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MUST SEE: Key Signatures Made Easy

FretlessMainly said:
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!
 
FretlessMainly said:
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
 
Corrections added
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.