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Hi, Mike and Reg.
Originally Posted by mike walker
Just woke up and now I'll go out with my girlfriend and some friends to see some live music on the streets.
Without touching the guitar I suppose the notes of these chords are:
|: G#xGCDx|CxBbEFx|DxCFGE|GxG#CDx|xCEGDx|FxDG#x|GxFBb Cx :|
When I'll be back at work and have a little time I'll try to work out what scale/s it is and name these chords.
Sure| After that I can try one of my own.
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09-11-2010 12:18 PM
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Claudi,
Spell with Ab instead of G#.
7 note scales use one note for each letter.
It makes it easier to see what's there.
What chord is F G# C E?
What chord is F Ab C E?
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Hi, Bako! Thanks for your tip. Again I'm thinking without a guitar in hand and after revising the chords Mike wrote I found 2 mistakes, so I'm rewriting the note names again:
|: AbxGCDx|CxBbEFx|DxCFGE|GxAbCDx|xCEGCx|FxDAbCx|GxFB b Cx :|
If I'm not wrong the chords are Abmaj7/5+||Fmaj7/sus4||Gmin7/sus4||Gmin7/b5/sus4||Cmaj||Dmin7/b5||Cmin7/sus4.
is that correct? If it is I'll tell what melodic minor modes to improvise on each chord.
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...and I'll say what subs also, of course!
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The melodic minor/jazz minor scale is F G Ab Bb C D E F.
Sorry I'm sending short posts but as I said I'm at work.
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Without subbing any chord in principle I could play:
AbxGCDx: Abmaj7/5+: Ab Lydian 5#
CxBbEFx: Fmaj7/sus4: Should be from the diatonic scale F ionian, F lydian
DxCFGE: Gmin7/sus4: G
GxAbCDx: Gmin7/b5/sus4: G aeolian b5
xCEGCx: Cmaj: C aeolian dominant
FxDAbCx: Dmin7/b5: D aeolian, D locrian
GxFB b Cx: Cmin7/sus4: C dorian, C aeolian.
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Subbed chords:
Abmaj7/5+: C7, Emin7/b5
Fmaj7/sus4: A7, Cmin/7
Gmin7/sus4: Bb7, Dmin7
Gmin7/b5/sus4: Bbmin/7
Cmaj: Tritone to Gbmaj7 or C7, Emin7/b5
Dmin7/b5: Fmin/7, Abmaj7/5#
Cmin7/sus4: Eb7/Gmin7/b5
Damn! Sure there are mistakes and more possibilities.
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Yes, yes, I know. When I wrote that I simply spelled the note names taking them from the fretboard, I still didn't know the scale, so I had to write G#/Ab instead. I be more spcific next time. Originally Posted by bako
Emajb6b9? Originally Posted by bako
Fmin/7
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Al the chords are from one scale.
Of course, They don't have to be. You can impose other scales on them.
But that is what would give strength to this from a compositional standpoint,
Like Stella.......the tune almost always fits into a Bbma Scale, over all those chords. So it already has an intrinsic strength of it's own.
Think of each root on the 6th string, and name each chord from that.
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My point about spelling the intervals correctly is that it is easier to see what you have. Originally Posted by Claudi
Emajb6b9?
Fmin/7
FAbCE is FmMa7 1b357 (the I chord in F melodic minor)
FG#CE is the same sound but 1#257 is confusing, #2 is an augmented 2nd
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Hey Claudi... I'm a little late adding info. but... Originally Posted by Claudi
1st chord is Abmaj#11, #5 could be implied but not in voicing
2nd chord with tri-tone...probable C7sus add3 or C7 add11
3rd chord, don't see the E in voicing, I'm not playing but still hearing as D-7 add11 or the II chord of next chord
4th chord... Root is V, but chord implies the Abmaj7 #11, so Ab/G has duel function ... then to false I or
5th chord... C triad, another duel function, V of next chord
6th chord... F-6, standard deceptive I of F melodic min., or D-7b5
7th chord... again either G-7 add11 or C7sus, with so many nat. E's played
If you hear starting from the 6th chord, F-6 , G-7add11 , Abmaj7#11 ,
C7 add11, implies FMM, the 3rd, 4th and 5th chords imply new tonal center, or call traditional movement to V.
I could be totally off as to what Mike was implying, but with so much ambiguity because of choice of notes and voicings, you almost need a melody to give direction.
Again, cool Mike... even more cool to solo over thanks Reg
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Yep... the scale is implying the alterations Reg, so all the chords could have E on top. Originally Posted by Reg
You're not off at all, lovely breakdown of it all.
What i love is the solid foundation of the sequence's derivation, but the individual take on each sound.
In other words, you can set the sound/scale up first.....then play the chords...or the other way around. Either way the listener gets foxed.
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So I was right in 4 of these 7 chords. Better than I expected. I told you there might be mistakes. As for the chords that I named right; 1rst, 5th, 6th and 7th what do you think of the subs?
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Last chord not Cmin.... No Eb.
G chord moving to Ab Vii to I which could be a V I sub except there is no Eb.
It still can function in that way tho.
Think abut the Smooth connection of sound. Different reasons to sub. One is to change colours that can function in the same way but have a lighter or darker colour. Think about this when subbing. Do the subs still connect smoothly?
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I wrote: Originally Posted by Reg
CxBbEFx: Fmaj7/sus4: Should be from the diatonic scale F ionian, F lydian
DxCFGE: Gmin7/sus4: G
GxAbCDx: Gmin7/b5/sus4: G aeolian b5
Then, as Reg says, it has to be:
2nd chord: C(1) E(3) F(4) Bb(7): C7 add4/11
3rd chord: D(1) E(9) F(3) G(4/11) C(min7): Dmin/9 sus4
4rth chord: Ab(1) C(3) D(4) G(7): Abmaj7 add4/11
Now it's how it has to be, right?
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Fma7/sus4 Chord.... cannot be Lydian. Why not? Originally Posted by Claudi
Ab C D G cannot be an add 4 chord. Why?
D E F G C cannot be a sus4, again, Why not?
Just go thru it carefully claudi. Look at Reg's response again.
I don't want to hog this thread but if folks don't mind, i'll continue to push ya if you're up for it?
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.. Originally Posted by mike walker
Fma7/sus4 Chord.... cannot be Lydian. Why not? Lydian has an #4.
Ab C D G cannot be an add 4 chord. Why? D is a #4
D E F G C cannot be a sus4, again, Why not? Maybe 11th? Otherwise I give up with this one.
Just go thru it carefully claudi. Look at Reg's response again.
I don't want to hog this thread but if folks don't mind, i'll continue to push ya if you're up for it? Thanks for the patience.
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That's great man. I think these details matter.
In that way you make sure these things don't slip the net.
The sus 4 chord. What does sus mean in this context?
You spelled the chord correctly D (R) C (b7) F (b3) G (11) E (9)
So why not 'sus' 4?
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Hey, guys!
Listen, I'm not being able to play the guitar these past and coming days due to my work and other things and therefore I've been doing all this as I told you before without my guitar in hand, and I think that's not the way because I'm simply trying to do it in the theoretical way and I'm not hearing any note thus I can't hear If it sounds good or bad.
What I did tonight is to write down the basic 7th chords for the melodic minor, harmonic major and minor, diminished and whole tone.
Melodic minor:
Imin/7
IImin7
IIImaj7/#5
IV7 (dominant)
V7 (dominant)
VImin7/b5
VIImin7/b5
Harmonic minor
Imin/7
IImin7/b5
IIImaj7/#5
IVmin7
V7 (dominant)
VImaj7
VIImin/bb7/b5
Harmonic major
Imaj7
IImin7/b5
IIImin7
IVmin/7
V7 (dominant)
VImaj7/#5
VIImin/bb7/b5
Diminished
Imin/bb7/b5 or Imin/7b5 whwhwhwh
Imin7/b5 or Imin7 hwhwhwhw
Whole tone
I7/b5
I think that I have to first internalize these chord scales to make it more complex in the future. Maybe it's now too soon as to do it.
Don't worry, I'll analyze every chord scale and get the trick of it all. It's a promise I can fulfil since I got the general idea and know now the many possibilities though as I said it's too soon to make it exact.
I wanna thank you again for all your tips, explanations and your patience.
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Hey, Mike. My friend. I still don't know but I'd like to get your explanation. Although what I wrote before I'm still not scared of theory.
I'm very stubborn.
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No worries fella. There's a third in the chord. Sus refers to the third being 'Suspended' delayed if you will, by a 4. Originally Posted by Claudi
Hey, Mike. My friend. I still don't know but I'd like to get your explanation. Although what I wrote before I'm still not scared of theory. I'm very stubborn.
Probably clearer to put 'Add' 11 or 4.
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Yes, when you explain it I see it. Soon I'll make it by myself.
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By the way Mike, are the chord denominations I wrote before correct? Any correction will help me again.
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I think ya got them all now Claudi!!!
Maybe write it out once more and i can check?
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Melodic minor
Imin/7
IImin7
IIImaj7/#5
IV7 (dominant)
V7 (dominant)
VImin7/b5
VIImin7/b5
Harmonic minor
Imin/7
IImin7/b5
IIImaj7/#5
IVmin7
V7 (dominant)
VImaj7
VIImin/bb7b5
Harmonic major
Imaj7
IImin7/b5
IIImin7
IVmin/7
V7 (dominant)
VImaj7/#5
VIImin/bb7b5
Diminished
Imin/bb7b5 or Imin/7b5 whwhwhwh
Imin7/b5 or Imin7 hwhwhwhw
Whole tone
I7/b5
I didn't "copy and paste" anything! I got you!
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