Yo guys, i have a brief question. I have a chord progression, which I don't know in which key i should write it down.
What would you prefer?
B | D#m/A# | A#7 | D#m| E#7 | E#7 | A#7 | A#7|
or
Cb | Eb/Bb | Bb7 | Ebm | Gbb7 | Gbb7 | Bb7 | Bb7|
I do love flats more than i love sharps. Cm plays and sound both beautifull. Thats the reason I got confused by both keys (B or Cb). I prefer flats, but if it'll get messy with double flats, i should write it down in B (and safe the musicians some trouble reading) :)
At 10/5/13 12:52 PM, hnieuw wrote: Cb | Eb/Bb | Bb7 | Ebm | Gbb7 | Gbb7 | Bb7 | Bb7|
Gbb ? really ?
F man, don't over-complicate for nothing. F is related with Bb or Eb (min or maj).
You may think it was a test, or you may know that was a joke, but believe me, there are musicians that use notation like this just to make them feel superior or smarter.
Notation is a way to get an idea out or to store it, so shouldn't get in the way of how to music really good.
At 10/5/13 07:54 PM, Bspendlove wrote:At 10/5/13 05:53 PM, sorohanro wrote: F man, don't over-complicate for nothing. F is related with Bb or Eb (min or maj).But to be honest, Writing a Gbb, you might as well write E# and that might make a guitarist cry? @(
Im not sure if u can use E# in a Cb-scale. And i'm not sure if you can write down F instead of Gbb either. Depends on the scale, right?
The chord progression isn't really in Cb, though, it's more like Eb Harmonic Minor. Then your chord becomes:
VI | i | V7 | i | V7 of V | V7 of V | V7 | V7
Cb | Ebm/Bb | Bb7 | Ebm | F7 | F7 | Bb7 | Bb7
If you call it Cb you'd still have a bunch of accidentals because the Bb7 and the F7 are both non-diatonic chords. In Eb minor the only accidentals would be the leading tone and in the F7. Plus this chord progression is really going tonicize the Ebm anyway, not the Cb.
At 10/5/13 05:53 PM, sorohanro wrote:At 10/5/13 12:52 PM, hnieuw wrote: Cb | Eb/Bb | Bb7 | Ebm | Gbb7 | Gbb7 | Bb7 | Bb7|Gbb ? really ?
F man, don't over-complicate for nothing. F is related with Bb or Eb (min or maj).
If anything there needs to be more information....
There's no way to tell exactly what you meant
Fb(b7)
F (bb7) ---or (dim) --- lol....
Fbb(7)
Also your enharmonic choices should be easier for you and/or anyone trying to read your music. For theory study purposes, when you run into things like that, your enharmonic decisions should be based on the context of what else is going on around it.
So if you are in Db, and you want to do a key change to the bVII, then of course Cb makes the most sense contextually.
If you are in A and you want to key change one whole step up, B would make more sense than Cb. I mean, what would be the actual purpose of you saying: "Okay guys this is where we modulate up a double flat third." Maybe to just do it.
Harmonic functions (roman numeral analysis) only exist in tonally functional music.
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just because I saw this brought up
When I'm not playing C major or A minor (all white keys), I usually transpose the notes mentally.
Let's say I'm playing D minor. When I play a F i'm playing a C in A minor (mentally)
I don't know why but this helps. but that's probably because when I was first learning the keyboard I always used C maj or A minor
Good luck everybody just wanted to share my hopinions
SUCK MY KICK
Got a headache just from looking at this thread.
I really wish I knew how to read music.
At 10/6/13 04:19 PM, headphoamz wrote: Got a headache just from looking at this thread.
I really wish I knew how to read music.
though
the note is the same if you call it Db C# or "that black key between C and D"
these guys are going to "Gbb" that basically is F lol
SUCK MY KICK
Have you ever tried to study reading music?
I have, many times. Taken classes, taken private lessons, and none of it seems to stick. Thanks for sharing the website, though, I'll take a look!
