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#161
G C G Bb Eb Bb
1 4 b3 b6
Could you possibly call it a Gm13?
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#162
No, you can't.
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#163
Quote by Ænimus Prime
G C G Bb Eb Bb
1 4 b3 b6
Could you possibly call it a Gm13?


m6 and m13 chords do not contain a minor 6th/minor 13th interval.
#164
Quote by hurlyz
Cm7 (2nd inversion )


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Quote by cakemonster91

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Go to your staff paper and re-write this song a half step down so on the paper it'll be like you have a "C" just move it down to a "B#"




Know your theory, then play like you don't.

#165
hehe...

Anyone may take my go actually.. I don't have much time to find a good question to ask at the moment!

If nobody posted until I come back from school, I'll find a question to ask!
Note: Sorry if my grammar and/or vocabulary isn't very good, English is my 2nd language!

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#166
OMG this games dying *sob*

E : 0
B : 7
G : 9
D : 7
A : 9
E : 7
Quote by cakemonster91

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Go to your staff paper and re-write this song a half step down so on the paper it'll be like you have a "C" just move it down to a "B#"




Know your theory, then play like you don't.

#167
Bsus
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#170
yep... A _sus chord can also be named _7sus4 or _7sus and it's composed of 1 4 5 b7

As for the chord, it could be either Am6, Bsus or F#m11 depending on context!
Note: Sorry if my grammar and/or vocabulary isn't very good, English is my 2nd language!

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#171
I was looking for B7sus but Bsus is fine... Elven your up! I like to put the 7 in as it avoids confusion with the 1 4 5 version...
Quote by cakemonster91

*chuckle* A peanut. With a face.



Go to your staff paper and re-write this song a half step down so on the paper it'll be like you have a "C" just move it down to a "B#"




Know your theory, then play like you don't.

#172
-------
-9-7-7-
-6-6-4-
-9-8-8-
-7-7-6-
-------


Chord names + progression + key?
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#173
C#m7/E, F#7/E, Bmaj7/D#

ii7-V7-Ima7 (With inversions, ii65 - V42 - Ima65)

Key of B
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#174
I love you man!

Go for it
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#175


Okay, give a progression that modulates from C to B using a common chord.

Rule thingies: all chords must belong to either the key of C or B, and the common chord can be found in both.

The common chord should not be a secondary dominant.

You may reinterpret the spelling of the common chord, in order for it to be in both keys.
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#176
C- C Dm Em F G Am Bdim
B- B C#m D#m E F# G#m A#dim

I can't see how that is possible because the keys only share 2 notes, let alone a chord.
So my feeble attempt is:

C Dm E5 B F# B

Yes I know E5 isn't technically a chord.
My name is Andy
Quote by MudMartin
Only looking at music as math and theory, is like only looking at the love of your life as flesh and bone.

Swinging to the rhythm of the New World Order,
Counting bodies like sheep to the rhythm of the war drums
#177
Good try, not what I'm looking for though.

You're right that the chords just built from the scale do not give any common chords.
However, there are some other chords as well, with special properties.

It's difficult to give any hints without giving an answer, so I'll just say to maybe read through this: http://en.wikipedia.org/wiki/Chord_%28music%29
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#178
C - C#m - F# - B

The neopolitan (sp?) minor of the key of C is the ii chord of the key of B. After that, a standard ii-V-I in the key of B.
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#179
On the right track for an answer. Your Neopolitan is not the correct type of chord, though; check again on what kind of chord a Neopolitan is, and then come up with a different way of using it as a pivot.
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#180
D-7 - G7 - C - F#7 - BΔ. I might do something like that.

Is that what you want? C being the tonic chord in C major and the neopolitan chord in B major, where it functions as the tonic going from G7 to C, and as a preparation for the V chord in B.

cheers
Last edited by Johnljones7443 at May 6, 2007,
#181
Yep, that's one way to do it. You're up!

The other option I was thinking of is a German Augmented sixth/dominant seven common chord. Both ways are handy as quick ways to modulate up or down a half step.
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#182
Could you explain the Na German chord? I haven't heard of it before.
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#183
Well, Augmented Sixths are chords containing an augmented sixth degree. The German Augmented Sixth is a chord that enharmonically looks like a dominant. For example, built on Ab, it would be Ab C Eb F#. Change the F# to its enharmonic equivalent Gb, and it's Ab7.

However, the spelling is important, because both Ab and F# in this context probably want to resolve to G: Ab goes down, F# goes up. Augmented sixths can be very good dominant preparations, although the German chord usually has another chord in between, because it's difficult to avoid parallels going directly to the dominant.

An example progression in C: C F AbGer+6 G C.

So, now its use in modulation: reinterpreting a German as a dominant 7, or vice versa.

Let's look in C major. You can have C F G7 as a perfectly good progression. However, you decide to modulate to B. Just reinterpret G7 as the enharmonic G Ger+6, and now you're in B. So, you could have something like: C F G7/Gger+6 F# B.

When modulating up, you reinterpret the first key's German as the new key's dominant.

Example: C F Abger+6/Ab7 Db.

I'll try to look up an example or two if I can find or make them.
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#184
I fail to see how the Abger+6 chord is in the key of C, since that was the original question. I kinda like the chord though
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#185
'Rule thingies: all chords must belong to either the key of C or B, and the common chord can be found in both.'

Ah misread your post, the answer was C F Gger+6 F# B i believe not the Ab example...
Quote by cakemonster91

*chuckle* A peanut. With a face.



Go to your staff paper and re-write this song a half step down so on the paper it'll be like you have a "C" just move it down to a "B#"




Know your theory, then play like you don't.

#186
Quote by elvenkindje
I fail to see how the Abger+6 chord is in the key of C, since that was the original question. I kinda like the chord though


Well, I consider that and the Neopolitan to be chords serving a function specific to that key. It wasn't a very clear set of rules though, and my intentions could have been clearer (the wording was rather misleading/bad). So my apologies on that.

But it is a nice chord, another one that's maybe a little more harmonically interesting is the French augmented sixth. Instead of having the intervals above the bass being major third, perfect fifth, and augmented sixth, it's major third, augmented fourth, augmented sixth. So, in C, it would be Ab C D F#. It sounds pretty cool, to me anyway.
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#187
im not sure who's turn...but im pretty sure the 24-hour rule has taken place (if it hasnt scrap my question)

its an easy one

The progression C-G-C would be considered a I-V-I in C major, but is the chords where extended to Cmaj7(#11)-Gmaj-Cmaj7(#11)... it would derive from which Scale (or mode) ?

(yes i know the 2nd progression dosent really have a resoultion any more but it still serves the purpose for this question)
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#188
G major.
My name is Andy
Quote by MudMartin
Only looking at music as math and theory, is like only looking at the love of your life as flesh and bone.

Swinging to the rhythm of the New World Order,
Counting bodies like sheep to the rhythm of the war drums
#190
Quote by sock_demon
I'm going to throw this out there.... Dorian... >_>
wtf loll?

It's obviously C Lydian if you want to stay in the key of C..... or it could be G major as the Tool guy said...
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#191
I would say c lydian because of the #4 sound
Quote by cakemonster91

*chuckle* A peanut. With a face.



Go to your staff paper and re-write this song a half step down so on the paper it'll be like you have a "C" just move it down to a "B#"




Know your theory, then play like you don't.

#192
Quote by Ænimus Prime
G major.


thats right, beacuse the tonal centre is C i would of also accepted C lydian.
your turn
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#193
How many beats per bar in 15/16? How long is each beat?
My name is Andy
Quote by MudMartin
Only looking at music as math and theory, is like only looking at the love of your life as flesh and bone.

Swinging to the rhythm of the New World Order,
Counting bodies like sheep to the rhythm of the war drums
#194
5 beats, each beat has the duration of a dotted eigth note.
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#195
Quote by sirpsycho85
5 beats, each beat has the duration of a dotted eigth note.

Your turn.
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Quote by MudMartin
Only looking at music as math and theory, is like only looking at the love of your life as flesh and bone.

Swinging to the rhythm of the New World Order,
Counting bodies like sheep to the rhythm of the war drums
#196
Its been well over 24 hours, so here we go to get things rolling again.

What key has 7 sharps? Id like both major and minor names.

EDIT: and no using google to find this one!!!
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Last edited by justin_fraser at May 10, 2007,
#198
Argh.... pretty sure he wins /\...

But his sharps are out of order. Should be (F#, C#, G#, D#, A#, E# B#)
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#199
^Huh? I simply wrote the scale down, I don't think the OP was looking for a specific order of sharps.
#200
John you got it. And I wasnt even looking for the sharps to be named anyways. So youre up.
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