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  #1  
Old 2006-01-15, 16:26
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I think I've just grasped a major concept of scale/chord compatablitty

Correct me if Im wrong please. So these past weeks I've been asking alot of qusetions about scale/chord compatability. Untill yesterday I didnt realize when you say key, like in the key of C/ I didnt think about key signature. So if someone plays a a progression like G - D - C. That would be in the key of C. So lets talk about major scales. I could solo over a C-D-E-F-G-A-B scale. correct? Actually... Now That I think About it, that is probably wrong... Because In the key of D, there is a C# so its not compatible? Is that right lol? But you COULD play a G scale cause there is no F# in that progression. God damn, im so confused.
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Old 2006-01-15, 17:57
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I'm not sure if we can answer this, since your not realy giving a lot of details of your examples.
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  #3  
Old 2006-01-15, 19:13
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G - D - C progression... you can use many scales that are compatible. C major (C-D-E-F-G-A-B-C) would work great, cause G, D, and C are all contained in the C major. You can also use G major (G-A-B-C-D-E-F#) because G, D, and C are all contained in G major as well. You can use any scale that contains G, D, and C and technically you can solo over it, just different ones give you a differnt tonality.
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Old 2006-01-15, 19:50
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Oh ok, I wasnt sure which theory was right. So for another example. You cant use D Major Cause it has C# right?
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Old 2006-01-16, 19:40
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Theoritically, no D major wouldn't harmonize with the C chord, but that doesn't mean you can't use D major for the other chords, or you can utilitze D major for the C chord and use C as a passing tone to get to another harmonizing tone of the chord, say the 3rd or 5th of C.
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Old 2006-01-16, 21:52
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Ok, another question... Again G - D - C progression. That would be considered in the key of C Major right. But it could also be in G Major, we dont really know. I dont think it really matters but you would says its in C right...
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Old 2006-01-17, 12:41
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It actually fits more of G major in it's progression. That would be a I - V - IV progression, where as in C major, it would be I - ii - V, so the D would have to be a Dm in order to fit the C major scale. Remember that each scale tone in a scale follows a order of major/minor properties.

Major - Major Scale
minor
minor
Major
Major
minor - Minor Scale
diminished

This is where the modes come from. Starting a scale from a different point in the scale. See if you let C major start on the first, then D is minor, but if G starts, then C and D are both major. Understand?
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Old 2006-01-19, 22:39
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Quote:
Originally Posted by davie_gravy
It actually fits more of G major in it's progression. That would be a I - V - IV progression, where as in C major, it would be I - ii - V, so the D would have to be a Dm in order to fit the C major scale. Remember that each scale tone in a scale follows a order of major/minor properties.

Major - Major Scale
minor
minor
Major
Major
minor - Minor Scale
diminished

This is where the modes come from. Starting a scale from a different point in the scale. See if you let C major start on the first, then D is minor, but if G starts, then C and D are both major. Understand?


The seventh mode is half-diminished AKA minor 7 b 5, sorry, just thought I should clear that up in case the other person didn't catch it(beginning theory). G- D - C major would easily fit into the key of G though because of the F#(7th of the G chord and 3rd of D chord).
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Old 2006-01-20, 13:53
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Quote:
Originally Posted by tchambliss
The seventh mode is half-diminished AKA minor 7 b 5, sorry, just thought I should clear that up in case the other person didn't catch it(beginning theory). G- D - C major would easily fit into the key of G though because of the F#(7th of the G chord and 3rd of D chord).


Hey,

Cool! I didn't know it was half-diminished. I was wondering if you could explain the deriviation of using the 7th, and 3rd for the key of G thing. I've taught myself theory, so I'm sure alot of my methods are wrong or the long route. I always just tried to fit the chords to the modes (major/minor/etc), it can be quite time consuming considering alot of keys share common tones.

Thanks!
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Old 2006-02-03, 22:28
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Quote:
Originally Posted by davie_gravy
Hey,

Cool! I didn't know it was half-diminished. I was wondering if you could explain the deriviation of using the 7th, and 3rd for the key of G thing. I've taught myself theory, so I'm sure alot of my methods are wrong or the long route. I always just tried to fit the chords to the modes (major/minor/etc), it can be quite time consuming considering alot of keys share common tones.

Thanks!


Probably the only thing that is practical application on this subject that I really learned, that seems different from what would be thought, I learned way back. Which is that when using the minor scale you sharpen the third of the fifth chord. . . so that you have a dominant fifth chord rather than a minor fifth chord in the progression, and you may sharpen the first degree of the seven chord so that you have a fully diminished chord. . . which pretty much explains in theorhetical geek writing how you should use the harmonic minor scale in compositions. . . I try to avoid geek methods. . . hence why I abhor the whole four part writing with the geeky rules to where everything you write sounds exactly the same. . . I take more the get fucked up and fuck around with shit till it sounds bad ass the analyze your shit later. but anyways, hope that helped a little and sorry it took so long. hadn't gotten on in awhile.
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