What Chord

Two factors combined make this groove and progression.


1+2 - +3+ - 4+
Dbm - Dbm - Dmajor

Dbm = Db Fb Ab
D = D F# A


The 4 is accented to emphasise the D major

Loop ad infintum/ad libitum/ad nauseum

for those who might want to quibble it could also be rendered as


1+2 - +3+ - 4+
C#m - C#m - Dmajor

C#m = C# E G#
D = D F# A


I prefer the Dbm as you can see the relationship to the D chord better. in either case we are in the Phrygian mode based on C#/Db
 
Can not listen to the music again right now, so I don't know if it is C or D or E...

but yes, this is a Im - IIM7 typical progression.
Phrygian mode.

You perfectly nailed it bandcoach! (I am sure we will agree most of the time... we just... started with a .... clash - but hey, if we always agree, it is not fun ;) )
 
It is a i - bII progression

Small distinction but if it were i-II then it would be Dbm-Eb, which it is not.

Although, I tend to think of this progression more as iii-IV in A major (which of course means that i subscribe to C#m-D :)).


Use lower case to show minor and dim chords
Use Upper case to show major and aug chords.
Prepend (stick in front) a b to show that it is a semitone lower than if it were a major scale.
Prepend (stick in front) a # to show that it is a semitone higher than if it were a major scale.
Use b5 and #5 after the Roman numerals to show alterations to the fifth.

It's more a case of knowing how to do it in modern terms instead of sticking with what Piston wrote 50 years ago.

Debate is good for the soul, the intellect and the ears.
 
thanks bandcoach for the tips on how to note chords.
do you know where I could find a good reference on chord notation?
so that we will all use the same standard?

concerning iii-IV instead of i-II, here it is really a matter of how you feel it i guess.

it reminds me of some drawings of cubes, some people see the cube going towards them, some other see the cube going on the opposite side... :)

and yes for the debates :)
 
do you know where I could find a good reference on chord notation?
so that we will all use the same standard?

Don't know about a good one, but this is based on over 20 years of refining from various texts - I'll just put it into this post and then maybe repost as stand-alone later.

When referring to scales we generally number the notes of the scale using the Hindu-Arabic numbers
1-2-3-4-5-6-7-8 etc​

The names of the notes of the scale and their Hindu-Arabic numerals are:

1 Tonic
2 Super-tonic (literally above the tonic)
3 Mediant (half-way between the tonic and the Dominant as you ascend)
4 Sub-Dominant (the note a 5th below the Tonic - the under dominant)
5 Dominant (the note a 5th above the Tonic)
6 Sub-Mediant (half-way between the Tonic and the Sub-domnimant as you descend)
7 Leading tone or Sub-Tonic (literally under Tonic)​

In the major scale, these notes are exactly as as named and described.

When we move to the Minor scales we can rely on the naming convention of the Major scales.

However to distinguish the notes from the major scale we begin to use the flat sign (b) in front of the note show that it is moved down 1 semi-tone/1 fret/1 black or white key:

Natural minor: 1 2 b3 4 5 b6 b7 8
Harmonic minor: 1 2 b3 4 5 b6 7 8
Melodic minor (ascending): 1 2 b3 4 5 6 7 8

Applying this logic to Chord notation we can formulate the following rules:
  • For standard chords (no alterations)
    • Uppercase Roman numerals for major chords (chords with a major 3rd in their construction)
    • Lowercase Roman numerals for minor chords (chords with a minor 3rd in their construction)
    • For flattened 5ths we indicate this with b5
    • For sharpened 5ths we indicate this with #5
  • For chromatic shifting of chords (non-scale tone based chords):
    • Put a flat in front for a chord that is moved a semi-tone lower
    • Put a sharp in front for a chord that is moved a semi-tone higher

We then add chord tone extensions as we would for guitar chords:
6, 7, 9, 11, 13, 6/9.

For any chromatic tones in a chord we indicate these by adding #/b in front of the individual tones in the extensions as we did for the #5/b5.

Sometimes we might need to group an accidental with its scale tone to isolate it from other tones or the chord number, avoiding any confusion in the name of the chord; i.e.

A maj7 chord built on scale tone b2 of a major scale would need to be indicated as:

bII(#7)
Taking C as the key center, the above chord would be rendered as

Db F Ab C​

If it were II(#7) instead then it would render as

D F# A C#​
 
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Thanks for this very interesting post! (could be made sticky, or at start of a new thread ?)

Now my original question was more concerning the notation itself, for example the notation "A+" or "A+7"... or "A5"... people sometimes interpret these differently...

and to be honest for instance, i did not know that the usage was to use lowercase for minor "ii" and uppercase for major "II".

Nearly 40, making music since the age of 6, but so many things to learn!! Which is good news => makes life more interesting :)
 
Two factors combined make this groove and progression.


1+2 - +3+ - 4+
Dbm - Dbm - Dmajor

Dbm = Db Fb Ab
D = D F# A


The 4 is accented to emphasise the D major

Loop ad infintum/ad libitum/ad nauseum

for those who might want to quibble it could also be rendered as


1+2 - +3+ - 4+
C#m - C#m - Dmajor

C#m = C# E G#
D = D F# A


I prefer the Dbm as you can see the relationship to the D chord better. in either case we are in the Phrygian mode based on C#/Db

Those numbers, Are those the bars?. If it is, it would be like Dbm on the 1 and 2nd bar, Dbm on the 3 and then Dmajor on the 4th?.

"Dbm = Db Fb Ab
D = D F# A"

^^^ I dont quite get this one.
 
"Dbm = Db Fb Ab
D = D F# A"

^^^ I dont quite get this one.

I guess he bancoach meant D F A instead of D F# A.
Just a typo ;)

EDIT: sorry, I was tired, I read Dm but it is D, D Major, so bandcoach is totally right, sorry for the confusion!!
 
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I guess he bancoach meant D F A instead of D F# A.
Just a typo ;)

I meant I dont get the whole calculation and the terms. Specially the 1+2 - +3+ - +4

So Dbm = Db Ab Fb <<< Is this the chord?
D = D F# A <<< also a chord?

"Loop ad infintum/ad libitum/ad nauseum"

^^^I really got lost on this one.

---------- Post added at 10:51 AM ---------- Previous post was at 10:50 AM ----------

Good info in this thread!

Kevin....that step back jumper was TOOOOOO much last night!

Yeah it was a great game. Great offensive rebounds by ibaka and cast.
 
Numbers are the beats and half beats. This is a really slow 4

Dbm or Db minor has the notes Db Fb Ab or if you prefer C# E G#

D or D major has the notes D F# A.

Loop ad infinitum or ad libitum or ad nauseum

ad is Latin for to/until
infinitum is Latin for infinity (forever)
libitum is Latin for liberty, essentially until you have had enough: ad lib. is the short form of this.
nauseum is Latin for nausea, i.e until sick of it
 
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I understand it now.

So How do you determine which key this song is in?. D or Dbm?.

Also what was the progression of the bass?.
 
The main chord is Dbm, the D is a decorative pivot point.

The bass seems to only play when the chords do at beat 1, 2 1/2 and 4

Db - Db - D
 
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