From The Composer's Chair: January 2010 Archives

Harmonic function of chords - How do we use chords and scales in songs? Part V

By

Vince Lauria

on January 28, 2010 8:24 AM | Permalink | Comments (0)

8. Secondary Dominants started around the 1600 or the Baroque era of music (1600-1760).

It means to place the V7 or dominant seventh chord before a chord in the family of major chords.

See here:

C major family of chords:

C or C maj7, Dm or Dm7, Em or Em7, F maj or F maj7, Gmaj or G7, Am or Am7, Bo or Bm7b5.

Now put a dominant before each chord in the family of chords:

G7, C maj - A7, Dm - B7, Em - C7, F maj - D7, G maj - E7, Am - (rare F7 or F#7, Bo).

The V or V7 temporarily tonicize the following chord. So when A7 is placed before

Dm we temporarily go into D minor.

Play the following examples:

C maj //// Bo //// A7 //// Dm //// F maj //// C maj ////

(A7 replaces the A minor or A minor seventh - temporarily in D minor)

C maj //// B7 //// Em //// F maj //// Am //// G maj ////

(B7 replaces the B diminshed or B minor seventh flat fifth - temporarily in E minor)

G maj //// Am //// C7 //// F maj //// Dm //// G7 //// C maj ////

(C7 replaces the C major or C major seventh chord - temporarily in F major)

Em //// Am //// D7 //// G maj //// C maj /// F maj //// G7 //// C maj ////

(D7 replaces the D minor or D minor seventh chord - temporarily in G major)

F maj //// E7 //// Am //// G maj //// F maj //// C maj /// G //// C ////

(E7 replaces the E minor or E minor seventh chord - temporarily in A minor)

The F7 or F#7 to the B diminished or B minor seventh flat fifth is rarely done.

So record the above examples and then play the Natural, Harmonic and Melodic Minor Scales behind the chords. Remember to return to the major key after the two chords are over.

Also the C7 (I7), D7 (II7), E7 (III7) are used in minor keys also.

Play and record the following examples and do the same as previous:

C maj //// C7 //// Fm //// G7 //// C maj ////

Am //// D7 //// Gm //// C maj ////

C maj //// E7 //// Am //// F maj ////

Another common technique with secondary dominants is to use them in a row this is called "Chained Secondary Dominant Cycle" see example below:

C maj //// F7 //// Bb7 //// Eb7 //// Ab7 //// Db7 //// F#7 //// B7 //// E7 //// Am ////

For a differant color a Secondary Dominant is sometimes preceded by its ii chord:

C maj //// Cm7 //// F7 //// Fm7 //// Bb7 //// Bbm7 //// Eb7 //// Ebm7 //// Ab7 //// Abm7 ////

Db7 //// Dbm7 //// F#7 //// F#m7 //// B7 //// Bm7 //// E7 //// Am ////

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

Harmonic function of chords - How do we use chords and scales in songs? Part IV

By

Vince Lauria

on January 26, 2010 7:45 AM | Permalink | Comments (0)

7. Chord cycles- this is a common technique of using a repeated chord relationship.

One of the most common chord cycles is the cycle of fifths. This is created by stacking fifth intervals one after another. (an interval is the distance between each note. There are twelve notes so there are twelve intervals - more on this later)

Starting on C then moving to G, D, A, E, B, F#, C# this is commonly called the cycle of fifths.

Each note is a fifth interval away from the previous note.

Starting on C then moving to F, Bb, Eb, Ab, Db, Gb, Cb this is commonly called the cycle of fourths. Each note is a four interval away from the previous note.

Common chord progression using cycle of fifths:

C maj //// G maj //// Dm //// Am //// Em //// Bm7b5 //// C maj ////

Notice that the cycle can be applied to one or many sections of a song and then return to the origanal key.

Common chord progression using cycle of fourths:

C maj //// F maj //// Bm7b5 //// Em //// Am //// Dm //// G7 //// C ////

These two previous example stayed within the scale (diatonic).

Also the chords can either stay within the family of chords (diatonic) or be a chord group outside of the tonic family of chords (tonic means original key). See below:

C maj //// F maj //// Bb7 //// Eb7 ////

In this example the dominant chords are not within the C major scale.

This is called ascending fouths because each chord is a fourth interval from the previous.

Also cycles can use groups of chord types:

E7 //// A7 //// D7 //// G7 //// C maj //// this is using dominant chord types.

(sometimes called chained secondary dominants cycle).

Em //// Am //// Dm //// G7 //// C maj //// this is using minor chord types.

Cycles can be ascending (up) or descending (back). The previous was ascending.

C maj //// Ab7 //// F7 //// This is a descending cycle.

Also it is common to move descending fifths in whole step intervals:

C maj //// G maj //// D maj //// A maj //// E maj ////

C to G is a fifth above but played lower in tone. D to A is a whole step away from C and G.

Another common chord cycle:

C //// A7 //// D //// B7 //// E //// C#7 //// F# //// Eb7 //// Ab //// F7 //// Bb //// G7 //// C ////

Also called V of I. Many times in cycles like this the bass note is moving chromatically.

C //// A7/C# //// D //// B7/D# //// E //// C#7/F //// F# //// Eb7/G //// Ab //// F7/A ////

Bb //// G7/B //// C ////

The / after a chord indicates which note is the lowest tone played in the chord.

Also called inversions. More on this later.

Also chords are moved in minor third intervals:

Cmaj7 //// Eb maj7 ////F# maj7 //// A maj7 //// C maj7///

Many times a cycle ends back to the original starting chord.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

Harmonic function of chords - How do we use chords and scales in songs? Part III

By

Vince Lauria

on January 25, 2010 6:58 AM | Permalink | Comments (0)

5. Another common technique is the use of unresolved modulations. These are chord progressions that go into a new key without resolving to the I chord. See Below:

Fm//// Bb7//// Gm//// C7//// Am//// D7//// Dm//// G7//// Em//// A7//// Fm//// Bb7////

Eb major F major G major C major D major Eb major

Assignment: Record this progression slowly and play the indicated key center for each new temporary key center.

6. Chromatic half steps between scale or modal family of chords is often used.

It can be used temporally and connect chords that pertain to the scale were using or it can be used to modulate to keys whose notes do not occur in the original key. See some examples below:

C //// Em //// Db7 //// Dm7 //// G7 //// (the D flat dominant seventh is a bII7 chord)

This is using the chromatic chord and still staying in the same key

C //// F#7 //// Fm //// Bb //// Eb ////

This is using the chromatic chord and moving to the new key of E flat major

Often a pedal tone is used to make a chromatic transition smooth to the ear:

C //// Ab //// Fm //// Db maj 7 //// C ////

The C note is the pedal tone here

Many times the dominant seventh chord (V to I) is used:

C //// A7 //// Dm //// B7 //// Em //// C#7 //// F#m ////B7 //// E maj ////

This is also sometimes called secondary dominents

More common examples:

C //// Em //// Db7 //// Dm //// C#7 //// C7sus4 //// F maj ////

C//// Eb7 //// Dm7 //// G7 ////

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

Harmonic function of chords - How do we use chords and scales in songs? Part II

By

Vince Lauria

on January 24, 2010 6:09 AM | Permalink | Comments (0)

In the previous lesson we covered three common techniques for creating chord progressions from scales and harmonic principles. Now lets continue with the following examples.

4. Pivot or common chords are often used to to temporary (or actual) modulation into a new key center. See examples below:

C major to F major to C major.

C //// Dm7 //// Em7 //// F //// C //// Gm //// C //// Gm //// F //// Dm //// G7 ////

The F major is the IV of C major and the I of F major.

The D minor is the vi of F major and the ii of C major.

This shows a temporary modulation.

C major to F major to B flat major.

C //// G //// Am //// Bb //// F //// Eb //// Dm //// F //// Bb ////

Am is the iii of F major and the vi of C major

F major is the V of B flat major

C major to D major

Am //// G //// C //// Am //// G //// D //// Bm //// Em //// A7sus // A //

G is the V of C major and the IV of D major

The last two examples shows an actual modulation.

C natural minor to C major

Cm //// Fm //// Dm7b5 //// Cm //// Ab //// Dm7b5 //// G7 //// C maj ////

Many times the (v) minor chord (Gm) is substituted with the (V7) dominant seventh chord (G7).

Also going from the minor key to the major is called Picardy Third.

F //// A7 //// Dm //// Bb //// (on the A7 play D major, on the Bb play F major this makes the D minor aeolian). This works because D minor is the sixth of F major and the two of C major - multiplicity. Remember to start on the A note for each new key as this give continuity to the temporary key change.

Am to Bb minor

Am //// ///// Bbm //// ////

This is called chromatic modulation.

Assignment record the previous progressions and play the given scale forms

for each key. Later take these progression and do in all keys.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

Harmonic function of chords - How do we use chords and scales in songs? Part I

By

Vince Lauria

on January 23, 2010 8:09 AM | Permalink | Comments (0)

This next series of lessons will deal with the techniques that are used in creating chord progressions from scales and harmonic principles.

The most common technique for creating chord progressions:

1. Diatonic scale and diatonic chord progressions:

Take one scale /mode at a time, create it's family of chords and all its diatonic substitutions.

Example D minor, G seventh and C major are the ii, V, I of the C major scale.

Create a melody or solo idea using the C major scale. Later learn and apply the 3, 4, 5, 6, and 7 note diatonic chords and their arpeggios for each scale / mode.

(scale and mode mean the same thing)

Assignment 1. Record ii, V, I for all twenty eight modes and all scales covered then create a melody or solo idea using each scale / mode.

2. Another way to view a minor chord:

When you see a minor or minor seventh chord it usually can be thought of as the following:

Using A minor it is the sixth chord of C major, it also the two chord of G major and the three chord of F major. So experiment using these three scales to solo over this one chord!

This is sometimes called multiplicity. The C major scale played over the A minor chord is the Aeolian mode. G major scale played over the A minor chord is the Dorian mode. F major scale played over the A minor chord is the Phrygian mode. Also figure out the 3, 4, 5, 6 and 7 note diatonic chords and their arpeggios for each of the three keys for the minor chord.

Later do this for all keys: Bbm, Bm, Cm, C#m, Dm, Ebm, Fm, F#m, Gm, Abm.

Remember there are three major scales for each minor chord.

Assignment 2. Record the A minor chord (using quarter note strums) for twenty minutes and then play each of the three major scales for the one minor chord. As always use quarter then eight notes with a metronome when playing the three major scales. Also if you do not own a metronome go to: metronome on line.com.

Listen to how each scale brings out a different feel (mode) over the same minor chord.

3. The next technique is when the root note of a chord is within the family of chords but the rest is not. Example given in key of C major:

Regular diatonic chord progression - Dm7 //// G7 //// C //// Am7 //// (ii7, V7, I, vi7)

Diatonic root non diatonic chord - Dm7 //// G7 //// C //// A7 //// (ii7, V7, I, VI7)

The Am chord is the sixth of C major the A dominant seventh is not within the

C major scale. This is sometimes called a Partial Diatonic chord. That means the lower tones of the chord in this case A and E are the same. The top part of chord C sharp is non diatonic or not within key. This is a common technique for giving a temporary lift to a progression. Also called tonicization.

A dominant seventh is the V7 of D major. This is also called a secondary dominant, or the dominant from a second key. The dominant chord is always the fifth chord from any major scale. When we play the A dominant seventh chord we temporarily go in the key of D major. This is done to add flavor and a brief lift to a regular diatonic chord progressions. The Beatles used this technique many times in there song writing.

When on the A7 chord play the D Major Scale. So start by playing the C major scale starting on the A note then when the chord is A7 play the D major scale starting on the A note. You have to learn to change to each new key by playing the closest scale note of the new key.

So you will have to be aware of where the new note or notes are in relation to the notes of the original key.

Assignment 3. Record the following chord progressions from the C major family of chords and practice temporally going into each new major scale key and then back again to the original key.

Am7 //// E7 //// F //// G7 //// (on the E seventh chord you play the A major scale for one bar)

(vi, III7, IV, V7)

Am //// F7 //// C //// G //// (on the F seventh chord you play the B flat major scale for one bar)

(vi, IV7, I, V)

Em //// Am //// F //// B7 //// (on the B seventh chord you play the E major scale for one bar)

(iii, vi, IV, VII7)

Remember to transpose to all keys, at least one new key a week.

Now transpose all examples to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

What the heck do I do with all this information?

By

Vince Lauria

on January 21, 2010 11:13 AM | Permalink | Comments (0)

I was recently asked how do I apply these modes into my playing?

1. Take one mode a week and concentrate on hearing the sound and the feel it creates. Record the chord progressions and SLOWLY listen to how each note reacts with each chord.

2. Its also necessary to start learning a wide variety of Pop and Jazz standards to truly appreciate the application of these modes. Here are some of the most commonly used modes:

Major Scale Modes:

Ionian mode1

Dorian mode 2

Aeolian mode 6

Mixolydian mode 5

Harmonic Minor Modes

Aeolian #7 mode 1

Phrygian Dominent mode 5

Ultralocrian mode 7

Melodic Minor

Dorian #7 mode 1

Lydian Dominent mode 4

Superlocrian mode 7

Harmonic Major Modes

Ionian b6 mode 1

Dorian b5 mode 2

Superphrygian mode 3

Mixolydian b9 mode 5

Always try to have or make these assignments fun!

It is a wonderful journey so Welcome Aboard!

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

Recap of Harmonic Major Scale Modes - Diatonic substitutions

By

Vince Lauria

on January 19, 2010 3:49 AM | Permalink | Comments (0)

Now that the Harmonic Major Scale Modes Diatonic Substitutionss are complete do the following:

1. Learn in all keys (C, Db, D, Eb, E, F, F#, G, Ab, A, Bb, B,)

2. Record all the chord progressions and play the modal scale with the modal chords and

also experiment using the substitutions given.

3. Start to move to other keys. Example take C Ionian b6 and move to D Ionian b6. The chords would be the same chord types just in the new key. See here below:

D, E, F#, G, A, Bb, C#, D is the D Harmonic Major scale - also called the D Ionian b6 Mode.

The Family of Chords is the same as the C Harmonic Major Family of Chords.

No matter what key you change to the chord types remain the same!

D harmonic major note names = D, E, F#, G, A, Bb, C#, D, E, F#, G, A, B, C#, D

D harmonic major scale numbers = 1, 2, 3, 4, 5, b6, 7, 8, 9, 10, 11, 12, b13, 14, 15

Notice that 2/9, 4/11, b6/b13 are the same notes. They are the same thing.

Get use to them being referred to both ways. This one number system applies to all keys!

Now lets take every other note in a group of three, four, five, six, and seven notes.

3 notes = D, F#, A = D major

4 notes = D, F#, A, C# = D major seventh

5 notes = D, F#, A, C#, E = D major ninth

6 notes = D, F#, A, C#, E, G = D major eleventh

7 notes = D, F#, A, C#, E, G, Bb = D major thirteenth / flat thirteenth

Other common major chords:

(Major also written as Maj or triangle)

D maj/b6th = D, F#, A, Bb

D maj add 9th = D, F#, A, E

D maj b6/9 = D, F#, A, Bb, E

D maj7/b6 = D, F#, A, C#, Bb

D augmented = D, F#, Bb (D+)

D augmented 9 = D, F#, Bb, E (Dmaj9+)

D augmented 9/11 = D, F#, Bb, E, G (Dmaj9/11+)

D sus = D, G, A

D sus 2 = D, E, A

D maj7 sus 2 = D, E, A, C#

D maj7 sus 2/b6 = D, E, A, C#, Bb

D maj7 sus 2/b6/9 = D, E, Bb, C#, E

D maj7 sus 2/b6/9/11 = D, F#, Bb, C#, E, G

I chord = D major (Dmaj7 four note chord)

ii chord = E diminshed (Em7b5 four note chord)

iii chord = F# minor (F#m7 four note chord)

IV chord = G minor (Gm maj7 four note chord)

V chord = A major (A7 four note chord)

vi chord = Bb augmented (Bb maj7+ four note chord)

viio chord = C# diminished (C#o7 four note chord)

Now record (or have a friend play) the common Ionian b6 progressions 5 to 10 minutes each and live (or on another track) play the D Ionian b6 scale using quarter then eighth notes. Start at or around 60 BPM.

1. I maj11 //// iio/9 //// //// viio/11 //// I maj/b6 ////

2. I maj9 //// iv maj7 //// I maj7 //// V7/6 ////

3. iio/11 //// V maj6 //// I maj/9 ////

4. I maj b6/9 //// iv6 //// viio /b9/11 //// iii/b9 //// VImaj7+11 //// iio/6 //// V9 ////

5. I+/9/11 //// iii7/b9 //// viio7 //// iv6/9 //// I ////

(remember to use the sub chords in the new keys with each chord within the the family of chords)

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

Harmonic Major Modes - Locrian Diminished 7 - Diatonic Substitutions - Mode 7

By

Vince Lauria

on January 17, 2010 8:23 AM | Permalink | Comments (0)

C Harmonic Major starting on B =B, C, D, E, F, G, Ab, B, C, D, E, F, G, Ab, B

B Locrian Diminished 7 scale numbers=1, b2, b3, 4, b5, b6, bb7, 8, b9, b10, 11, b12, b13, bb14, 15

Notice that b2/b9, 4/11, b6/b13 are the same notes. They are the same thing.

Get use to them being referred to both ways. This one number system applies to all keys!

Now lets take every other note in a group of three, four, five, six, and seven notes.

3 notes = B, D, F = B diminished (Bo)

4 notes = B, D, F, Ab = B diminished seventh (Bo7)

5 notes = B, D, F, Ab, C = B diminished seventh add flat ninth (Bo7/b9) 6 notes = B, D, F, Ab, C, E = B minor seventh flat fifth add flat ninth, eleventh (Bo7/b9/11)

7 notes = B, D, F, Ab, C, E, G = B minor seventh flat fifth add flat ninth, eleventh, flat thirteenth (Bo7/b9/11/b13)

Other common diminished chords:

(small m means minor - also / means to add

additional notes to the original 3 note chord)

Bo/b9 = B, D, F, C

Bo/11 = B, D, F, E

Bo/b9/11 = B, D, F, C, E

Bo/b9/11/b13 = B, D, F, C, E, G

Bo7/11 = B, D, F, Ab, E

Bo7/b13 = B, D, F, Ab, G

Bo7/b9/b13 = B, D, F, Ab, C, G

Bo7/11/b13 = B, D, F, Ab, E, G

Bo/b6 = B, D, F, G

Bo/b6/b9 = B, D, F, G, C

Bo/b6/11 = B, D, F, G, E

Bo/b6/b9/11 = B, D, F, G, C, E

So here is your assignment that you will do with all keys using the Locrian Diminished 7 Mode.

Locrian Diminished 7 chord progression key of C harmonic major:

Original progression - Bo //// C //// Do //// C ////

Now with sub chords - Bo/b9 //// C maj 7 //// Dm7/11/ no 5th //// C maj 9 ////

You can use any of the 4 note chords to replace the 3 note chords.

You can use any of the B diminished chords in this lesson to sub for the io of the B Locrian Diminished 7 Scale.

I will expand on this in greater detail later but for now go back to all the Locrian Diminshed 7 chord progressions previously given ( Harmonic Major Modes - Locrian Diminshed - Mode 7) and sub the 4 note chords for the 3 note chords and sub the io chord with the new io chords from this lesson.

You can also sub any of the chords already covered, example E minor becomes Em/b6/b9.

Also take these chord formulas and a note name chart and start to create these chords in all possible octaves and positions. When creating chords on the guitar the root, fifth or seventh are often omitted because of just having six strings.

You can use all notes when multi-tracking.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

Harmonic Major Modes - Lydian Augmented #2 - Diatonic Substitutions - Mode 6

By

Vince Lauria

on January 14, 2010 10:48 AM | Permalink | Comments (0)

C Harmonic Major starting on Ab = Ab, B, C, D, E, F, G, Ab, B, C D E, F G Ab

Ab Lydian Augmented #2 scale numbers = 1, #2, b3, #4, #5, 6, 7, 8, #9, b10, #11, #12, 13, 14, 15

Notice that #2/#9, #4/#11, 6/13 are the same notes. They are the same thing.

Get use to them being referred to both ways. This one number system applies to all keys!

(augmented means sharp fifth, also written with #5 or +)

3 notes = Ab, C, E = Ab augmented (Ab+) or (Ab maj #5)

4 notes = Ab, C, E, G = Ab major seventh augmented (Abmaj7+)

5 notes = Ab, C, E, G, B = Ab maj seven, sharp ninth, sharp fifth (Ab maj7/#9/#5)

6 notes = Ab, C, E, G, B, D = Ab maj seven, sharp eleven, sharp ninth, sharp fifth, (Ab maj7/#11/#9/#5)

7 notes = Ab, C, E, G, B, D, F = Ab maj thirteenth, sharp eleventh, sharp ninth, sharp fifth (Ab maj13/#11/#9/#5

Other common major chords created from the Lydian Augmented #2 scale:

Ab+/6 = Ab C, E, F (Ab+/6)

Ab augmented #9 = Ab, C, E, B (Abmaj #9+)

Ab+/#11 = Ab, C, E, D

Ab augmented #9/#11 = Ab, C, E, B, D (Abmaj #9/#11)

Ab+/6/#9 = Ab, C, E, F, B

Ab+/6/#9/ = Ab, C, E, F,

Ab sus #11/+ = Ab, D, E

Abm #5 = Ab, B, E (also called E major)

Abm maj7 #5 = Ab, B, E, G (also called E7#9)

Abm maj7 #5/6 = Ab, B, G, F (also called Abm maj7 b6)

Abm maj7 #5/6/#11 = Ab, B, G, F, D

Dont be afraid to work out these chords there are some incredible sound possibilities that normally you would never discover without putting in the time and effort.

So here is your assignment that you will do with all keys using the Lydian Augmented #2 Mode.

Lydian Augmented #2 chord progression key of C harmonic major:

Original progression - Ab+ //// Em //// Fm //// C //// G //// (I+, v, vi, III,VII)

Now with sub chords - Ab+/#11 //// Em7 //// Fm maj7/9//// Cmaj/9 //// G13/b9 //// (I+/#11, v7, vi, III,VII)

You can use any of the 4 note chords to replace the 3 note chords.

You can use any of the Ab Lydian Augmented #2 chords in this lesson to sub for the I+ of the Ab Lydian Augmented #5 Scale.

I will expand on this in greater detail later but for now go back to all the Lydian Augmented #2 chord progressions previously given (Harmonic Major Modes - Lydian Augmented #2 - Mode 6) and sub the 4 note chords for the 3 note chords and sub the I chord with the new I chords from this lesson.

You can also sub any of the chords already covered, example D diminished becomes Do/6/9/11.

Also take these chord formulas and a note name chart and start to create these chords in all possible octaves and positions. When creating chords on the guitar the root, third, fifth or seventh are often omitted because of just having six strings.

You can use all notes when multi-tracking.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

Harmonic Major Modes - Mixolydian b9 - Diatonic Substitutions - Mode 5

By

Vince Lauria

on January 10, 2010 6:44 PM | Permalink | Comments (0)

C Harmonic Major starting on G = G, Ab, B,C, D, E, F, G, Ab, B, C D E, F G

G Mixolydian b9 scale numbers = 1, b2, 3, 4, 5, 6, b7, 8, b9, 10, 11, 12, 13, b14, 15

Notice that b2/b9, 4/11, 6/13 are the same notes. They are the same thing.

Get use to them being referred to both ways. This one number system applies to all keys!

Now lets take every other note in a group of three, four, five, six, and seven notes.

3 notes = G, B, D = G major (G)

4 notes = G, B, D, F = G dominant seventh (G7)

5 notes = G, B, D, F, Ab = G dominant flat ninth (G7b9)

6 notes = G, B, D, F, A, C = G dominant eleventh flat ninth (G7/b9/11) or (G11/b9)

7 notes = G, B, D, F, A, C, E = G dominant thirteenth flat ninth (G7/b9/11/13) or (G13b9)

Other common dominant chords:

(dominant also written as 7)

G7/6th = G, B, D, F, E

G maj 6th = G, B, D, E

G maj add b9th = G, B, D, Ab

G maj 6/b9 = G, B, D, E, Ab

G sus = G, C, D

G sus b2 = G, Ab, D

G7 sus = G, C, D, F

G7 sus b2 = G, bA, D, F

G7/6 sus = G, C, D, F, E

G13 b9 sus = G, D, F, Ab, C, E

(remember 6 functions also as 13)

So here is your assignment that you will do with all keys using the Mixolydian b9 Mode.

Mixolydian b9 chord progression key of C harmonic major:

Original progression - G //// Do //// Fm //// C ////

Now with sub chords - Gb9 //// Do/6 //// Fm6/9 //// C sus // C //

You can use any of the 4 note chords to replace the 3 note chords.

You can use any of the G dominant chords in this lesson to sub for the I of the G Mixolydian b9 Scale.

I will expand on this in greater detail later but for now go back to all the Mixolydian b9 chord progressions previously given (Harmonic Major Modes - Mixolydian b9 - Mode 5) and sub the 4 note chords for the 3 note chords and sub the I chord with the new I chords from this lesson.

You can also sub any of the chords already covered, example C major becomes C maj b6.

Also take these chord formulas and a note name chart and start to create these chords in all possible octaves and positions. When creating chords on the guitar the root, fifth or seventh are often omitted because of just having six strings.

You can use all notes when multi-tracking.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

January 2010 Archives

Harmonic function of chords - How do we use chords and scales in songs? Part V

Harmonic function of chords - How do we use chords and scales in songs? Part IV

Harmonic function of chords - How do we use chords and scales in songs? Part III

Harmonic function of chords - How do we use chords and scales in songs? Part II

Harmonic function of chords - How do we use chords and scales in songs? Part I

What the heck do I do with all this information?

Recap of Harmonic Major Scale Modes - Diatonic substitutions

Harmonic Major Modes - Locrian Diminished 7 - Diatonic Substitutions - Mode 7

Harmonic Major Modes - Lydian Augmented #2 - Diatonic Substitutions - Mode 6

Harmonic Major Modes - Mixolydian b9 - Diatonic Substitutions - Mode 5

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