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I've overanalyzed to uncertainty


Scotty J

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Posted

I've been studying theory pretty heavy for about the last 6 months. I had some theory in college but pretty much stopped at harmonizing major modes.

 

I feel like I have a pretty good understanding of how to use modes to build my chords for progressions and which scales work over which chords.

 

I've jumped head first into minors now. I came up with a progression that I think sounds pretty good. I build it off of the D Aeolian Mode.

 

Here is the progression:

Dmin-Em7b5-A7-Dmin

 

Being built off the D Aeolian (D-E-F-G-A-Bb-C-D) mode. The Dmin and the E

Posted

So, I guess my question is this. Is the major 3rd on the A7 due to a use of a Harmonic Minor scale, a quick modulation to a parallel scale or a substitution that I've not covered in my studies yet?


I know "why" the A7 fits. It creates a diminished 5th between the C# and G to give it a Dominant 7 to Tonic cadence. But in theory, how is it being applied?

 

 

Yes. The entire reason why harmonic minor was created was to provide a V7 chord in a minor key. Typically, when songs are in a minor key, when the progression reaches the V chord, the chord is turned into a major triad or a dominant 7th and the harmonic minor scale is put to work. However, when the progression is not on the V chord, everything reverts back to the natural minor scale. Harmonic minor is usually used exclusively for the V chord, and when in minor keys, the V chord is almost always turned into the major V chord from harmonic minor.

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Harmonic minor is usually used exclusively for the V chord, and when in minor keys, the V chord is almost always turned into the major V chord from harmonic minor.

 

THANK YOU!

 

I have scoured to the far edges of the information super-highway to find that one sentence.

 

Everything that I've read alludes to the fact that you can indeed use the notes from a harmonic minor for a V7-i cadence, but never make it clear if it's "traditional practice" to use it only for that purpose.

 

I just read the "Modes" thread. I think my answer was in there on the first page, but there is nothing like laying your cards down on the table and having someone else confirm that "your" cards are indeed in the correct order.

 

Hey, while I've got you distracted, is it common practice to use any or all chords that are available from harmonic and melodic minors. Let's say A Aeolian.

 

A-B-C-D-E-F-G-A

A-B-C-D-E-F-G#-A

A-B-C-D-E-F#-G#-A

 

You could choose to use an F#m7b5 instead of an Fmaj. That of course is just one example of the possibilities having these additional notes adds? (and I didn't say this out loud, but that is a classic example of when knowing the modes will come in handy)

 

Thanks again bud!

Posted

You certainly can use the chords, though it's not as common, but has been done.

 

The first two measures of "Round Midnight" by Thelonious Monk uses all three minor modes:

 

| Ebm7 Cm7b5 | Fm7b5 Bb7(b9) |

 

The first chord is the i chord in natural minor, the second chord is vi in melodic minor, the third is ii in natural minor and the last is V in harmonic minor. However, to put it more simply, it's just a cycle of 5th progression, and the Cm7b5 (as opposed to Cb maj) makes it all perfect fifths between the roots of the chords, and it actually sounds more 'correct' because of this.

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Posted

it's just a cycle of 5th progression, and the Cm7b5 (as opposed to Cb maj) makes it all perfect fifths between the roots of the chords, and it actually sounds more 'correct' because of this.

 

Oh man, I wish you hadn't said that. I tend to be on the anal retentive side. Now everything I play will be in relation to perfect 5ths LOL.

 

Thanks again bud. I have seriously tried for the better part of a month to get a definitive answer for some of those "minor" questions.

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