Chord Theory Question
Just wondering...I seen this move especially in the Key of "C" major where the 4chord goes from a major to a minor..I seen, especially in blues, where the progression goes from a "F" major to a non diatonic "F" minor...Refer to Desperado by the Eagles, and you'll see the same move where it goes from a "C" major to a "C" minor in the key of G..
David Bowie's space oddity also emplys this where in the chorus the song goes from a "f" major to "F" minor...This method works, but is there a reason or theory to this??..Seems to always be on the "4" chord.
All that's happened is the song has "modulated" temporarily.
Basically altering to a different key/chord for a bit.
Using a Cmajor scale
C D E F G A B C
take the 1/3/5 notes C/E/G to make a C major chord
the next chord is D minor. D F A. This could be modulated into a D major, be sharpening the F.
Make sense?
for sale, MXR Zakk Wylde overdrive. PM if you're interested.
I admit to not knowing whether there is a name for this musical construct but the effect of it provides an alternative harmonisation for the tonic of whatever key you're playing in, such that if you move from the IV(min) chord to the I chord, the other 2 notes in the triad both move downwards by a semitone. EG Cm (C Eb G) moves to G (B D G), which makes an interesting alternative to the usual V I resolution.
He who laughs last ... is still using a slow modem
As has been said modulating to the relative minor (FAbCEb) - (C D Eb F G Ab Bb) It's interesting to note that it takes place on the IV chord - my guess would be that the next chord in each case would be the V chord (which will be dominant in most cases so Fm -> G7 or Fmaj -> G7) what is the next chord after the changed chord?Originally Posted by BobLoblaw
mucus ardour urban mr men turnip!
Lot of guitar tuition tends to focus on diatonic chord progressions so you can use a single scale over them but in the real world it tends to be more about what sounds good rather than keeping to the theory.
I was looking at It Must Be Love last night ( I'm such a rocker I know..) and there's a section which ( from memory) goes Em A7 Dm E7 and I'm screaming 'you can't do that' and my fingers want to go back to an Em shape. But it sounds a lot better than anything I've ever come up with. Thankfully for the solo section ( sax, very brief guitar, sax) it just circles between G and C - the Madness guys obviously realised you have to simplify things for us pentatonic types.
Breeding mammals with insects is my personal bugbear.
As well as stealing sometimes you may need to borrow. I would view it as borrowing Ab from the relative minor scale.
Well, thanks for al your feed back...I guess sometimes I get bogged down with what is "correct", rather than what sounds good...The temporary modulation explanation makes sense...Just seems odd that I seemed to encounter it happening on the "four" chord, and in "C"..Often or not it is with older jazz/swing type music.
Listen to the Christmas carol "Jingle Bells"...."Oh what fun" (F), then "It is to ride" (Fminor)..
Also Santos and Johnny's "Sleepwalk"..The turn around or faux chorus (if there is one) goes from an F to an F minor.
It's not meant to be about being "correct" or not, music theory is really there to describe what is being played and not how to play.
They're justified and they're ancient, and they drive an ice cream van.
This sounds very odd . . . I think you mean "Oh what" (F) "fun" (Fminor) "It is to ride" (C).
The easy way to define the Fminor is as a temporary modulation into the key of Cminor. However, I prefer to think of it as a substitute for a G7 chord (strictly G7b9sus4). The preceding F chord is uncontroversially a substitute for a Dmin7, so you are actually playing a II V I . . .!
Posting Permissions
Reply With Quote