Separate names with a comma.
Discussion in 'Tab & Music Forum' started by Malurkey, Oct 30, 2017.
Then try this.
The A major scale:
It's the intervals that matter. A major scale has the following intervals: tone, tone, semitone, tone, tone, tone, semitone. So, A, B, C#, D, E, F#, G#, A. Think of the keys on a piano: between B and C - and E and F - there is no black key, so only a semitone. So, depending on the scale, if you need a full tone (or step), you have to make the C a C sharp (and so on - in the key of A major you need an F# and G# as well to make the major scale tone pattern).
BTW I second the Brimmel's theory book recommendation.
Yep. Which would also be a thing to keep in mind for anyone using mnemonics. In any other key but C, which has no sharps or flats, some of those words/letters will represent the sharps or flats of that key. Kind of one of those things you just have to remember to apply a mneonic properly.
So, in the Big Cats Eat Fast, the Cats, for the key of A represents C#, not C.
@fezz parka it looks like someone is going to join my class. I won’t feel lonely
@Malurkey join the class. You can start from here
The Circle of Fifths will help you too. Mind the finger writing
Here is A major scale as well as chord progression.
I, ii, iii, IV, V, VI, vii•
A, B, C#, D, E, F#, G#
A, Bm, C#m, D, E, F#m, G#m diminished
Major, minor, minor, major, major, minor, diminished
OK, that’s new. Why is that?
I can see that it works, I just don’t understand why it works...
This is the formula of Major scale. The intervals in the key. You start with the key and end with key’s octave or not.
C => whole step = D
D => whole step => E
E => half step => F
F => whole step => G
G => whole step => A
A => whole step => B
B => half step => C (octave)
Edit: in your case A, B, C#, D, E, F#, G#, A
There is only half step between B & C and E & F. You’ll notice it on the fretboard. When play E, next fret is F. Same applies to B and C.
Click and learn:
Right! My counting was off because I was using the wrong rule. ‘Big Cats Eat Fast’ only works like that in the key of C.
The actual rule is 2 tones, 1 semitone, 3 tones, 1 semitone for major chords.
Hey! That works!
Going back to the original thoughts in the thread, why do we even call a 5 chord, or power chord, a chord anyway?
A chord is built on intervals of thirds, major or minor, but a 5 chord has a fifth as it’s only interval. Also a chord is generally thought of as having at least three distinct notes, i.e., A,C#,E in an A Major chord. But an A5 chord only has and A and an E. Even when played with three notes, the root is played again an octave higher, A,E,A.
Finally, are 5 Chords used anywhere but in guitar based pop music?
2 note "chords" are dyads. Hopefully the bassist or keyboards are covering the thirds.
Dyads are good for chunky rhythms. In my band the other guitar player tends to play mostly power chords, while I fill in the 3s, 7s, 9s, and such by playing triads over what he is doing. It works pretty well.
Because power dyad or "two-tone chunky thing" just doesn't sound as cool.............
Being that they are neither major nor minor, lacking that 3rd, they can have another use. Haven't worked with them much yet, but I have a book of scales that contains some non-Western scales(Asian, Indian, Middle Eastern, etc...), many that are neither minor nor major themselves. The suggestion for ones that don't have a major/minor tonality is to use them only over root-fifth dyads so that you don't have that major or minor 3rd clashing or trying to pull to a tonality they're not necessarily meant to have.
Sure. They're super common on Uillean pipes, where the drones are pitched in octaves.