| >> | No.48809296
>>48809189
in the aeroplane over the sea is in the key of G i believe. the chords are G, em, C, and D.
the D major chord is not diatonic in the key of C major. The diatonic chords in C major are:
C, dm, em, F, G, am, bdim
the diatonic chords in G major are:
G, am, bm, C, D, em, f#dim
so as you can see the chords of itaots fit into the key of G, not C
and the roman numerals would be
I, vi, IV, V
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| >> | No.48809389
>>48809315
im confused by this question.
the only keys that you play entirely using "white keys" on the piano (aka notes that do not have a sharp or flat in front of their name) is C major or A minor.
all other keys have some black keys that you play. each key has seven diatonic notes (diatonic means "belonging to a that key"). The notes will have the names A, B, C, D, E, F, and G, but some of them might be sharp or flat. so for example the key of A major has A, B, C#, D, E, F#, and G# as the seven diatonic notes
if you want to be "in key" play only using those diatonic notes
hope that helps
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| >> | No.48810689
>>48809911
>how come scales use the same pattern of keys but have different names because of where the scale starts?
you are confusing scales with modes or the relative minor (see Aeolian mode below).
A mode is when you begin and end a scale on a note other than the tonic (root/home note).
C major: C D E F G A B C
This the Ionian mode of C, aka C major. Your begin and end on C.
D Dorian: D E F G A B C D
Notice the notes are exactly the same as the key of C. This scale would be played over the ii chord in C, which is Dm.
E Phyrygian: E F G A B C D E
This is a popular mode for latin and gypsy jazz.
Combine it with the relative harmonic minor (Am) and you get a G# (Natural 7th in Am), and also add a Natural 7th in E (D#) which will result in a Phrygian Dominant scale.
E F G# A B C D# E
>I am going to skip Lydian (4th mode), and Mixolydian (5th mode), and go right to Aeolian.
>This is the most used mode.
A aeolian: A B C D E F G A
1 2 b3 4 5 b6 b7
The notes are the same as C, but have the distinctive "minor" sound when we start on A. This is called the "Relative Minor" and every major Key has one.
Ex:
>The Relative Minor of G Major is E minor. The notes are the same in both keys
There are variations on minor scales, like Harmonic and Melodic minors. The harmonic (most used variation) has a natural 7th (meaning is it not Flat). This adds tension to your melodies and solos.
Model Interchange:
The natural 7 in A is G#. When you use this in diatonic harmony (ie chords), the chords will change. Ex:
In C, Em is the iii and the notes are E G B
Add the model interchange (G#), and Em becomes E major. E G# B or III
I see the III7 following a I, ii, or iv chord often in pop, rock and blues.
Sorry if this was difficult to understand, but i hope this helps!
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| >> | No.48813520
>>48809711
no you don't. write out the notes of the key, and then use the pattern major minor minor major major minor diminished.
so for instance in f major you have
f g a bflat c d e
so the chords are
f major, g minor, a minor, bflat major, c major, d minor, e diminished
which would be notated like I, ii, iii, IV, V, vi, viidim
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| >> | No.48815552
>>48815050
Don't get me wrong, I play many instruments, and I feel like a good composer should understand the physicality of every instrument they compose for in depth, so that they can better write idiomatically - but that knowledge does not have to come from first-hand experience, otherwise orchestral writing would be a virtual impossibility. There's a reason that orchestration books go into agonising detail about the physical limitations, etc, of every instrument in an orchestra. Aside from that, composition was only a side-note of my comment. There's still plenty of reasons to learn music theory and not apply it with an instrument.
Also, why are you blaming the problems with the survey on us? We didn't write it. I agree that improv over a ii V I turnaround is not advanced in any way: it is however more advanced than simply playing over other chord progressions, because it implies an understanding of tritone substitution, modal interchange, secondary dominance, extended harmony, etc, simply by nature of the genre it's associated with.
>>48815173
> is there specific notes that one should be playing if they're going to be out playing?
Depends on the context. Usually you'll borrow from a temporarily tonicised key, or from a mode which introduced one or two accidentals; otherwise, you can implement chromaticism through your phrasing (as passing tones, or as part of interval-transposed repetitions of phrases and fragments).
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| >> | No.48817597
>>48816840
You can tell which one you're in by the function of the chords within the piece. Which feels safe and 'home-like'? Which is usually preceded by a dominant-functioning chord?
>>48816867
What are you talking about? All I did was give him the name for what he's noticing, and point out that there is a relative major/minor to every scale. That's called being helpful and informative; being a wanker is whining about shit and trying to feel superior, despite contributing absolutely nothing to the discussion.
I knew that it's the natural minor, not the melodic minor which contains the same notes as the g major, I just didn't feel the need to correct him since it's obvious that's what he meant - I also know that the reason they have the same notes is that the minor scale is built off of the sixth scale degree of the major (and arguably because of the way we organise pitch-ratios - but the temperamental development of the major/minor scale is a whole other story), but I was leaving that for him to realise on his own by recognising that the thing Gmah and Emin, Cmaj and Amin, or Ebmaj and Cmin have in common is that the minors are always the sixth scale-degrees of their relative majors, and the majors are always the third scale-degree of their relative minors.
TL;DR: "Oh God, this is why this thread is shit. This guy just bitches and gripes, despite offering absolutely no help to the OP and being entirely counter-productive. No wonder people think 4chan is full of wankers."
Also, where on Earth are you getting jazz from? What has jazz to do with anything?
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| >> | No.48828657
>>48809945
not the same guy
>Key signature is the number of inherent sharps or flats (or lack of thereof)
>Diatonic scales are built of major and minor second intervals. The major scale, for example, consists of 1+1+1/2+1+1+1+1/2 seconds.
>Chords are commonly built by stacking intervals of thirds on top of each other, although this is not the only way to construct chords.
>Assuming a chord is built from thirds, "1" is the grounding tone upon which the rest of the tones, "3" and "5" respectively, is built. This holds true even if the tones 1, 3 and 5 appear in a different order. For example, in a C major chord, which consists of C, E and G, both E and G may function as bass tones, while C is still the grounding tone. (grounding may be the wrong term here).
>Another interpretation of the question: The reason we stack thirds is because of the harmonic overtones of an acoustic tone, where the octave, the fifth and the major third typically resonate the strongest.
>Why are minor chords written in minor? A more interesting question is why do minor chords sound "sad". The answer here is related to the previous answer: The major third is an inherent overtone in most acoustic instruments. A minor third played as a two-note chord is, in fact, a dissonance.
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