Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
Now don't quote me Sorin, because my knowledge of music theory is as extensive as an eskimo's grasp of desert survival but...
Maybe they just sound good because they are all in the same key? I mean, if I were in C it would sound good if I came in from F, Am, Dm, E....all the chords and their variants so long as I stay in the key of C yes? I mean, if I picked something from the key of A, like Cm, it would probably sound like hell if the root is C.
Sorin, I don't know, I play them with barres a lot, with the index finger. Otherwise, I just don't know. I dont' think there are any rules. Why do you feel the need to play lots of fourths?
ORIGINAL: sorin popovici I have a question too ,how do the intervals resolve ? I mean why it's normal that after I play G7 ,feels to play C?I often hear things like "resolving chords" and I know what they mean,but I dont know the rules about intervals ...I hope u know what I mean.
You mean the "dominant-septime chord"? If you want the dominant septime chord of C then you play the fifth note of C, thats G. Now you take the G7 (Dominant) 7 - is a major triad with a minor 7th added, which is G with an additional minor 3rd above the perfect 5th, thats F. Works also for Minor 7 - is a minor triad with a minor 7th added.