound and give it a better flow.


Oh dude you're awesome today, yeah that gives me something to work on so i'll look into it, although there's is a quite a bit that I do like, regardless tho but thanks for that all the same!

actually while I got you here, take a quick listen to the Vid I posted in my last reply (particularly at those 2 chords 5 seconds into it) and tell me if they don't sound all whack and unrelated to you too?? and yes I am aware of who Tal Farlow is, it's just to me those 2 chords and other parts kinda sound like a greek wedding (ie:ceramic plates braking against the floor). lolz?

...any thoughts?

Edit: yeah having C minor directly follow C Major, I always new I was borrowing chords, not that I fully undetrstood why/how etc... and it was that, and just noodling around, that the peice seemed to grow a few legs and took me futher into it! just saying?
Last edited by tonibet72 at Apr 17, 2014,