Music Theory Question about Chords

L

laffa-yett

New member
so i heard this flume song:


and i heard the remake here:



and it seems that the track is a d# moll but he made some chords with notes that aren't in the same note scale like the rest. So what does say Musik theory about this? can someone explain me that. sorry for my english

zwyrvos6.png

on this picture, if its a f minor scale, the a and the c dont fit but he still uses them, and it sounds good.
4g658yn7.png

also here he uses a F# and again the A in the chords. (both notes dont fit in f minor) Thats the Same Song, The one Picture is BRass and the second is Strings. Played at the same time.
 
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note that I did this by listening to the original track all the way through once - did not see your pics or listen to the tutorial; however you have made an assumption about this being in D[sup]#[/sup]m/E[sup]b[/sup]m which is unfounded. The key to this is understanding that the F[sup]7[/sup] chord (F-A-C-E[sup]b[/sup]) is chord V and that the movement to either G[sup]b[/sup] or E[sup]b[/sup]m is that of the deceptive cadence in the minor.

This allows me to assert that fundamentally this piece is in B[sup]b[/sup]m/A[sup]#[/sup]m, I will use B[sup]b[/sup]m for the majority of the following discussion as it is easier to understand than A[sup]#[/sup]m; the functional harmonic id is the same regardless of which key center I use

In B[sup]b[/sup] natural minor we have the following notes B[sup]b[/sup]-C-D[sup]b[/sup]-E[sup]b[/sup]-F-G[sup]b[/sup]-A[sup]b[/sup]-B[sup]b[/sup]
In B[sup]b[/sup] harmonic minor we have the following notes B[sup]b[/sup]-C-D[sup]b[/sup]-E[sup]b[/sup]-F-G[sup]b[/sup]-A-B[sup]b[/sup]

there are three fragments of harmonic movement

F[sup]#[/sup]-C[sup]#[/sup]-A[sup]#[/sup]m-F[sup]7[/sup] || G[sup]b[/sup]-D[sup]b[/sup]-B[sup]b[/sup]m-F[sup]7[/sup] || b[sup]b[/sup]/a[sup]#[/sup]: [sup]b[/sup]VI-[sup]b[/sup]III-i-V[sup]7[/sup]

F[sup]#[/sup]-C[sup]#[/sup]-F[sup]7[/sup]-F[sup]7[/sup]/A || G[sup]b[/sup]-D[sup]b[/sup]-F[sup]7[/sup]-F[sup]7[/sup]/A || b[sup]b[/sup]/a[sup]#[/sup]: [sup]b[/sup]VI-[sup]b[/sup]III-V[sup]7[/sup]-V[sup]7[/sup]/#7

D[sup]#[/sup]m-C[sup]#[/sup]-A[sup]#[/sup]m-F[sup]7[/sup] || E[sup]b[/sup]m-D[sup]b[/sup]-B[sup]b[/sup]m-F[sup]7[/sup] || b[sup]b[/sup]/a[sup]#[/sup]: iv-[sup]b[/sup]III-i-V[sup]7[/sup]

F[sup]#[/sup]/G[sup]b[/sup] ~ F[sup]#[/sup]-A[sup]#[/sup]-C[sup]#[/sup]/G[sup]b[/sup]-B[sup]b[/sup]-D[sup]b[/sup]
C[sup]#[/sup]/D[sup]b[/sup] ~ C[sup]#[/sup]-E[sup]#[/sup]-G[sup]#[/sup]/D[sup]b[/sup]-F-A[sup]b[/sup]
A[sup]#[/sup]m/B[sup]b[/sup]m ~ A[sup]#[/sup]-C[sup]#[/sup]-E[sup]#[/sup]/B[sup]b[/sup]-D[sup]b[/sup]-F
F[sup]7 [/sup]~ F-A-C-E[sup]b[/sup]
F[sup]7/[/sup]A ~ F-A-C-E[sup]b[/sup] with an A in the bass
D[sup]#[/sup]m/E[sup]b[/sup]m ~ D[sup]#[/sup]-F[sup]#[/sup]-A[sup]#[/sup]/E[sup]b[/sup]-G[sup]b[/sup]-B[sup]b[/sup]

i.e. the F[sup]7 [/sup] is a chord from the harmonic minor whereas the rest of the chords are from the natural minor

I can write the whole progression out if you would like but you should be able to do it for yourself based on the above three fragments

trickiest part is the fact that each chord is played with a 3-3-2 pattern over two bars of 4/4, which some folks might interpret as 3/4-3/4-2/4 instead
 
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to op: you are welcome: picking the right tonality is not always straightforward and when you mix chords from both the natural minor and the harmonic minor it becomes even more difficult: identifying cadence points then becomes a crucial element in determining the active scale type and any variations in use


language note for those who think the above response contains an error

In German (and related languages) the Note B is called H and the note Bb is just called B

in the original post the word moll was used which is used to indicate minor (major is indicated by dur)
 
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