>Once you get to chords 4 and 5 the minor sound works well, obviously the 4th note I’m the 4th chord. But in minor blues scale, b5 is a blue note and is a really nice passing note so you can do 4-b5-5 runs.
I should clarify, I’m the 4th chord. The 4th chord of the scale is obviously the same note so it works to highlight it as a new tonic for that chord but also the b7 In the dominant 4th chord is the 1st chords minor third which accounts for the switch to a minor scale.
And the 4th and 5th chords work together in that you have the first chords b3, 4, b5 and 5 all blending well together as they are important intervals in the blues sclae and important intervals in the 4 and 5th chords relative to the first chords.
Mason Morales
See For the relation of the 4th and 5ths intervals to the root chord. Every chord is made of of the same 1 3 5 b7 but you need to how each relate back to the root to see what you should target rather than swap to a whole new scale and hope for the best. And of course since this is based on intervals unrelated from the actual key it’ll work on any 12 bar blues dominant 1 4 5 progression, which is most of them
Joseph Rogers
imagine being this deep into music theory but not progressing socially or morally to the point of not calling people faggots who you are in essence teaching
Ethan Myers
epic lol have my upvote, stranger! ;)
Kevin Lopez
>how each relate back to the root Yeah, I know. Precisely because of that is why I think Cmajor over Aminor is a sensible choice. In the first 2 bars of the minor blues, if you play the Cmaj7 arpeggio you have 3rd, 5th, 7th and 9th, you can take your prhase to the ninth (B) and then hit the tonic for release. Then, when the harmony changes to Dminor: if you play the C major scale all the way from C to G you get 7th, tonic (in a weak beat) , 9th, 3rd and 11th, which you can release to the 5th or the tonic as you choose. What I find interesting is the colors that come up when thinking of Cmajor instead of Aminor. Of course, phrasing is the key here. For example, playing the 11th on the 3rd beat would sound terrible, but as a diatonic passing note it goes from a harsh dissonance to an interesting color
Eli Gray
>When did you realize that musical analysis is just a bunch of people trying to explain why their taste is better through bullshit? there's a lot of bullshit but the core material is honest. And even if you don't want to adhere to the "correct" aesthetic principles like independence of voices it is useful to know them. If you read a lot of music it is also very natural to ask why it works and how it was put together.
