RE: Sharing "implied" chord charts

RE: Sharing "implied" chord charts (Full Version)

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chester -> RE: Sharing "implied" chord charts (Feb. 23 2021 17:18:48)
quote: ORIGINAL: Ricardo Keep in mind, it is not “Just” that one chord, the C7 that takes you to F is also a change of scale. The melody of the song does not have the Bb but the guitar chord implies C major went to C mixolydian (F major tonicization) for a second. So we have 3 different scales actually. I dunno ricardo, I think you're really over-complicating things. Theoretically you can play any scale on any chord (whether it sounds good or not is somewhat subjective) so we can have an unlimited number of scales, not just three. But the key, the tonal center, the note that feels like home, is always C. So doesn't matter if you play an Ab, Bb, or F#, we're never leaving C major. A tonicization for a few beats is not a modulation.

Ricardo -> RE: Sharing "implied" chord charts (Feb. 23 2021 19:29:49)
quote: A tonicization for a few beats is not a modulation. No overthinking the fact a tonicization brings in new notes ie a “different scale”. I would not say it is modulation either...but that definition is open to debate ( the longer time spent with a new tonic the more people will hear it as a key change). Perhaps pretending any and every note possible can work is a bit more mental gymnastics than the simple thing I proposed (two different accidentals implies two different scales plus the tonic major scale).... though I agree anything can work. And by the way... why the hell you didn’t back me up with that same argument when I proposed the same concept for flamenco in general?? Instead busted my chops? (Just giving you a hard time)

chester -> RE: Sharing "implied" chord charts (Feb. 24 2021 3:56:05)
Man I can't HELP but bust chops [:D][:D][:D] Not saying you're wrong about the different scales, just worried that our boy Joe will get confused. He should get a firm grasp of vanilla triad harmonization with some simple songs before his mind gets blown and he starts looking up things like the "harmonic major mode".

Ricardo -> RE: Sharing "implied" chord charts (Feb. 24 2021 13:43:58)
quote: ORIGINAL: chester Man I can't HELP but bust chops [:D][:D][:D] Not saying you're wrong about the different scales, just worried that our boy Joe will get confused. He should get a firm grasp of vanilla triad harmonization with some simple songs before his mind gets blown and he starts looking up things like the "harmonic major mode". Yeah, I should never had mentioned that Fminor chord.[8D]

devilhand -> RE: Sharing "implied" chord charts (Oct. 17 2026 10:44:58)
Anyone see other key changes in this chord progression? I got different results. I think there must be one correct answer. Obviously it starts on A major key and ends on the key of C major. A F#m G E B G#m F#m B7 Em A7 Dm G F G Em Am7 Dm7 G C

Ricardo -> RE: Sharing "implied" chord charts (Oct. 17 2026 15:21:35)
quote: ORIGINAL: devilhand Anyone see other key changes in this chord progression? I got different results. I think there must be one correct answer. Obviously it starts on A major key and ends on the key of C major. A F#m G E B G#m F#m B7 Em A7 Dm G F G Em Am7 Dm7 G C And now it is obvious to me you NEVER bothered to draw your own circle of 5ths and understand the basic thing we discussed 5 or 6 years ago. A f#m G=D maj or B minor, since neither it is important to understand the basic scale family only, there is no "key" established here. G E this implies a "false relation" or key change of some sort as E has a G#. F# and C# might still be in play melodically. EBG#mF#mB7=E major, 4 sharps F,C,G,D...no ambiguity and is a strong tonal progression, relative to the previous ambiguity. In hindsight the opening sequence might imply E DORIAN. Em A7= Back to E dorian. A7 Dm = this is a cadence or tonicization of the D minor, out of the key. We jump radically from two sharps to one flat. However, we can soften this sound with melodic minor (all naturals only using C#). That is how tonal harmony works why it is a big clue our flamenco is NOT Freakin ARABIC/EASTERN. Dm GFGEmAm7Dm7G C=all that is strongly Tonal C MAJOR. We can say that in hindsight the melodic minor suggestion was very appropriate as we were tonicizing the ii chord Dm. EADGC bass line is a specific circle of 5ths sequence or progression (5ths advancing UPWARD, many folks insist on 4ths descending for their own biased reasons "it's actually the circle of 4ths" nonsense). A basic drawing of the circle of 5ths and understanding that all chromatic notes can be used to move around the thing and still keep a key center is all the theory needed for this exercise.

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