Quote:
Originally Posted by Jordan
...also, you just inadvertently taught me (or maybe on purpose, and you are brilliant) how to write better chord Progressions.
|
I'm glad you got something out of it. It's cool to see how a great progression stays in a key centre for a while, and also how it moves around.
There were a couple places that tripped you up - simply because it's not something we've mentioned yet.
[I presume the first E is supposed to be Eb...you got it right the second time
]
Anyway.
Do you also see how a simple melody can be developed over/through the changes? ...
Now I'll mention a couple of new scales/chords. Synthetic scales are those that do not exist naturally in any major/minor scales. The first one you stumbled upon was the C+7
augmented chord.
C+7 = C E G# Bb [could also be notated as C7#5]
Along with this we uncover the
whole-tone scale. Pretty straight-forward. There's only two of them possible, built entirely of (duh) whole-steps:
C D E Gb Ab Bb
Db Eb F G A B
The same scale is used for any augmented chord with that root... i.e. the D whole-tone and Ab whole-tone scales are identical; likewise with F and Db and so on...
Make sense?!
The other chord you ran into was Bē7 ... It's a little hard to read, but that's what it is. B-diminshed.
Diminshed scales are built on alternating half and whole steps. And, there's two ways to build them: starting with a half-step, and starting with a whole-step. Which one to use? I've devised this little gimmick... chord symbol looks like: Bē7? The circle looks like a hole...whole. Whole-half. If the symbol is something like B7(b5, b9) [the b9 is the kicker] then I go with half-whole...So, for
All The Things you could pop in a little diminished lick:
B C# D E F G Ab Bb B
Fun.
See it...hwhwhwhwhw...and so on. Again, the same scale relates to several chords, because it synthetic and symmetrical.
Neat-o!!
...