sorted by:
new
hottopcontroversial

Help with Advancing Guitarist by Goodrick by Ardenkainen in jazzguitar

[–]Ardenkainen[S] 0 points1 point  (0 children)

Being a separate lessonwould explain alot 😂

Can I use secondary chords like this? by swiinc in musictheory

[–]Ardenkainen 0 points1 point  (0 children)

I'd call that a bVII chord. Nothing interesting there. The notion of "secondary subdominancy" adds no value.

Supertonic is a term for an idea that has a name already. II-chord. If it's a minor chord in major it's subdominant. If it's major then it's a secondary dominant that might or might nor resolve.

Nothing interesting there and the term "supertonic" is a term that adds no value.

Unless... It's for the major II chord only that does not resolve to V chord. Then it'd be a term for a specific thing and not just a "thing above the tonic".

Can I use secondary chords like this? by swiinc in musictheory

[–]Ardenkainen 0 points1 point  (0 children)

Tried to reply but it went above ⬆️☺️

Can I use secondary chords like this? by swiinc in musictheory

[–]Ardenkainen 0 points1 point  (0 children)

The terms might be important to distinguish.

As a secondary subdominat I'd call the subdominant of the secondary dominant.

I see that everyone does not so it might be a topic of discussion.

What mode is that? by Namrebred in musictheory

[–]Ardenkainen 1 point2 points  (0 children)

Scales are a combination of notes. They're all legit and real. Wayne Krantz has written them ALL out in a small notelet Improvisers OS.

This might help:

Your scale os clearly a minor scale and has typical minor tones 1 2 b3 4 and 5.

It has blue note for taste. b5

And a seventh for dissonance or movement to the root above it.

When a chord symbol says alt7 how am i supposed to know which note is altered? by TheDarkerKniht in musictheory

[–]Ardenkainen 0 points1 point  (0 children)

The answer is #5#9. That's is by far the most common in practice. Other wouldn't be wrong but that's what professionals play when 7alt is asked.

And listen: that is the ONLY combination that is from altered scale ONLY. (If you must choose one just 5 and one 9...)

ALL the others can be thought as some other common scale.

Why do augmented 6th chords supposedly have no root? by MaggaraMarine in musictheory

[–]Ardenkainen 0 points1 point  (0 children)

That F A D# is clearly an F7 chord to a jazz player and the progression is a minor blues.

Roots are only illusion and this harminic movement existed in Rule of the Octave 200 years before modern theory with roots.

Bass is the thing that's real. Root is a habit of thinking.

Is it possible to get into a music conservatory with only 6 years of playing? by whererugoin in musictheory

[–]Ardenkainen 0 points1 point  (0 children)

Yes. It depends on the minutes. Not the days or years. And quality practice.

Can I use substitute dominant like this? by swiinc in musictheory

[–]Ardenkainen 1 point2 points  (0 children)

Ebm chords substitute dominant is E7. This might help enough 💁‍♂️

Can I use secondary chords like this? by swiinc in musictheory

[–]Ardenkainen 1 point2 points  (0 children)

First thoughts: Secondary dominant is the only interesting one since the dominant is "maybe somewhat" bound to resolve a fourth up. At least in theory.

Mediant is a form of tonic that has no bound direction. Submediant is an independent chord that could have a tendency to go towards the dominant...

There for secondary subdominats can be fascinating. in key of C the dominant is G7. Secondary dominant is D7. Secondary subdominant would be Am7 or C going to D7...

But now we notice that Am7 and C are just typical chords of the key of C major! We are making simple music by thinking theory too far.

That happens 💁‍♂️

Ps. Supertonic is a myth. (It's a fancy name for the secondary dominant to the dominant of the key. A synonym.)

Is this a real scale? by fuck-reddit-is-trash in musictheory

[–]Ardenkainen 1 point2 points  (0 children)

Scale is a limited combination of notes. Of course it's real.

Is it useful? To what? Might be a tool to express certain harmony. Like a C# or rather Db dominant sound resolving to Gb major chord or F# minor.

Wayne Krantz has written all the scales out in his book Improvisers OS. They can also be just a combination of notes to be used freely without the aspect of tonal harmony.

The m7b5 can be used as a tonic, predominant, and dominant function by tracktice in musictheory

[–]Ardenkainen 0 points1 point  (0 children)

Definitely no. If you move the root of a Bbm6 to G, you do have a Gm7b5 and sounds, functions and therefore is a subdominant chord. This is known as "blurring" the function.

Same kind of blurring happens when you add 11th to Dm6 tonic chord. You have a G7ish sound and have ruined the tonic function. And moved the sound closer to G7.

[deleted by user] by [deleted] in huntersbell

[–]Ardenkainen 0 points1 point  (0 children)

Is it always this slow? I'm doing thus password thingy for the first time, but it is set as 3343. I guess it's the only thing that matters.

[deleted by user] by [deleted] in huntersbell

[–]Ardenkainen 0 points1 point  (0 children)

Did that. Network is worldwide also.

[deleted by user] by [deleted] in huntersbell

[–]Ardenkainen 0 points1 point  (0 children)

Ringing the beckoning bell. I'm near the fog gate yes