The chord you get if you start on the G in the C harmonic minor scale is the one that really makes C minor feel like C minor. To produce it, you need another scale, the C harmonic minor scale: C, D, E-flat, F, G, A-flat, and B. You really want that G minor chord to be a G7. The big problem is that they sound more like E-flat major than C minor. However, this collection of chords is unsatisfying for various reasons. You can play C natural minor over any of them and be in good shape. If you generate chords from C natural minor, you get C minor, D minor, Eb major, F minor, G minor, Ab major, and Bb7. The C natural minor scale is C, D, E-flat, F, G, A-flat, and B-flat. Be aware that not every note will sound equally good in every situation, you need to use your ear for that. Because they consist entirely of notes from the C major scale, you can use the C major scale over all of them, and everything will fit. Taken together, these are the chords that comprise the key of C major. The seven chords you can get from the C major scale this way are C major, D minor, E minor, F major, G7, A minor and B diminished. If you pick any note from the scale and then go up skipping every other note, you get a chord. The C major scale is C, D, E, F, G, A, and B. Each major key is generated entirely from a major scale. There are two kinds of keys, major and minor. In Western classical music, the idea is pretty straightforward. Fortunately, there is a single scale that works in every situation, which I’ll get to at the end of this post.įirst we need to understand what a key even is. You really just need to learn all of them. While a given song may not use a lot of scales and chords, the relationships between those scales and chords is rarely simple or obvious. There’s a broad diversity of harmonic practices being used out there in the world of blues-based popular music, rock in particular.
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