• Forum Index
• New Message
• Search FretBuzz
• List of Forums
|
|
|
FretBuzz: Theory Forum Message |
I'm home sick today, just lying here with a guitar. I've just put together this great melody with a fantastic chord progression, but have no idea what theory land I've wandered into. If you're into Porcupine Tree/Pink Floyd, you'll understand my musical thinking here.
It's basically F# G A B C Db. I'm experimenting on whether any of those work best as minors, 7ths, maj7ths, etc.
What works well in the verse is Db sus2, with a progression of B, Cm, and the Db sus2.
Now here's where it gets weirder, as if it could- I planted this run in the end of the verse of a high Em, Gm, and Bbmin (Sliding from the 7th to 13th frets). It shouldn't work at all, but it sounds great.
This is one of those cases where we tend to throw the rules aside in order to create art. However, I should probably figure out what the f*** to solo in! LOL Hmmmmmm. Help, anyone?
|
|
Responses (continued)
[ Pages:
1 · 2 ] |
|
Re: What the hell is this scale?
10/4/2009 7:07:46 AM
Jon Riley
(9655) wrote:
Not sure if any this has been said already...
Assuming your missing note ie Eb/D# (which occurs in the chords you mention), my scale database found this:
1 2 3 1 2 2 1 Mela Suvarnangi, Raga Sauviram (both Indian names)
That means treating the C as tonic tho. (C Db Eb F# G A B)
Oddly, the other modes don't seem to have names - meaning they have no known use.
However, if you're using it (or those B-Cm-Dbsus2 chords) in the context of Em-Gm-Bbm - which indicate a totally different scale (or scales) - you might just have a chromatic section.
If you want to be precise and strict about harmonising a strange scale, do so - it's a lot of fun!
But in tonal music (the kind that uses chords, which Indian music doesn't) scales aren't fixed things: you might start with an overall "diatonic" context, but you can alter notes this way and that to fit the kinds of melodic or harmonic movement you want to make. It doesn't mean you need to look for specific new scales implied by new chords in order to make sense of it.
Eg, your B-Cm-Dbsus2 move might just be a chromatic slide between B and Db/C#. (Reminds me a little of Wind Cries Mary...) The Cm might not "mean" anything beyond that (you're just holding the Eb/D# note across all 3 chords). There's no need to find a scale that fits all 3 chords - unless that's what you really want to do (and maybe you're using the chords in some other way, where they're each held for longer). |
|
|
Previous Responses
[ Pages:
1 · 2 ] |
|
