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Favorite Key and Chord


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It would actually be Bm(b5).

Dim implies that the seventh would be G# but in A natural it's A

 

I honestly don't understand what you're saying, from my knowledge (which could be wrong) I always though that a diminished triad is just a root (in this case B ) a flatened 3rd and flatened 5th, making the notes of the Bdim B D F.

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Kalle, thank you very much for a ton of great info. As a fellow musician, (and I bet you agree) I find it imperitive to know a wide variety of musical theory. Whether you actively apply it to music you are writing or apply it out of your subconcious is another argument, but I find in important and very interesting to examine. I'm assuming that it is possible to apply the different Harmonic, Melodic and Minor scales over their respective keys (and major keys?) to some up with some really cool soloing ideas.

 

Thanks again,

 

--Andy

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I honestly don't understand what you're saying, from my knowledge (which could be wrong) I always though that a diminished triad is just a root (in this case B ) a flatened 3rd and flatened 5th, making the notes of the Bdim B D F.

 

Yeah, you're right it's a B dim triad. I guess I was thinking more of jazz theory where sevenths are always considered.

 

In that sense, A natural minor would contain Bmin7(b5) (B D F A)

Bdim7 (B D F Ab[G#]) would be derived from the C harmonic minor.

 

Diminished chords are nice because each note is a minor third away from the last. So Bdim7, Ddim7, Fdim7, and Abdim7 are all the same chord. But since diminished chords aren't that common in popular music, the best thing about them is their relationship with seven chords. Bdim7 is a G7 chord plus a flatted ninth and minus the root. So if you want to play some far out stuff over G7, you can play arpeggios of B,D,F, or Ab diminished or a diminished scale (Over G7 the best one is G Ab Bb B C# D E F).

 

I also like the melodic minor scale. I like the seventh mode, the altered scale, which is very similar to a diminished scale except that it ends in a whole note scale (G Ab Bb B C# D# F). I like to use this to create tension. So If I'm playing in Cmaj or Cmin I might throw in the G altered scale (Ab melodic minor) for a second to get crazy before returning to a more stable place.

 

This stuff is fun to practice and is great if it shows up in a solo but if you think about while you're playing it sounds wretched. It's good for linking ideas together but shouldn't be the main idea.

 

My favorite chords are seventh chords for this reason, that you can essentially play any note over any seventh chord if done tastefully.

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I don't think that's raining on my parade. Major 7ths are still 7ths. I guess I could have specified, but I didn't say dominant so I don't think I was wrong. Was I wrong?

 

It's naturally assumed to most of the music world that if you don't specify maj7 you're referring to the dominant 7th...

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Key: F or Bb

 

Chord: the minor 3rd (a lot of my songs go something like G // Bm --> C --> D)

 

or maybe just Bminor, relative to the capo. Like I love that D --> Bm (like x24432) because the top two notes stay the same, dig?

 

Also guys that theory stuff kind of melted my brain off, but appreciate the general vibe, keep it up...

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