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#21
11-25-2012, 10:14 AM
 Registered User Join Date: Jul 2012
Quote:
 Originally Posted by RandalPinkFloyd yea, it took me a few minutes to figure out what was going on in it as well. Too busy imho. I have a nice graph I found online that's been helpful for me.
Don't over complicate it. Basically, just read the chart vertically. It works well as a quick reference.
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JRH,
"Bass players do it deeper...and longer."
#22
11-25-2012, 10:16 AM
 Registered User Join Date: Jul 2012
Quote:
 Originally Posted by FretlessMainly This is an important distinction. Many here suggest that diatonic chords, or chords in general, can be defined by three discrete pitches (some even suggest that two are sufficient!). In proper jazz harmonic analysis, a chord should, if at all possible, be defined by four discrete chordal notes: The 1, 3, 5, and 7 (extensions are not considered to be necessary to the basic chord function). You cannot properly describe something as simple as diatonic harmony with three notes, let alone two.
So true! Thanks for the clarification!
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JRH,
"Bass players do it deeper...and longer."
#23
11-25-2012, 10:20 AM
 Registered User Join Date: Jul 2012
Quote:
 Originally Posted by FretlessMainly This is an important distinction. Many here suggest that diatonic chords, or chords in general, can be defined by three discrete pitches (some even suggest that two are sufficient!). In proper jazz harmonic analysis, a chord should, if at all possible, be defined by four discrete chordal notes: The 1, 3, 5, and 7 (extensions are not considered to be necessary to the basic chord function). You cannot properly describe something as simple as diatonic harmony with three notes, let alone two.
"Mods: Please sticky this; that is, if you want to adhere to the rules in this forum."

I'm relatively new to posting in these forums. What rules are you talking about? How would I sticky it? JRH
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JRH,
"Bass players do it deeper...and longer."
#24
11-27-2012, 03:36 PM
 Registered User Join Date: Feb 2009 Location: Sydney, Australia
Quote:
 Originally Posted by Clef_de_fa Now if you want to find the relative minor of C major ... you go down 1½ tones or 3 semi-tones ... C->B (½ tone, or 1 semitone) C->Bb(1 tone, or 2 semitones) C->A (1½ tones, or 3 semitones) ... the relative minor is Amin. Or another way to remember it, A is the 6th degree in a C major scale. It also works the other way around ... if you move from Eminor you go up 1½ tones or 3 semitones and you get your relative major.
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Last edited by Groove Doctor : 11-27-2012 at 03:45 PM.
#25
11-27-2012, 05:57 PM
 Registered User Join Date: Dec 2011 Location: Canada
Quote:
 Originally Posted by Groove Doctor Corrections added
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Does not compute
#26
11-28-2012, 06:29 AM
 Registered User Join Date: Feb 2009 Location: Sydney, Australia
^ We've all done it.
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