Minor Key Harmony - Music Theory
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- Опубликовано: 25 июл 2024
- Minor key harmony can be very complicated. Many people are reasonably happy about choosing chords to harmonize a melody in a major key but minor keys present particular challenges, especially when trying to figure out your way around the natural minor scale, melodic minor scale and harmonic minor scale and dealing with the inevitable conflicts between melody and harmony. In this music theory lesson, we show you how to add chords and harmonize a melody in a minor key and you will learn some of the most successful minor key chord options and chord progressions. Additionally there is advice on avoiding the pitfalls of harmonizing in melodies in a minor key and how to end up with chords that paint the melody well, while adding suitable colour and harmonic rhythm that functions well.
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🕘 Timestamps
0:00 - Introduction to minor key harmony
0:33 - Harmonic vs melodic minor scales
3:01 - Working out the basic diatonic chords
5:32 - Thinking about cadences
10:54 - Completing the chord scheme
17:20 - Plotting the bass line
18:29 - Filling out the middle parts
20:33 - Checking for consecutives
21:35 - What does it sound like?
21:48 - Adding inessential notes and other details
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Can we built a harmonic minor with the 3 degree of a major scale
It’s certainly possible that if you were referencing to C major you could build a minor scale on E.
You are an amazing teacher, thank you :-)
You’re most kind. See www.mmcourses.co.uk for much more.
I'm gonna be taking my theory exam tomorrow and just found this channel. I learnt a lot. Thank you so much.
That’s great. Good luck with the exam.
Very valuable piece of information!!
No wonder there are zero dislikes.. even duffers who dislike just about everything resist their temptation to dislike this sort of stuff..
That’s very kind. Much more at www.mmcourses.co.uk
“Addicted” to your channel !
Thank you. That’s great. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our Maestros programme.
Thank you, so much information and clarity, excellent!
A pleasure. See www.mmcourses.co.uk for our 24 online courses and information about our Music Matters Maestros group.
You are the Best tutor, made me understand very easily. Well explained
Most kind. See www.mmcourses.co.uk for details of our 24 online courses and of our special Maestros programme.
Thanks so much for this. As with your other demonstrations of four-part writing, it quickly becomes clear that familiarity with cadences/chord inversions is critical to success. I'm a guitar player, but I'm now working with piano for this very reason - cadences are much easier to see and understand on the keyboard ! (even if very slowly at the moment). My aim is to arrange some songs for the acappella mixed choir that I am involved in. Thanks for your excellent videos. I'm also working my way through Gradus ad Parnassum !
Great to hear from you. Thanks for your comments. Much more at www.mmcourses.co.uk
Many thanks for sharing the knowledge! this is priceless!
Too kind! See www.mmcourses.co.uk for our 24 online courses and details of Music Matters Maestros.
I am learning so much from this teacher, that i was able to write my first composition of 21 bars in a minor with a 12/8 time signature. I used the same approch to find the chords that he is saying in This video. You have to take your time, try that one bar (at a time) and listen. I thank you so much sir.
A pleasure. Fabulous to hear about your composition. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
thanks Gareth - these short videos are most helpful
That’s great. Much more at www.mmcourses.co.uk including details of our 25 online courses and our Maestros programme.
Life has never been so good when it comes to music now.
That’s great. Much more at www.mmcourses.co.uk
Fantastic video! I learned so much!
That’s great. See www.mmcourses.co.uk for our 24 online courses and access to Music Matters Maestros.
21:37.
Those chord voicings from the V to the VI sound amazing.
Glad you like them. Much more at www.mmcourses.co.uk
This is amazing! Thank you ❤️
That’s great. See www.mmcourses.co.uk for much more.
Brilliant stuff! I started to write a melody in G minor yesterday and this was exactly what I was looking for. Not only did it answer a lot of questions I had, it answered questions I didn't even know I should ask. Absolutely brilliant!! Thanks a lot!
A pleasure. Much more helpful stuff at www.mmcourses.co.uk
@@MusicMattersGB I'll be signing up in a couple of weeks for the Music Theory Grade 1-5 course. Just waiting to get paid :) Cheers Gareth, look forward to learning with you! :)
That’s great. Enjoy!
I used your procedure to compose a psalm in c-minor and it sounded quite great. I'm becoming more confident in the use of minor keys in composition. Thanks.
That’s great. You might enjoy our keyboard harmony course.
thank you. it's a great way to learn. I'm a beginner and your videos make it easy for me to understand harmony
That’s great. The full courses are available at www.mmcourses.co.uk
Amazing, thank you so much 👍
A pleasure. See www.mmcourses.co.uk for our 24 online courses and to find out about Music Matters Maestros.
hi i really love u classes I wish we had a teacher like u thank u for all the classes they are great
That’s most kind. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
Thank you ! Thank you!! Thank you!!
😀
Great job explaining everything, I wish I found this channel sooner.
Most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
I don’t think I’ve ever seen a music theory video (or class) this PACKED with essential info, presented in such a clear, logical and practical way. Thank you!
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
@@MusicMattersGB I'll have to check it out :-)
😀
Brilliant, just makes me want to learn more about music theorey
That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Excellent. Will buy a course at some point!
That’s great. Enjoy!
many great ideas in this video
That’s great. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
I always loved that interval that implies some kind of Arabian music. But I never understood why ascending should be different from descending in the harmonic minor scale, since, I came to music from a non-traditional approach. Also, this is the sort of thing I've been wanting to do, promising myself a few years ago that I would begin taking a deeper look at harmony. I was fascinated at your breakdown and analysis and towards the end of your analysis I was thinking, " but, is this going to work? I mean, how can he be so confident something musical is going to emerge? ". Wow, my skepticism got put in its place; that simple movement was pretty, well, moving. Looking forward to watching this again since there's a lot to take in.
Thanks for your comment. Interesting to hear your thoughts. Much more at www.mmcourses.co.uk
Love to. Thanks teacher!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
thank you for sharing
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
This is a very helpful video - another excellent one. There are several which you have done on minor key harmony over the last few years. Now I'll have to watch the other ones. Thank you.
I really like the scale based approach - which makes key based harmony a lot easier to understand.
Perhaps that approach can also be used with some unusual scales - though conventions might be different. Can it work with the half-whole tone or diminished scale used by jazz musicians?
It’s certainly a useful way to think through harmony. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Thank you! That was so helpful. The harmonic minor is used for harmony! It might sound ridiculous but I never realised that even though it is in its name! Yep... I'm a guitar player...
That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
excellent thank you
Most kind
Lovely explanations. Interesting choice of interrupted cadence in the minor key as it's characteristic sound (for me) is only in a major key.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Enjoyed your vid, makes me want to learn more theory, when I say more I meant some😊
Have a look at our online Theory courses at www.mmcourses.co.uk
i'll be 53 next, and I learn so much from you. Really enjoy it and Thank you
That’s great. Thank you. Much more at www.mmcourses.co.uk
Thank you
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Thank you for this very informative video! I remember some old rule that says that a fifth shouldn’t be approached by parallel motion, like it happens at the beginning of measure 2 between tenor and soprano, can this rule be safely disregarded? Thank you again!
The rule concerns consecutive 5ths and consecutive 8ves ie we should try to avoid writing a perfect 5th or perfect 8ve between any pair of parts followed by another perfect 5th or perfect 8ve in the same pair of parts.
Probably one of the best channels on youtube!
Thank you. I am a little confused as to why augemented 2nd intervals are bad, but a minor 3rd interval is good? same notes right? This is not a question regarding your video it's just a general question because I am reading this in textbooks and it makes no sense to me.
Also I see a parallel Octave in your harmony there. (oversight or acceptable writing?)
That’s most kind. Re the consecutive octaves - well spotted. They shouldn’t be there! The difference between an augmented 2nd and a minor 3rd is theoretical rather than aural but it’s important. For example, C to D# might occur in the key of E minor but it tends to jar the melodic movement between the 6th and 7th degrees of the minor scale. However, C to Eb in say the key of C minor is not a problem as that represents the first and third degrees of the scale. Much more at www.mmcourses.co.uk including our 24 online courses and access to our special Music Matters Maestros group.
@@MusicMattersGB Thank you so much for clearing this up for me. I am going to copy and paste this into my notes.
I am serious about learning harmony because of my composing goals and I will be back to look into this but right now with everything that is going on I want to be a little careful with how I manage finances etc. There's a few things I am confused about so I will not forget your resources.
Many thanks
James
Honestly, Thank you.
All the best
thank you
A pleasure
I love your insights. If I had time and money I'd sign up for courses (which are very reasonably priced BTW). Thank you so much.
That’s a kind endorsement. Many thanks.
@@MusicMattersGB I love music, Gareth. I have always felt that I lack understanding. As I have aged (50) I realize that I lack practice. Not for a lack of effort (because I spend more time playing than anything else), but without a teacher, I have never known WHAT TO PRACTICE. These advanced concepts is where I want to be. But I just don't know which step should be the next step. Your videos on minor scales helped me so much. When you discuss cadence, I feel someone is forcing my eyes to open. I have found few teachers on youtube willing to go past beginner level. Thank you. Every video to me is like reading a book, you pack so much information into each videos. Your accent is very nice compared to many. I absolutely love the videos. One day I aspire to skype with so I can aim questions directly at that genius repository you've got. You are indeed a philanthropist. So much music Gareth. So much.
That’s most kind. Thank you.
Can the rules for perfect, plagal, interrupted, and imperfect cadences be applied identically across major and minor keys? (i.e. imperfect cadences will usually be only 1,2, or 4 to the 5) If so, are they identical only for the harmonic minor or natural minor as well? Thanks for the great vid
Yes, identical for minor keys (of any form) as for major keys. Thanks for your support.
master..😊🌹
Thanks. See www.mmcourses.co.uk for our 24 online courses and details of Music Matters Maestros.
Hi there. With regards to chord numbering using roman numerals, you used a small letter, b or c. Does that refer to the inversion of the chord?
Yes.
Again it's a good revision..The augmented chord ( III ) is only found in a minor key as a diatonic chord not in a major key. It's chromatic in a major key. It's used generally in the 1st inversion. VII b could be followed by Ib ( passing 6 3.
😀
Hello Professor, thanks for all these lectures. I'm trying to learn composition by doing first species counterpoint and I wanted to do it in a minor key because I feel I am not yet very strong with choosing when to use lowered 6, raised 6, lowered 7, raised 7 etc in minor because you have conflicting forces - the conventions of minor key harmony dictating you use raised 7 and lowered 6, and the requirement that any individual line avoid augmented seconds.
In one of my exercises, I wanted to have a half cadence to get some practice writing those in minor. I understand half cadences in minor end on V mostly. The upper voice would end on raised 7 at the half cadence, since we have V at the half cadence. The lower voice would end on 5 after walking down from 7 to 6 to 5.
This caused a problem. The melodic movement of the lower voice down to 5, in order to avoid an augmented second, would have to use either both lowered 6 and 7 or both raised 6 and 7. I was taught that if 5 is the destination of a voice in minor, I should lower both 6 and 7 because lowered 6 is the tendency tone pulling down to 5, and from there we lower 7 to avoid the augmented second. So the lower voice would go L7 - L6 - 5. Seems OK, but remember that when it lands on 5 we are at the half cadence and the upper voice is playing raised 7 (R7). So this means we have L7 in the lower voice and almost immediately afterward, R7 in the upper voice!
This seems like a sort of false relations problem, or something close to it. I am not sure what to do but I know that something has to give. If I want the lower voice's 7 as it walks down to the half cadence to be consistent with the upper voice's 7 at the half cadence, then I might have to raise scale degree 6 as the lower voice walks down to the half cadential 5. Then the lower voice would go R7 - R6 - 5. This violates the "tendency tone rule" I explained above, because 5 is the destination of the lower voice's motion, but we are forsaking L6, its tendency tone.
Or, I could do what I currently have, which is L7 - L6 - 5 in the lower voice, and when it lands on 5 the upper voice is playing R7 for the half cadence. Which causes what seems to be a false relations problem as described above.
Overall I'm not sure what my options are. I guess in the future when I progress to 4 part harmony, I should just avoid V - VI - V chord progressions or avoid the particular melodic movement I'm describing overall.
I would really appreciate your insight. Thanks again
If you’re writing Species Counterpoint work in modes eg Dorian or Aeolian. In the 16th century they didn’t write in major or minor keys.
@@MusicMattersGB Thank you for the reply. My end goal is to write in the style of the common practice period so I would still be interested to know if you have any solution to the paradoxical situation I've described above.
Also, my textbook says to use raised 7 even in minor, because "species counterpoint is a microcosm of actual music". I wish to use these exercises to practice actual compositions in the common practice period, so I would like to follow their conventions if possible. This means I have to deal with raised 7 and the major/minor scales. I'd appreciate any insight.
V IVb V is often better than V VI V. You’re augmented 2nd in minor keys is only a potential problem between 6 and 7 so that doesn’t impact on 5. You don’t have false relations if you have a chord in between.
Maestro: I really appreciated this lesson because you have to be professional and gifted to relate the music material. I have a question; on the time set 20:34 you state "we need to check for consecutives - this is my first question does that mean consecutive 5ths and consecutive 8ths - the second question is I saw you checking for the "consecutives" Soprano to Alto - Soprano to Tenor - Soprano to Bass - Alto to Tenor. My question is do you check for the consecutives in the relationships that I have mentioned Soprano to Alto, etc. Therefore, from the way I understand it those are the relationships to check. Again, if you could squeeze a moment and enlighten me, as always with respect and gratitude,
R
Yes, I’m referring to consecutive 5ths and 8ves. And yes, check each pair of parts in turn. Thanks for your kind words.
Respected sir,
I like your style of explaining the music very much, but my question is that " Is there any book published by you, containing everything step by step you say from writing melodies in all Maj min - melodic, harmonic etc. keys and harmonizing the same ? And if yes then how much does it cost and does it have online video access so that while going through a topic in the book I can click its relevant video and watch and
understand the theory and practical at the same time ? Pl response.
Hi. Thanks for your comment and question. I haven’t produced such a book but there is a huge amount of material at www.mmcourses.co.uk
Sir, you are amazingly good and I find myself so lucky to be listening to a such a knowledgeable teacher like you.
I saw you checking for parallel fifth while completing your piece and I do have a question in mind regarding parallel fifth and I understand that you may not have the time to answer.
Let's say we are using chords I, IV and V in their root positions in a piece of music. That means that the first note and the fifth note of the chords (which a perfect fifth apart) are moving in parallel. So does that mean we need to play inversions in between to avoid the parallel fifth movements? So we really can't play chords consecutively in their root positions?
Very thankful for your lectures on you tube.
Regards
Vivek
Hi. That’s most kind. We need to avoid consecutive 5ths and 8ves but it’s possible to rearrange the distribution of notes within a chord so you don’t end up with consecutives between the same pair of parts moving from one chord to the next. See www.mmcourses.co.uk for details of our online courses and information about Music Matters Maestros.
Thank you Sir. Appreciate
😀
I composed something in Ebm last year, music theory didn't enter my head at the time, was just how I was feeling on the day.
The chord progression is descending,
Ebm (i), Db (VII), Abm (iv), Gb (III), ending back on Ebm (i)
Is this an acceptable progression?
The basic test is - if it sounds good go for it. Much also depends on the spacing of notes/ chords, tempo, articulation, dynamics etc.
I have a little side question to your organist-self if I may. Is there any logic to avoid repeated notes at all cost in the bass (bar no 3) if the harmony is intended to be used as an accompaniment (to a hymn) played on the organ? Would movement in bass give a better sense of the rhythm? I accept that I could be completely wrong.
So much depends on context. Sometimes it’s good to keep the bass moving; sometimes a sustained/ repeated bass gives stability.
@@MusicMattersGB Thank you for your answer. I think I get it. It can be justified either way provided there is a concept behind it... Do you have any plans of creating a course for organists? Some of the lessons probably already exist in the various courses you offer. But a specific one for this would be superb. I leave it with you. I have no idea if there is a demand for it, but I would definitely subscribe to one.
Actually we do have plans to supply courses for organists. Let me know what kind of course would appeal to you.
Could you please explain as to why the parallel octaves in bar 3 between the tenor and the bass in beats one and two are acceptable.
Hi. Those are not parallel octaves because they are a repetition of the same notes. They’re only parallel when they move to different notes.
@@MusicMattersGB Many moons ago when I attended Leeds college of Music . We were told that consecutive 5th's and octaves produced a hollow sound. While I'm not trying to argue with you, I would still like to know if the same note octaves would sound otherwise.
Fascinating video. I've been binging a lot of your videos lately trying to get a crash course in music theory for harmony writing rather than doing it all by ear.
Quick question though: why would you not just use the natural minor scale? Also, let's say a melody is written in natural minor, would you then use natural for the harmony as well or would you still use the harmonic minor? When writing a minor melody, is it standard to use the melodic minor scale, or does it matter? Assuming nothing sounds terrible, I guess you could mix and match, but that's really the only lingering question I have.
Love the channel!
Hi. Glad you’re enjoying the videos. You can use the natural minor scale for both melody and harmony. Much music post 1600 uses the harmonic and melodic minors but you don’t have to be limited to those.
@@MusicMattersGB gotcha. So they're using melodic and harmonic in tandem in a piece?
@mrpsthoughtsonthings Absolutely
@@MusicMattersGB All I needed to know. Thanks man!
😀
14:26 i don't get what you mean.. what's the connection of the e-flat and the f sharp? the f sharp is in chord 5 which means the bass is D, and D to Eb is a smooth line
Absolutely but the point being made is about avoiding consecutive 5ths and 8ves
wouldn't you only really raise the seventh in chords when you explicitly want a dominant function, meaning you could take the III and leave it as major without any issue? same with the VII. does sound quite nice though once you finish it. helpful video, thanks!
Absolutely possible
i dont understand why putting a flat symbol represents a chord (in this case 2 or 7) in first inversion, could you explain?
b means first inversion
c means second inversion
why do you decend in natural minor when ascending in the melodic minor..??
That’s exactly how the melodic minor scale works.
Sir, Can we double the 5th note if the chord is in root position, if we have nice voice leading ?
Yes
@@MusicMattersGB Thanks 4 ur response 🤗
😀
Is this the question for question 1 a for grade 6 theory abrsm
It’s certainly helpful to that question. Much more at www.mmcourses.co.uk including our Grades 6-8 Theory course.
So, in theory I can use harmonic min scale for the harmony but melodic scale for the melody in the same song? And basically I can use any combinations of the minor scales for the same song?? Thnx, bro for super lessons!!
You can use both but be careful there are no chord clashes
@@MusicMattersGB u r one of the best! Gracies
That’s most kind.
“It gives me sleepless nights, chord III 😂”
😀
Interesting. Mostly over my head for my present level, but understandable. Seems quite mechanical .
Thanks for your support. Enjoy. Much more at www.mmcourses.co.uk
20:57 “666 ... that’s okay.” 😎
😀
I have been studying music theory for 45 years. I have studied at Berklee college of Music, Dick Grove School of Music, Citrus College, Chaffey College, and received a BA in Music theory from University of La Verne and an M.A. from Claremont Graduate University. . I have have extensively studied both traditional (functional) and jazz harmony. I have Never heard of "One C" until this video. What the hell is "One C?"
Hi. la is a tonic chord in root position. lb is a tonic chord in first inversion. lc is a tonic chord in second inversion. You will have described chords on the US system and the system I describe is common in Europe and the Far East.
I've never had a music lesson and wondered what the 1a, 1b was about until it became obvious it was about inversions. It's a nice shorthand way of describing chords by the looks - I like the logic of it.
That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
What makes little sense is why a diminished chord would sound better in certain inversions even though the intervals don’t change between inversions
When a Diminished chord is in root position one hears very clearly the Diminished 5th between the bottom and top of the triad. When it moves into first inversion one hears the major 6th between the bottom and top of the chord.
it's the same reason as A min7 and C Maj/A
or C maj7...and not E min/C...or F Maj7 and A min/F or C maj6.
You just have to get used to it...practice different movements on your
choice of instrument..I prefer the guitar.It has pros and cons.
The pros are...I can use the fretboard like a SLIDE ruler to play in different
PITCH/KEYS...rather quickly ( I havnt memorised what exact # or b goes to
what keys or the circle of 5th...( I do know it..) but...it's real EASY from
me to play in Bb MAJOR/Gmin...or Ab MAJOR/Fmin..
I just have to slide everything a couple of frets...
Hence I got BORED of playing only notes within the MAJOR/natural minor
real quick....becuase it's still the same old thing in 12 different PITCH
Heck I even got bored with harmonic min and melodic min..
HARMONIC MAJOR...open up lots of things to me...Plus some
of the songs ( sounds I was familar with..from BIlly Joe) finally made since
to me.
The INterval is IONIAN b6 the Ab Note..from C MAJOR.
so the modes are just
ion b6
dor b5
phry b4
lyd b3
mix b2
aeo b1 ( converted to ion #2, #4, #5...or lydian aug #2)
loc bb7
well...if I play D, F, Ab, B ( the 2, 4, b6, 7 chord degree
( they're all possible FULL diminished chords too)
D dorian b5
F lydian b3
Ab lydian aug #2
B loc bb7
verse.....B, D, F, G# ( A Harmonic minor)
couldnt you know it....A Harmonic MAJOR has B, D, F, G#.. too
AND C Harmonic min....D, F, Ab, B....
it could be FUN....for me
well...I could play C Maj D dim G7 into C Major...
I got bored of playing C Maj F min G7 into C Major..lol
I get bored easily...sorry
i learn other lessons...from piano teachers...guitars teachers.
I dont care...as long as I learn something NEW...I get bored ...sorry
The N6, n6 or hungarian minor
( there's Hungarian MAJOR too..incase you get BORED.)
I learn it from A Harmonic min b2 or A melodic minor b2...at first
beucase i was easier for me...
I LEARNED...you could INSERT the Bb chord...
as Maj7. Bb7....Bb dim...Bb Augmented
I also learn how to apply it after the MAJOR's TONIC..
as in substitute C harmonic min b2 or Melodic min b2..
it's more about play the Db lydian #6 or Lydian #5, #6...ect
I also learn how to play the Ab Lydian #2, #6 ( german, italian, french...
It's moe about learn how to play into the C MAJOR..using different
chord progression
such as A min Ab7 G7 into C MAJOR
or F maj G maj Ab maj Bb Maj.........instead of E7 into A min...all the time.
or inverting the F min to Db maj7
Db maj7 Ab7 G7 into C Major
Db dim F min Ab maj7 E7 into A min...
For different cadence or turn around..ect
or use the FULL dimnished to play into other TONICS...MAJOR or min
B into C MAJOR or min
D into Eb MAJOR or min
F into F# MAJOR or min...
G# into A MAJOR or min
apply the same principle with the N6
Bb dim into B MAJOR or min
Db/C# dim into D MAJOR or min
Ive also learn how to invert the Harmonic MAJOR.
A lydian b3 = E Harmonic MAJOR
I could play A min B7 into E MAJOR...or E min
G#7 into C# min
or A min C dim into C# min/E MAJOR
C lydian aug #2 ( C, #2, #4, 6)
or A min C dim.....D # dim into E min...if you want...instead
of B7 into E all the time...
I can even play
Bb maj7.....C Maj7...into A minor
it'll sound as if..I play D min...E min...A min..
But the Bb note will make it sound slighty different..for CADENCE or whatever.
It has a soft Jazzy sound.
i can also play A Maj7....D maj7...E maj7..
They're sort of ....C# min...F# min G# min...Inverted.
Instead of play A7, D7 ,E7....all the time when playing Blues or Jazz..
I get BORED.lol
Thanks for such a comprehensive response.
@@MusicMattersGB I get bored. they're prelude to learning the mesiani mode.
Each lessons build upon previous lessons..
I knew the FULL diminished HW or WH exist...Tried it but was unable to use it...aside from just doing full diminished runs o the guitar..
It sounds totally cool...but i knew there has to be more to it than that.
Hence I learned..how to use them in Harmonic MAJOR and Harmonic min....is parallel....wheather I count from the relatives...
A Major or min....C major or min.
Shift to other keys smoother...ect
The Hungarian MAJOR = ionian #2, #4, b7 or Mix #2, #4 or Lydian #2, b7..
I learned it F lydian #2, b7.....Hence A Harmonic min b5
This scale too has full diminished....starting at A min ( minor's tonic)
Playing the A as A lydian b3.....helped me to learn how
to alter the Minor's tonic into a possible FULL diminished.
Being a death metal guitarist as i am.
The D Dorian b2 #4 us Pleasing to my ears lol
It was just by accident....From playing the D lydian dominant ( mix #4)
The b2,...with Mix #4 ??? Yes Mix b2, #4.
A piano Teacher told me years ago...I could play DOMINANT or MAJOR
chords every b3 intervals...as will ( it sounded totally cool)
but it was still sort of....weird or I'd get lost and couldnt
complete my solos or melody lines...smooth.lol
Anyways....It makes sense to me now....
A Harmonic min b5 AND A melodic min b5 = Full diminished W/H
D Dorian b2, #4 AND D Lydian dominant b2 = FULL dim H/W
I had to break it down to LEARN HOW to USE it better....
Its' SYMMeTRICAL.....
I could play from.....1, b3, b5, 6.....or 2, 4, b6, 7...lol
Not just diminished chord...
Alter or sub as.... Maj, min and dominants too.lol
AUgmented chords are cool..too
no mani mouozik fre yes ?
Hi. Struggling with the language there but good to have you with us. Gareth and Alex
"...which is fine if you're writing a piece about life in the Arabian desert" 😁
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I was thinking a theme for the new Jason movie
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You say to avoid the augmented second in melodic writing. Several other people also say that. I don’t think the augmented second is awkward in the context of a minor key. In major? Yeah it would be awkward outside of modulation, but in minor? Not really. You also say that not using the raised seventh is a mistake. How many pieces in C minor do you know that don’t use Bb major or G minor? Probably very few. A Bb major chord, the subtonic of C minor does not automatically mean modulation like some people think it does. In fact, I find that Bb -> Cm is a nice progression in C minor, with similar strength of resolution to a true dominant.
I agree about those possible choices of chords. The melodic augmented 2nd between the 6th and 7th degrees is generally a move that is avoided in conventional contexts but of course it can be most effective if you’re looking for a particular musical character.
Caters Carrots And yet you don't thank the gentlemen for giving his time and knowledge to you for free. Bizarre.
Life in the Arabian desert,really???😂😂😂😂😂
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