Chord progression -> theory

[newhansen]

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|

[Bspendlove]

At 10/5/13 12:52 PM, hnieuw wrote: 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|

You should write it down in both keys..

I never take 1 key over the over..

I went through a habbit of learning loads of piano sonatas in C minor and I personally can play better in C minor which I find a bit erggg :( I wish I could play Classical in Eb minor as I can in C minor

Cb!!!! You don't have to write Cb unless you want to confuse the hell out of people that might mis-read that..

I almost thought it said C minor ?!?! xD

I would of wrote a bit about why I love C minor... xD

[newhansen]

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) :)

[Bspendlove]

At 10/5/13 03:26 PM, hnieuw wrote: 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) :)

Yeah I understand, I love flats too...

Seriously - If you are bored sometime, its funny to give a musician Chords like , certainly works if you want to test there basic knowledge...

Give them a chord sheet of a couple of chords like Cb, E7, Gbb-9 blah blah blah,,, If you personally like to write Cb, then I would write it....

I do that a lot with extension chords when playing live so I don't get confused on the paper in case I forget the progression..

[sorohanro]

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).

[Bspendlove]

At 10/5/13 05:53 PM, sorohanro wrote: Gbb ? really ?
F man, don't over-complicate for nothing. F is related with Bb or Eb (min or maj).

-Claps-

It was a little test...

Nothing over-complicated when it comes to simple double flats ;)

[Bspendlove]

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? @(

[sorohanro]

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.

[newhansen]

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?

[DamienFleisch]

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.

[Bspendlove]

At 10/6/13 06:59 AM, hnieuw wrote:

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?

You can use whatever you want I guess.... xD

But when it comes to traditional writing, it makes it more clearer to only write flats in a Flat scale and Sharps in a sharp scale (That might not be true, but it does look much clearer...)

[Bspendlove]

At 10/5/13 08:16 PM, sorohanro wrote: 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.

Yeah I agree, I often write in a way which I only understand when it comes to things I don't personally understand

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.

Best thing I have ever seen this week

[deadlyfishes]

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.

[Lachi]

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

[headphoamz]

Got a headache just from looking at this thread.

I really wish I knew how to read music.

[Lachi]

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

[Bspendlove]

At 10/6/13 04:19 PM, headphoamz wrote: I really wish I knew how to read music.

Have you ever tried to study reading music?

I started learning a while back on this website: Great website

I actually studied up to grade 5 and then done my grade 7 a while back just because of studying from this site, its really useful

[headphoamz]

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!

[Bspendlove]

At 10/6/13 04:27 PM, headphoamz wrote: none of it seems to stick.

I know the feeling :(

[KatMaestro]

At 10/6/13 04:24 PM, Bspendlove wrote:

At 10/6/13 04:19 PM, headphoamz wrote: I really wish I knew how to read music.

Have you ever tried to study reading music?

Look at her, she doesn't even need music theory to win NGADM!!!

I started learning a while back on this website: Great website

Nice...