Chord Progression

so i learned that for Major Keys the chord progression is Major 1st Minor 2nd Minor 3rd Major 4th Major 5th Minor 6th and Diminished 7th.

these rules dont apply to the Minor keys right?

if they dont what is the order that the Chord Progression is on Minor Keys

also for composition, when is it good to use Whole Tones?

The same rules apply to the minor keys. If you use a natural minor (no major 7th or major 6th), you have the exact same progression, starting from the 6th degree;

I minor

II diminished

III major

IV minor

V minor

VI major

VII major

If you use an harmonic or melodic minor, you get quite different progressions. But the rules are still the same. You use degrees to obtain the progressions.

When it is good to use a wholetone? Not a specific question. The whole tone scale has a very unique coloristic effect. So, it depends on what you want to convey.

Cheers!

hey thanks alot man, yeah i guess i wasnt specific with the Whole tone.

although the whole tone scale does sound like some sort of a Disney Music of some sort like entering a "Realm" or something idk.. they are kinda trippy haha.

but thanks alot.

That's the coloristic effect that the whole tone conveys...a somewhat mysterious sound...

Trippy, sure! Debussy was in love with this scale...

Enjoy!

Whole Tones are all Augmented Chords right?

You mean the progressions they create harmonically? Yes, they are! But these chords create a very static harmonic setting.

What's interesting is when you use the whole tone scale in more 'normal' progressions (such as plain major chords)...great colour! But I believe you should stick to learning the standard progressions (major/minor/harmonic minor/melodic minor) for now, as the harmonization of whole-tone is somewhat more advanced.

whole tones dont have key signatures right?

whole tones dont have key signatures right?

But I believe you should stick to learning the standard progressions (major/minor/harmonic minor/melodic minor) for now, as the harmonization of whole-tone is somewhate more advanced.

I recall someone I knew years ago telling me: "And I'd just like to add for the record that, I don't think you're quite ready for assembly language yet" talking about computer programming. I then proceeded to learn it in 2 weeks,self taught from a book.

That was a rather extreme example, but the truth is, whole tones are no more advanced than normal scales. It's just another pattern of notes. In fact, I actually found them easier to learn than major or minor scales because the only pattern is "keep going up or down a whole tone!" and there are exactly two such scales (on the piano, I mean. 2 patterns.)

manossg...not trying to contradict you here, just providing an alternative view so this guy doesn't feel like whole tone scales are forbidden territory for beginning or intermediate composers. :huh: which, he may very well not have felt anyway.

manossg...not trying to contradict you here, just providing an alternative view so this guy doesn't feel like whole tone scales are forbidden territory for beginning or intermediate composers. :huh: which, he may very well not have felt anyway.

You're very right here...and I agree! :P:) Wholetone scales (well, the two of them) are very-very easy to learn and remember. The point is that learning to apply them in a specific setting might be an endeavor that has as prerequisites some more basic knowledge.

I want to share that I learned wholetone scales very early, but, inspite of the initial fascination, my hands were tied as to where to apply them (because of the static harmony implied). It wasn't until much later that I could try and apply them in different harmonic settings. But that meant comprehending a basic theoretical vocabulary.

Of course, that's just my opinion and experience, which I don't wish to impose on others as law! Nothing is law in music, except what you hear as such (and sometimes even not that). And any discussion is welcome! :)

And, yes, Pianist, you're right, wholetones don't use signatures!

And, yes, Pianist, you're right, wholetones don't use signatures!

so the whole tones are just used within a scale, since there aren't keysignatures for them. does that mean that they are just used within the composition? (repeated the same sentence lol)

Yes. You already have a key signature, in which you superimpose the wholetone. Why not use foreign elements within a key signature? Who tells us otherwise? :D

For example, you have a key signature of C major, so you have to put accidentals for F#, G#, A#.

ahh.. but of course..... how could i be so dumb. thanks.

This isn't dumb...this is a very important question!!!! And there's still a lot of debate today whether or not somebody should use key signatures at all!

I don't know if you're still dealing with this re-whole tone scale-http://www.music.princeton.edu/~dmitri/debussy.pdf