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FamiTracker
Hopefully I'm not about to make a fool of myself, but I'm wanting to make sure the general idea I have here is correct. I'm under the impression that generally speaking, the chords of a progression built in a certain key shouldn't really leave the key. Hence why you get a minor second, third and sixth in the progressions I've found based in C.
Fiddling around with doodles, doing one up in D, and tried to go IV V I, but F# doesn't fit within D completely, however F#min does. Do I have the right idea that iv V I is correct or did I screw up there?
Sorry if this seems a bit basic to you all, I'm a bit new at this and while mistakes will be made, I'd also not like to make a habit of them.
It does, completely screwed up the degrees there. Counted like I was in C for some reason, seems I'm really going iii IV I. Sorry for bugging you and the rest with a stupid moment. Thanks again.
RE: Understanding Chord Prog. and ScalesPosted: 2012-03-30 11:28
[quote=Agrinja]I'm under the impression that generally speaking, the chords of a progression built in a certain key shouldn't really leave the key.[/quote]
In a lot of circles, this concept is called Diatonic Harmony(fyi). It's a good place to start(it's where it all began). Later you'll graduate into understanding modulation and what the circle of fifths is really all about. Eventually you'll get to a place where keys are almost irrelevant, any chord can progress to any other chord and chords themselves become nothing but mere implications which are governed by polyphonic rhythms and melodies; it gets really subjective from there and you'll have to start focusing on using your imagination and successfully extracting that sound in your head. Theory is a great tool to help you with that. You're on the right track man, keep it up!
[quote=Agrinja]Hence why you get a minor second, third and sixth in the progressions I've found [b][u]based in C[/u][/b].[/quote]
Can't tell if you know this already, but those apply to any major key. It will always be I ii iii IV V vi viio in relationship to the major scale, no matter what. I highly recommend becoming familiar with major and minor scales, to the point they are second nature with you.
Also, easy way to jazz things up a bit, add another note to the end of those(CEG*B*, DFA*C*, etc) and you end up with:
Imaj7 IIm7 IIIm7 IVmaj7 V7 VIm7 VIIm7b5
Simply put(easy way to play around with it), the same 'rules' apply. Your IV-V-I can also be IVmaj7-V7-Imaj7.
Thank you kindly, I'll keep that in mind. So far I'm mostly just working with trying to nail basic major keys, and try to get a feel for how different things sound as well as becoming more adept at general tracking. So far I've had the most success at trying to dig feeling out of different intervals, like building tension off an aug4. Trying to write something that applies some knowledge I'm trying to learn a day. It's fun but a bit dizzying at times because so many of these concepts are so tightly interlocked, it seems that to understand X, you need Y and Z but you can't get those without a bit of X and a touch of A. Holy hell I'm rambling and tired. Thanks again.
[quote=Agrinja]it seems that to understand X, you need Y and Z but you can't get those without a bit of X and a touch of A. Holy hell I'm rambling[/quote]
haha, naw, you're right, that's how this stuff goes. You have to keep learning in circles, revisiting the old stuff time and time again. More and more relationships will reveal themselves to you over time.
Makes you wonder if there's some core concept out there that just connects everything. The closest I've ever got to something like that was George Russel's Lydian Concept. But even this doesn't take acoustics into account: a C major chord is going to have different effects in different registers, different voicings, inversions ect. NO ONE has attempted to tackle this through theory yet. At that level, it's easier just to say "use your intuition" and that's usually what gets the job done, haha.
