Now when youre saying E7 you mean the dominant 7 of the e chord right? So E major with a flat 7? Or would that be written as E7 and you just mean add a 7th to e major?
A B C D E F G# A 1 2 b3 4 5 b6 7 1
which is E-G#-B-D.
Which is a dominant 7th chord i.e. a major chord plus a minor 7th....
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Major C D E F G A B C Rel Nat Minor A B C D E F G A Rel Harm Minor A B C D E F G# A Rel Mel Minor Asc A B C D E F# G# A
You use the harmonic minor for creating chord progressions or for melodic work if you are into Klezmer.
You use the melodic minor going up (the natural minor going down) for creating melodies. You can use it for creating chords if you are looking for a more jazz feel to your minor tune.
You use the natural minor for melodies mostly, but you can also use it to make chords as well.
The problem with asking about modulation to the minor is that you are almost certainly asking about how do I use the harmonic minor - this is because the literature on modulating to the minor is based within using the harmonic minor
Last edited by bandcoach; 01-18-2013 at 07:26 PM.
yngwie malmsteen lol) and not part of my question.
Maybe my fault for not explaining it better.
So are you suggesting that in order to modulate from C major to A natural minor "properly", You must use the raised 7th of harmonic minor (G#, the difference between the 5th degree building a major or minor chord) to point to A natural minor? Or are you saying that its just more effective that way?
None of this in reference to classical music, but rather, contemporary (though I do understand the origination)..
we are at odds here: modulation to the minor is explicitly to
- the harmonic minor for chordal purposes;
- any of the three forms for melodic purposes.
When moving to the natural minor you are applying principles of modal harmony which are very different and outside the scope of the original question.
happy to discuss this at a later date....
whith regards to:
Which leads us to conclude that both F and E are pivot chords as the F exists in both progressions and the E7 is used to prepare the shift to the new key. It is interesting to note that in both examples there is no appearance of chord I|i.
This might suggest that the original progression is actually in Am and the modulation has been to Dm via a non key chord E7."
What you're saying is that it's strange that that I don't have the I or i chord present.
A lot of times I bang out chords in a sequence that sounds cool to me, but not necessarily I guess "the formal" progression where you're trying to resolve to the 1 chord.
I guess the V7 to the I/i chord is the strongest form of resolution and best way to make the transition to the new key?
V7-I and vice versa I-V7 are the two strongest movements within diatonic music - they are the axis around which everything else revolves. I was skim reading a book on Marching band arranging last night (always reading, always learning, always reaffirming past learning) and they emphasised that this (V7-I and vice versa I-V7) is at the crux of any and all harmonic work and particularly of any modulation attempts.
What matters in the end is that progression works and there is some functional logic behind it - if I|i appears great, but the mere hinting at of I|i with the presence of V|V7 is enough to carry the progression
If the above progressions were truly in Am and Dm then the first is a modal progression (Aeolian) and the second would also be a modal progression, 4th mode of the harmonic minor of A
It is probably safer to leave themas being in C major and A minor respectively, as the functions are then clearly understood. It is even possible to claim the whole thing is in A minor and simply shifts from the modal Aeolian to the harmonic minor half way through.......
lot of good info here, never knew what moding was for really...
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