Hi! Since Common Time is 4/4 and Cut Time is 2/2: it has for each measure the same amount of sum note durations. And since the time we specify for each measure is for notational purposes only. What is the purpose of the Common Time vs Cut Time? Evoby evo - Music Theory Questions and Answers
So why do we only have Major and Minor keys? What about diminished and augmented keys? evoby evo - Music Theory Questions and Answers
If I am in C Major. The 2nd chord Dm. What is the chord scale of Dm. Is it D Dorian?by evo - Music Theory Questions and Answers
Question 1: Altered tensions is, as I have learned, only available on the dominant 7 chord. That is the b9th, #9th and b13th. My question is why is that so? Question 2: What is the analysis of this chord progression: A - C#m - B - F# - G# I seem to start in A Major, then move to A minor on the C#m, F# and G# chord. But where would we say the B comes from? I was thinking maybe secondary domby evo - Music Theory Questions and Answers
Ok this is a bit beyond my level but isn't the 6th in C Major an A chord not an Ab chord? On that, isn't a tritone chord an augmented 4th/diminished 5th off the root, in this case if root is C then wouldn't that make it an F# or Gb (and not an Ab)? Also if the augmented 6th name comes from the largest interval in the chord, why call it augmented 6th and not minor 7th? I'm sorry if you havby evo - Music Theory Questions and Answers
I've come across two chords called the Italian +6th and German +6th. Could someone please explain what they are and how we could use them? I think I understood it as using it before the dominant V chord, maybe as a secondary chord? But have no idea if this is some type of regular augmented chord with a sixth in it, sounds strange to have an augmented 5th and a sixth. evoby evo - Music Theory Questions and Answers
Quote > On the last clip youtube clip (JonR) the piece in > Fm, it sounds as though the piece starts in Db > then goes to Fm, in the same way as the Gary Moore > tune. Um, nope - it starts on Fm7. Have another listen... ;-) I was a bit quick there :) Quote In terms of the Fm key, it's the Dm7 that is the odd chord. The Dm7 chord is the odd chord but what mode is he usingby evo - Music Theory Questions and Answers
Thank you. Questions: Why is the A7 chord called a bVI chord and not a plain VI chord? I know from harmonic minor the VI is called a bVI to differentiate it to the VI of melodic minor. Is it due to the b7 in the A7 chord? If it is then is that a common naming practice? Even though it isn't "blues" in the standard sense, it sure sounds like blues to me. I do see that "by evo - Music Theory Questions and Answers
I've learned the twelve bar blues should go through the chords I, IV and V. In Gary Moores Cold Day In Hell the bass line (intro) goes 1, 3, 1, 7 which I then interpret as chords I, iii, I, viio. Is this correct? Of course if it sounds good it is good, but I would like to know what blues thing is going on here? Thanks evoby evo - Music Theory Questions and Answers
Thank you Steve. Yes I meant the Tonic Chord and Key/Tonic Note. Thank you for clearing up the Root misunderstanding. I don't have a specific chord progression but I went through my notes and it said something to that effect and I had to double check as I was wondering.by evo - Music Theory Questions and Answers
Can anyone give me an example of a chord progression where we do not start and/or end on the root but still the chord progression emphasises the root chord? Is it at all possible? The reason I ask is that I've learned that the last chord in a progression does not neccssarry mean it is the most important chord. I find it easiest to start and end on the root chord when setting the emphasis.by evo - Music Theory Questions and Answers
Thank you Steve that made things clearer. As you seemed to guess I do play the Guitar :) I was wondering however in cases where one borrows chords or use secondary chords; would there not be notes added to the notes of the key then? How do we deal with those if you want to use the notes added in melody playing? I guess we would have to look for some scale there then?by evo - Music Theory Questions and Answers
Quote Keep in mind, too, that this method of using various modes over a major key chord progression is simply a controlled way of introducing chromatic notes while keeping with the original key. The music isn't modal. It's just major with some chromatic alterations. In other words, you're using the modes in a non modal way. So what is the recommended way to use modes (modal progression, modal mby evo - Music Theory Questions and Answers
Can I play C Lydian over a C Major progression? (I know the #4 crashes with the chords.) Q: Do I have to avoid using the #4 in order for it to sound good or can I play the #4? Q: If I can play it, does that mean I can play any C <mode> over a C Major progression? Q: What if I play an F Lydian chord progression, can I play any F <mode> over it (does it work the same way)? Myby evo - Music Theory Questions and Answers
I have to ask: Can we borrow the viio dominant chord as well? (or does it have to be the V chord). If yes, would it also be called secondary dominant? Can we borrow pre-dominant chords? Would they be called "secondary pre-dominant" chords? Can we borrow "secondary tonic" chords? Thanks... evoby evo - Music Theory Questions and Answers
Quote it leads down to A. And it normally does this on a C7 chord, leading into an F chord. Alternatively, it could be on both Gm7 and C7, but still leading to F. I see that both Gm7 and C7 has the Bb note, and I am with you that it would lead to F. But if we are in C Major where does the C7 come from? Borrowed from? Or can a C Major chord be substituted with a C7 chord? evoby evo - Music Theory Questions and Answers
QuoteYes. You can borrow any other chord from E minor too, such as G, C or Am. Very common practice - in rock music at least. So how does this work theory wise exactly? I mean if we are in, for example, C Major, and borrow a chord, say Gmin7 (V), from C minor. We then have a new note into the mix, the Bb. This note will be in dissonace to the C Major scale. It should as I understand it be callby evo - Music Theory Questions and Answers
Hi, I was wondering what the word diatonic means? di = two? two tonics? Evoby evo - Music Theory Questions and Answers
It seems to me to be borrowed from E Major's parallel minor. E minor scale. It has a DMajor chord. Am I on the right track? Evoby evo - Music Theory Questions and Answers
Thank you Steve. Still have a couple of questions. Is anticipation the same as syncopation (rhythmic or otherwise)? If not how does anticipation relate to syncopation and what is syncopation? Is there any other form of syncopation than rhythmic? Kjetilby evo - Music Theory Questions and Answers
I am having problems understanding anticipation. We put emphasis on the weak beats? Are they weak then? What are the difference between long and short anticipation? What exactly are the anticipated notes. The first eight-note or the one after. Do the note after always have to be of longer duration? Can anticipation exists with the longer note first, then the eight note after insby evo - Music Theory Questions and Answers
Thank you JonR. ;)by evo - Music Theory Questions and Answers
An avoid not should be a note in a chord scale that does not belong on the chord as a chord function or available tension. So What are the avoid notes to Locrian Mode? I've learned 2nd and 6th. But am unsure of 6th now after looking at this again. Also why does this page say that Dorian has an avoid note? I'm 99.9% sure it has none.by evo - Music Theory Questions and Answers
In 4/4 time beat 1 is stronger than beat 3. Beats 1 and 3 are stronger than beats 2 and 4. Eight notes on the beat are stronger than those on the "and" of the beat. What about sixteenth notes and up? Are they stronger on the beat like eigth notes or are they always considered weak? What are strong and weak beats in other time signatures like 5/4 and 7/8?by evo - Music Theory Questions and Answers
Wow JonR. That was a great reply. You gave me things to think about. ;) evoby evo - Music Theory Questions and Answers
I'm harmonizing because I wanted to know which chords to use over the scale. Since we do it to the Major an Minor scale we should be able to do it to all scales. Yes? I'm thinking the Pentatonic scales are scales just like any other scale. It just happens to have 5 notes with some quality to it. Its not really derived from Major or Minor scale is it? If it is then I suppose all scales are deriby evo - Music Theory Questions and Answers
Does anyone know if and what the chords diatonic to i.e C Major Pentatonic are? I'm guessing the relative A Minor Pentatonic uses the same chords it different order. I tried to figure it out and got this: Notes: C D E G A I: C E A D -> C Maj6 (9) II: D G C E -> D7 (sus4) (9) III: E A D G -> E7 (sus4) (#9) IV: G C E A -> G Maj6 (9) V: A D G C -> A7 (susby evo - Music Theory Questions and Answers
Thanks again JonR :) I think I see your point.by evo - Music Theory Questions and Answers
Thanks JonR :) Now I wonder what kind or type of modal chord progression would i need to be able to play different modes over the chords? Modes that is where all the notes in the modes are not equal.by evo - Music Theory Questions and Answers
If I have an E Mixolydian chord progression. E D A E and I want to solo over them. Since the chords are Major I assume I could use Ionian Lydian or Mixolydian over them? What options do I have over the chords; scale or mode wise?by evo - Music Theory Questions and Answers