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In wich key is this chord progression??

#21
MustacheJoeII said:
Post Script: the lowercase c's are not typos, they are actually what can be written C#min or C#m; they are, indeed, minor chord shorthand.
Click to expand...

That is going to confuse folks as you are the only person I've ever seen use that for chord symbols.

Upper case and lower case are used to show keys and modulations when doing an analysis of a composition, but like I said I've never seen them used for chord symbols.

If you enter a chord in Sibelius as "c#7" it automatically corrects it with "C#7", a dominant chord not a minor chord. Same with BIAB and same with MuseScore.
 
#22
The only place I've seen a lowercase letters used to indicate minor has been on some very old charts which were confusing in other ways as well. While it may be acceptable as in "what can be written", it's very very confusing. If you do that with a hand-written chart then lower case "c" is so much like upper case "C" that it would seemingly lead to inevitable miscommunication. It's the same with the more common use of lower case "m" to indicate minor and upper case "M" to show major- It's a convention that invites misinterpretation. That's most likely why it's much more common to use at least "min" and "Maj" for minor and major.


John
 
#23
A lot of my theory comes from jazz, and that's just how I was taught and that's how it looks on a lot of the charts I've read. I've been in a lot of theory classes (high school and undergrad) and I've always been taught that you should use lowercase when notating minor and diminished and uppercase for major and augmented. If you want, you can write it like this: c-. Even that seems a little redundant to me. Every school wants you to learn their specific way of doing things, and the schools I went to did it like that.

I come from the land of triangles, circles with dashes through them and handwritten charts with a ton of shorthand. Theory is not the same everywhere
 
#24
>> What I want to know is if the C6 is a Cmaj with an A added, or a Cmaj with an E in the bass, since both can be written as C6.​
It's a C with an added A. Your second case is figured bass notation, which is never used in pop/jazz chord symbols. If you want to specifically indicate a C chord in first inversion with a chord symbol, write C/E.

>>I've always been taught that you should use lowercase when notating minor and diminished and uppercase for major and augmented.​
If you're writing a line of Roman numeral harmonic analysis under a score, it's customary to begin with the key letter name in an upper case (for major key) or lower case (for minor key) character, followed by a colon. That upper/lower case convention is never used for jazz/pop chord symbols.
 
#25
Jumping in late ----- When using Roman numbers for chords I, ii, iii, IV, V, vi, viidim is what I learned. Upper case being major and lower case being minor.

Roman numbers for chords and Arabic numbers (1, 2, 3 or b3 for a flatted 3, etc.) for intervals or notes.

I have never seen C for major and c for minor used before.

For what ever that is worth......
 
#26
MustacheJoeII said:
A lot of my theory comes from jazz, and that's just how I was taught and that's how it looks on a lot of the charts I've read. I've been in a lot of theory classes (high school and undergrad) and I've always been taught that you should use lowercase when notating minor and diminished and uppercase for major and augmented. If you want, you can write it like this: c-. Even that seems a little redundant to me. Every school wants you to learn their specific way of doing things, and the schools I went to did it like that.

I come from the land of triangles, circles with dashes through them and handwritten charts with a ton of shorthand. Theory is not the same everywhere
Click to expand...

Theory is, shorthand conventions are not. I opt for clarity of the symbols. While I understand the triangle, circles with dashes, etc. they can be misunderstood easily. The point is that certain letters ("C" and "c" being the most obvious example) can easily be confused especially on a handwritten chart. Clarity would be better served to use unambiguous shorthand.

John
 
#27
Yeah, I know C/E and all, I just wanted to be sure, and the OP never said it was pop/jazz, s/he just used the term composing. What, because it's in the electric bass forums it's gotta be pop/jazz? Hahaha, I am joking (often, I find that my humor does not translate well to the online forums media).

And I do understand the confusion with C#7 and c#7, and "Min7b5" chords and stuff... I just sometimes don't want to feel like I'm "dumbing it down" for pop. There's absolutely no reason for me to feel like pop/jazz guys can't comprehend that stuff, especially since jazz is mostly taught in academia these days anyways, not in the clubs.

We've gotten off topic. I've had my say. Let's move forward.
 
#29
MustacheJoeII said:
There are so many ways that this could go. What I'm seeing is more of a bridge or middle eight that draws the ear away. This progression is not something that's strictly in a set key, so I wouldn't lead with it unless the intent was to start the listener's ear with a sense of ambiguity.

What I want to know is if the C6 is a Cmaj with an A added, or a Cmaj with an E in the bass, since both can be written as C6.

Either way, I'm reading it is A major, with this sequence of chords being pre-dominant. The B7 is a V/V in A, and the C with an E in bass easily repeats for emphasis or resolves to Emaj. A C with an A added can become a c# or c#7 before resolving to Emaj.

Like I said, this can go anyway you want to with the right resolves. This is just the way that I'm reading it, and I think that you've got a nice little something to pull out when a song needs it. I wouldn't necessarily make that the main riff, but it's a good pattern for the middle.

Post Script: the lowercase c's are not typos, they are actually what can be written C#min or C#m; they are, indeed, minor chord shorthand.
Click to expand...

The notes of the chord are C-A-E in that order, It is a C6 chord
 

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