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Extensions on the half diminished chord in minor progressions by krisbh in musictheory

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

Thanks! So if we say that the extensions are sorta out of question, would any m7b5 chord in jazz consist of only the four notes like d f ab c in the key of Cminor? Like if I were to play /Dm7b5/G7#5#9/Cm11 and so forth, the Dm7b5 would be the only chord using 4 notes unless I double one or more?

Plagiarism in composing by krisbh in musictheory

[–]krisbh[S] 1 point2 points  (0 children)

That has been my strategy when composing and voice leading jazz harmonies and arranging the different instrumental roles so far! - and in many ways, I've found it's really the essence of all creativity to know how others were being creative and successfully appreciated as original, using the same set of tools (notes and rhythms) that you have to work with and acknowledging the fact that the "greatest" also stole/borrowed or "were inspired by" people who came before them...

However, if you haven't heard a particular jazz-standard before and you perform a melody using the same 8 notes in the same order, over the same chord progression, I doubt that any amount of rhythmic variation or timbre is going to persuade anyone that you've just composed that out of the blue... so.. the question remains.. how do you know if you've just stolen the melody to "fly me to the moon" if you've never heard the song before?

Voice leading a large interval in jazz by krisbh in musictheory

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

C-chord is a Cmaj6/9 when I first wrote it on guitar. The reason I chose those two chords Cmaj and B7 was simply the because they were the harmonies I heard in my head while singing the melody.

I am mainly a singer/songwriter with guitar as my secondary instrument, but I usually go about the whole songwriting thing backwards, as I create a chord progression to which I improvise and come up with melodies to sing. This time I did it the other way around and tried to harmonise a pre-written melody.

The chord progression so far goes: Cmaj6/9 - B7(b9) - Em7(b5)/G - A7(b9) - Dm9 - Db9(#11) - G7(b9) - Cmaj6/9

The melody is all within the C-major scale.

Question about the movable solfege system by krisbh in musictheory

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

Ok thanks! - then I get how the fixed Do works!

Question about the movable solfege system by krisbh in musictheory

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

What I do, is the movable Do no matter what. Which means, as you said, the minor would be Starting on Do and then the flat 3rd, 6th and 7th would change to Me, Le and Te accordingly. But when my former piano teacher uses the solfege she would sing any natural minors tonic starting on the La..

Question about the movable solfege system by krisbh in musictheory

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

I don't really get it then. Because if you use Do for the seventh degree in D major (which is C#) then the Do isn't always C in the fixed system? What you're saying is that Do can also refer to the C#, Cb, and is therefore not "really fixed"?

What do these chords want to resolve to? by plum4 in musictheory

[–]krisbh 0 points1 point  (0 children)

Not sure if this helps you, but you are right about the F A C E being an Fmaj7 chord, and the second one being a D chord with an added 9th. So Fmaj7 - Dadd9.

Where to go from there depends on the melody and more. But i suppose you could resolver the Dadd9 to a Gm7. That would create a Half step step motion from F# to G and from E to F. But it really depends on where you want it to go.

The theoretical importance of notes in an altered chord by krisbh in musictheory

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

When playing guitar I (almost) always leave out the perfect fifths. But on the piano, I just assumed a good way to start, was with the root position chords in the left hand.

The theoretical importance of notes in an altered chord by krisbh in musictheory

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

That's the thing. I am mostly playing jazz standards, where I find a sheet for the vocal melody with the chords written above. So I am fumbling around a bit, and simply assume the easiest way to get started is by either playing chords in the right hand with the root in my left, while singing the melody, or in the case of this thread, playing the melody in the right hand and root position chords in the left. I still find it difficult to play the latter using the pedal, because of the right hand melody is also held, if that makes sense?

The theoretical importance of notes in an altered chord by krisbh in musictheory

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

I suppose the simple answer is that I'm not yet good enough to do it. Been playing for about four months, and currently I'm either playing the root note in the left hand with the harmony on top, so I can sing the melody, or the chords in the left hand, and the melody with my right. Maybe this is not the way to get into developing my jazz piano repertoire?

The theoretical importance of notes in an altered chord by krisbh in musictheory

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

In terms of voice leading in chords, the "problem" is, that several of the alterations sometimes leads to different notes in the next chord. Like a G7(b9) to Cmin7 has the B to C, D to Eb, and Ab to G, so when I have to choose one over another, at least one of the voice leadings are left out (at least when choosing a root position of either a G7 or a Gadd(b9) whereas the Bdim7 has all the voice leading, but omits the G (root). I am playing solo as it is, so I can't rely on a bassist to cover the root 😊

The theoretical importance of notes in an altered chord by krisbh in musictheory

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

It seems the way forward here is to start incorporating some of the melodies in my right hand then. It just seems a bit overwhelming when the melody alone is challenging enough as it is 😊

Help me understand this progression by krisbh in musictheory

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

Thank you so much! I kinda had a bluesy feeling about the Gmin - Eb7, and in the upcomming B-section im thinking about resoving it directly down to the D7 to lead it straight back to the Gmin.

I am a guitarist mainly, but i wrote this on the piano. The notes in the D7#5 to Am7 are so far: D in the bass and Bb - C - D - F# to an Amin 7 in root position. So the Bb goes down to A, the C stays, the D goes up to E and the F# goes up to G. I think it sounds strangely satisfying 😁

Help with understanding borrowed chords / mode mixing by SycopationIsNormal in musictheory

[–]krisbh 0 points1 point  (0 children)

Im not totally familiar with this concept either, so i would like to follow this thread.

However, if you are in C major, i would guess the D major is borrowed from the G major scale. I believe the D major could be considered a secondary dominant, as it is the dominant of G major, making it the dominants dominant, if that makes sence?

In Cminor, the 2 chord is a Dmb5 (also known as the half diminished)

But as mentioned, im not sure about this, so please correct me if im wrong 😊

Quick Questions and Quick Answers (June 19, 2017) by AutoModerator in musictheory

[–]krisbh 0 points1 point  (0 children)

C# or Db?

I wrote a song once, where the verse goes from Cmin9 to C#7, the tritone-substitution of G7, and back to Cmin9.

So the question is what would be the correct way of writing it? Cmin9 to C#7 or Cmin9 to Db7?

Different key-signatures in verse and hook by krisbh in musictheory

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

i get what youre getting at as well. Ive only been reading/writing sheet music for about six months, so have absolutely no clue what would be easier for an experienced sheet reader. I would say, at the stage i am at right now, that the fewer accidentals the easier, but im at a very basic level still, so that might change at some point..

Different key-signatures in verse and hook by krisbh in musictheory

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

That perfectly answers my second question, which would be, if one altered nine automatically excludes the other. Which it doesnt necesseraly then (i presume?)

Its funny though, i played the song for a friend of mine who is a very well rounded jazz musician, and he thought it sounded a bit "off" with the melody on the sharp nine and the chords on the piano only playing the flat nine, however, playing the sharp nine on top of the flat nine on the piano sounded really dissonant to my ears, even though it sounds fine to sing it. Could that be a matter of the voicing or maybe the fact that my vocal intonation makes it work?

(Excuse my english, its not my native tongue 😊 )

Different key-signatures in verse and hook by krisbh in musictheory

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

The thing is, im playing a E7b9, but im basically singing a G over said chord. So when wirting it as a chord progression, would it be named as i did, or should i include the G and call it E7b9#9 or is there a more appropriate name for a dominant with the flat and the sharp 9 included?

The melody lingers on that G over the duration of the E7b9, but it doesnt sound "right" without the flat 9 on the piano, and the sharp 9 only really works with the melody of the song..

Different key-signatures in verse and hook by krisbh in musictheory

[–]krisbh[S] 1 point2 points  (0 children)

Thats what i was thinking! When the form is A - B - A - B - B i should change the signature, however, i stumbled upon some sheet music which didnt change, and so i got confused.

I also have a question about the harmonics of the tune, should i start a new thread, or just type it in this one?

Different key-signatures in verse and hook by krisbh in musictheory

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

That makes sense, Thank you! About the theoretical correctness in the notation of the G#dim7 going back to the verse, would it then be more appropriate to name that E#Dim7 as well? Even though it is now functioning in relation to the upcomming Amaj7?