Members codecontra Posted October 30, 2010 Members Posted October 30, 2010 For example, let's say I want to harmonize using thirds. Let's say I am soloing in A minor and the notes are A,C,G,D over and over. What notes would I play over these? Do I move up a third in the key of Am? So would I play: A C G D C E B F over it? or does every note get harmonized with the third from it's own scale, so C# would be played over A and so forth?
Moderators Jed Posted October 30, 2010 Moderators Posted October 30, 2010 For example, let's say I want to harmonize using thirds. Let's say I am soloing in A minor and the notes are A,C,G,D over and over.What notes would I play over these? Do I move up a third in the key of Am? So would I play:A C G D C E B F over it?or does every note get harmonized with the third from it's own scale, so C# would be played over A and so forth? As a general rule a melodic line gets harmonized using the notes from the chord scale for what ever chord is in play. So if you were playing a section over an A minor chord you could use the notes that you've laid-out. Note that the "F" over the "D" is technically an avoid note over an A minor chord - so if for example you try to end the phrase on that DF, the "F" may not sound that way you expect. If you have the ability to record a short progression you'll be able to hear this pretty easily. cheers,
Members JonR Posted October 30, 2010 Members Posted October 30, 2010 For example, let's say I want to harmonize using thirds. Let's say I am soloing in A minor and the notes are A,C,G,D over and over. What notes would I play over these? Do I move up a third in the key of Am? So would I play: A C G D C E B F over it? or does every note get harmonized with the third from it's own scale, so C# would be played over A and so forth? Basically what Jed said. The F over the D is fine if there is no Am chord, if you just have a melody or riff.If - with no chords - you add 3rds in this way, it will start to imply chords.Here's your 3rds, with their most likely implied chords: , and works as well with the chords as the lead line does. If it does, you can usually get away with all kinds of dissonant intervals.
Members codecontra Posted October 30, 2010 Author Members Posted October 30, 2010 Good stuff guys. Thank you. Why is the F an "avoid note". I realize it is not in an Am chord, but anything more to it?
Members JonR Posted October 30, 2010 Members Posted October 30, 2010 Good stuff guys. Thank you.Why is the F an "avoid note". I realize it is not in an Am chord, but anything more to it?Essentially it's because it's a half-step above a chord tone.But also it can make a confusing or ambiguous harmony. Eg, if you play the F an octave (minor 9th) above the E, it sounds pretty bad: -1- F-1- C-2- A-2- E-0- A-x- (Play just the 4th and 1st strings together to really hear that "ouch" dissonance.) Now try this: -0- E-6- F-5- C-7- A-x--x- Not so bad, right? Dissonant, but rather a nice sound. However, this is really a kind of voicing of an Fmaj7 chord. F is really the root of this set of notes.In the first shape, the low A and E make the A sound much more like the root, and F on top is really fighting it.In the 2nd shape, the A is less powerful. If you don't think F is the root, compare the following: -0- E-6- F-5- C-7- A-0- A-x- -0- E-6- F-5- C-7- A-8- F-x- You may disagree, but to me the 2nd chord sounds more "right", more harmonically stable. F really works as the root.The first chord is not a bad sound, but is less "rested". In a sense it's balanced awkwardly between the sound of an Am chord and rhe sound of an F chord. Even tho there are two As in there, the F is still a strong presence, disrupting the "Am-ness". None of this stops you playing an F over an Am chord! But you will probably want to resolve it down to E, or use it as a passing note in an upward run (E-F-G). It's only when it's held over the chord it sounds bad: it needs to move out of the way!
Members codecontra Posted October 30, 2010 Author Members Posted October 30, 2010 Essentially it's because it's a half-step above a chord tone.But also it can make a confusing or ambiguous harmony.Eg, if you play the F an octave (minor 9th) above the E, it sounds pretty bad:-1- F-1- C-2- A-2- E-0- A-x-(Play just the 4th and 1st strings together to really hear that "ouch" dissonance.)Now try this:-0- E-6- F-5- C-7- A-x--x-Not so bad, right? Dissonant, but rather a nice sound. However, this is really a kind of voicing of an Fmaj7 chord. F is really the root of this set of notes.In the first shape, the low A and E make the A sound much more like the root, and F on top is really fighting it.In the 2nd shape, the A is less powerful. If you don't think F is the root, compare the following:-0- E-6- F-5- C-7- A-0- A-x--0- E-6- F-5- C-7- A-8- F-x-You may disagree, but to me the 2nd chord sounds more "right", more harmonically stable. F really works as the root.The first chord is not a bad sound, but is less "rested". In a sense it's balanced awkwardly between the sound of an Am chord and rhe sound of an F chord. Even tho there are two As in there, the F is still a strong presence, disrupting the "Am-ness".None of this stops you playing an F over an Am chord! But you will probably want to resolve it down to E, or use it as a passing note in an upward run (E-F-G). It's only when it's held over the chord it sounds bad: it needs to move out of the way! Cool. Thanks for the explanation. I will have to experiment with the looper!
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