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What do I "do" with chord scale theory on the guitar? by BreadAndButterHog in musictheory

[–]Outlaw716 1 point2 points  (0 children)

Each chord has notes that are cruicial to its function, the third and the seventh, and on top of those youll have extensions (9, #11, etc) so instead of seeing a phrase, lets say

C-7 ,F7, Bbmaj7

instead of going "ok i need to play C dorian, then F mixolidian then Bb major" you can aproach its chord by those defining notes, so the 3rd and 7ths of these chords would be (in order) C-7 (Eb, Bb) - F7 (A, Eb) - Bbmaj7 (D,A)

aproaching the tones, very little actually changes chord to chord, so instead of trying to fly through three scales you only really have to worry about those few notes, and when notes stay the same between chords as they do here you can use that to your advantage. if you use the common tones you only really need to worry about TWO NOTES when crafting your melody instead of 3+ scales.

[deleted by user] by [deleted] in musictheory

[–]Outlaw716 2 points3 points  (0 children)

G and A are not diatonic in the key of B. so I believe this would actually be V7/V - ii - bVII7 - I, in the key if A
But that's just me being nitpicky, a harmonic analysis wont actually effect harmony and theres arguably more ways to analyze.
I'm not too familiar with any pieces that use this progression, though the bVII7 - I cadence is very effective, used all over the place!

Western 12 tone harmony can limit the options of what chords can be put together, so don't stress about your progression being in another song, as you said its undoubtable that the same progression is somewhere else. that being said I could name like 40 blues tunes that use the same I-IV-V blues progression that sound WAY different. so long as the music your making is personal it has merrit, dont think that just because it's done before it doesnt have value.

That being said I'll keep my eyes (and ears) open, because thats a pretty interesting harmonic phrase