Ricardo -> RE: chord list (Feb. 4 2007 6:25:06)
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quote:
Also I'm talking about all of the possibilaties of a C chord sound and not just functioning as a tonic. I dont like to resttict myself theoretically as... Yeah, I know that is why I am trying to clearify a little bit. I know that you understand, I don't mean to sound patronizing or arguementative or criticizing, just so others that follow might be on page with us, but I see a couple potential confusions that might result, so I am just trying to be clear. So I know that there are different functions for your chords, and different context, but that to me is the BIG PICTURE. The way it all ends up sounding relative to your piece as a whole, or Alegrias, or the key of "E major" or "G# phrygian" etc. I know. But the point of my exercise with the modes is much simpler. I mean for you to extract that little piece, that little passing chord moment from the big picture, and blow it out of proportion. Make it TONIC for while, and give your self time to explore the possiblities. Then when you go back to your context, or your "big picture", you will have a more educated, and hopefully intuitive, set of options. The ultimate goal being you relate a scale or mode to that brief moment that you are very familiar with and like the sound of. It might seem endless, but focus on those 7 modes at first covers quite a bit of ground. I know that in the "big picture", adding accidentals are "colors" relative to the KEY, but again, that is why I used the term "borrowing". The colors have those feelings because of the key you are borrowing from. I don't mean you modulate the key of the piece literally, but when you zero in on the "colors", you realize WHY exactly certain "colors" (accidentals to the key, or passing chords from other keys) have certain feelings in context. OK, just wanted that clear, so we are not really argueing, just my point of view is to FOCUS on the little pieces with my exercise recommendation. quote:
Good point, as is with the case of Cnat and Gnat in the key of E that make a C chord or bVI and lead to the V or B. Or, C-E-G in G# phrygian-the relative phrygian to E major. You can make all kinds of observations about those chords OK case in point. I work at first, simplest option, lowest common denominator sounds the best. Personal taste and style dictates options in the end, but here is my take on those chords. In Key of E major, the C chord is borrowed directly from E minor. Just focusing on that chord, I think C lydian. Comming from 4#'s going to 1#. You also have other options like C ionian, C mixo (one flat), but they will sound "weird" at first because you have moved so far away from the number of # you started with. Try it if you don't believe me at first. Cphrygian dominant, is even furthur away (4 flats). So for me, the choice if obvious. And you understand why after you move through the modes in the fashion I described earlier. The other choices are very "dark" and drastic jumps in "color". Of course you can do that deliberately, maybe you like it real "dark", and after you have focused on and tonicized that poor little passing C chord you will have the tools and the personal taste to make the best choice. If I were going for melodic minor modes, I have C lydian dominant as first choice (G melodic minor) or for harmonic minor, E harmonic minor. Both my choices for the same reason above-more sharps. Now those minor scales are part of a whole different modal exercise, but I just wanted to mention them to anyone interested. Later you have your synthetic scales, like Henrik's Harmonic major, symmetric, whole tone chromatic. All cases have "lowest common denominator" option like I am describing. But I really like to start small and easy. If your music uses weird scales constantly, it will sound "wierd" or ambiguous. Now the C chord in G# phrygian. WARNING< NERD MODE ACTIVE. (Assuming it does not go to B chord then work back to G# phrygian. In that case, see above options). Well, you are creating a chord based on enharmonic spellings (you can't have Gnat, because then you would have changed your tonic! So the chord is B#EFX). That is where you discover the circular property of keys, and why my mode exercise stops and starts on lydian/locrian. You have to becareful not to "bite your own tail". Music need not be so complex. Anyway, it is a wierd sound in context, but I would definately think of using synthetic scales on it. G# phrygian Dominant almost works, but you need that raised 7th, a common flamenco phrygian sound. I have heard it called "double harmonic", an arabic sounding scale (G#AB#C#D#EFX). Perhaps in "context", using an Am7 chord (CEG is in there) would be better to "pull" toward G# better, but it is weak. But that is my take on it anyway. Oh one more "special function of a C chord" in G# phrygian, would be to set up a modulation, briefly, to B phrygian. Minor third modulation is common in modern flamenco, thanks to the extra note in spanish phrygian (B and B#, where the B# can function as C natural). But modally, you can see it is nothing so fancy since B phrygian relates to E major, the relative major of G# phrygian, the same way. It is "borrowed" from E minor, so again, good ol C lydian is option 1. Ricardo
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