Topic Summary
Posted on: March 26, 2006, 09:10:03 PMPosted by: 4hisglory
Insert Quote
I've just started to get into minor
well if you are studying minor harmony you have to check out brooklyn sounds
out any hez project
i am trippin the way melvin uses a 1-4 vamp
Eb7 #5 #9
going to the Absus chord
then in the same place he substiutes
Ab/F
Bmaj7
Db/Eb
he uses these two progressions substituting one for the other
but then why not its a 2-5-1 minor
and a 1-4
and remember the 2 replaces the 4 so
its a simple concept we use in major but it sounds much more bizzarre and out there in minor
sinice we are both embaking down the same road maybe we should travel it together we can pull each others coat on stuff we may have missed
Lets look at anohter idea The one chord in minor harmony
can either be a sus chord or a 7th chord with a #5 #9
remember we are playing in the key of f but playing in eb minor
so we have the one chord
our 3 chord will be Abmin over F
or a f -7b5
our 3 chord will be
gb major 7
our 4 chord the important 4 chord will be
Ab-9
the 5 chord will be Bbmin7
the 6 chord will be
Bmaj7
the 7 chord will be
?????
ii am stuck i jut drew a blank
The above chords are the harmonies from I will bless the lord
and when I check it out it is a basic song just using minor harmony
and the strange way the the one chord is not played as the corny major minor one chord that you see in the jazz theory books like Mark Levine
this one chord makes such a difference
another important concept in minor harmony is that
modulation can give you unique sounds
remmber most of the time you can modulate up a fourth wth the harmony ove the same melody
in this song melvin uses the 6 degree of the scale to harmonize the same melody this makes sense when you think that the 6 of the minor key is the fourth of the relative major key
ahh we have a theoretical concept brewing here
can you build on this 4hisglory
our
