notes which always fit

[bassist1989]

i know that the notes in a power chord will always be in key (the root, 5th and octave) but are there any more notes or patters from a note which will always be in key, regardless of what the note and key are?

thanks

[deemo]

i know that the notes in a power chord will always be in key (the root, 5th and octave) but are there any more notes or patters from a note which will always be in key, regardless of what the note and key are?

thanks

no, there's no note that is in every key. you really will need to know what key you're playing in.

[Jimbobntnr]

harmonics always work.

[SixnStones]

^ what? The notes of the chord generally fit, but basically, only the root always fits, and i guess sometimes even that wouldn't.

[Left Shoe]

and if your guitarist plays a powerchord in a major key with the root being the 7th, it wont be in key

[BassVirtuoso]

I find that any Augmented 4th diad will work with anything.

[bassist1989]

whats that?

i know the one octave pattern of a scale from the root note inside out.

[Left Shoe]

lets say you were playing in c major, it would be F#

[bassist1989]

right and that relationship of 7 semitones is constant?

[Left Shoe]

what

[bassist1989]

oh sorry

between the root (c) and the 'augmented 4th diad' (f#) is 7 semitones

[Left Shoe]

its 6

[bassist1989]

oops.

well im going to bed now, thanks for your help everyone

[jollygiantchris]

i know that the notes in a power chord will always be in key (the root, 5th and octave) but are there any more notes or patters from a note which will always be in key, regardless of what the note and key are?

thanks
incorrect in a major scale a chord based on the 7th note in the scale to be within the scale that chord is a diminished (im pretty sure) chord and doesnt contain 5 only b5

[sk8terguy316]

The Augmented 4th is also known as the Flat 5th or the Tri-tone whatever works better go to the 5th degree in your scale and flat it (go down one half step form 5th) or go to your 4th deree and make it augmented (go up one half step) same tihng. Also it used to be called "Diablous in musica" for its dark sound. Therefore it won't always sound right because if you are playin in C major and you womp out a Flat 5 it might not sound nice or in a really pretty song then you whip out your flat 5 you might scare everyone (Not literlly but just saying) well have fun sorry for lenghy explanation

[sk8terguy316]

Also there is no note that will fit everything the closest is the third degree of a scale because if its major or minor or diminished which most songs are the 3rd is always constant

[HaVIC5]

The Augmented 4th is also known as the Flat 5th or the Tri-tone whatever works better go to the 5th degree in your scale and flat it (go down one half step form 5th) or go to your 4th deree and make it augmented (go up one half step) same tihng. Also it used to be called "Diablous in musica" for its dark sound. Therefore it won't always sound right because if you are playin in C major and you womp out a Flat 5 it might not sound nice or in a really pretty song then you whip out your flat 5 you might scare everyone (Not literlly but just saying) well have fun sorry for lenghy explanation
Not true. Blues players will use the b5 as a passing tone all the time, and jazzers will often play the tritone as an extension of the major 7 chord.

[Omega Red]

modern harmonic theory>classical harmonic theory

[kilian]

http://www.dummies.com/WileyCDA/DummiesArticle/id-2168,subcat-ARTS.html

Scroll down a bit :smoke:

[nisakss]

the perfect fourth is diabolic, it is

<.<
>.>

[sk8terguy316]

You are right i forgot about Grace notes but I wasn't getting into complete technics I was saying like basing your bass line off of it i.e. instead of using the normal 5th using a flat 5th not just as a grace note

[ViolenceBass]

If your playing a Man-o-war song, than use E...a lot...

[iceman3019]

The Augmented 4th is also known as the Flat 5th or the Tri-tone whatever works better go to the 5th degree in your scale and flat it (go down one half step form 5th) or go to your 4th deree and make it augmented (go up one half step) same tihng. Also it used to be called "Diablous in musica" for its dark sound. Therefore it won't always sound right because if you are playin in C major and you womp out a Flat 5 it might not sound nice or in a really pretty song then you whip out your flat 5 you might scare everyone (Not literlly but just saying) well have fun sorry for lenghy explanation
weren't tri-tones banned a looong, looong time ago by the church because they sounded too "devilish" (hence the name)?

[bassist1989]

http://www.dummies.com/WileyCDA/DummiesArticle/id-2168,subcat-ARTS.html

Scroll down a bit :smoke:
that is exactly what i was looking for

[Manticore Guy]

weren't tri-tones banned a looong, looong time ago by the church because they sounded too "devilish" (hence the name)?


Pretty much, yeah

[TheDancingHorse]

There were a lot of things the church did that were pretty retarded, let's not forget this - it is called the Dark Ages. My answer to the question is yes and no - there are certain notes that will always work over a specific chord - for instance the root, and other chord tones - because all you're doing is doubling a note that is already being sounded.

I imagine the original question was about consonant sounds - because there's nothing saying that you can't make any note work over any chord. Music is all about context. That's why in church music - certain notes are "bad." Because the context is four-part SATB harmony and there are certain "rules" that they follow for that style of music.

So good notes and bad notes also are determined by what style of music you're playing - if you're playing a punk song, certain harmonies just won't make a whole lot of sense to put over power chords. And if you're playing blues, there are notes that sounds "bluesier" than others - but it's still always about the context of the music.

[bassist1989]

thanks for that

[sk8terguy316]

Yes,It was banned that's why they calleed it "diabolous in musica" and I am almost positive but not sure it was considered HERESEYYYYYYYYY!!!

[HaVIC5]

I imagine the original question was about consonant sounds - because there's nothing saying that you can't make any note work over any chord. Music is all about context. That's why in church music - certain notes are "bad." Because the context is four-part SATB harmony and there are certain "rules" that they follow for that style of music.

In church music, like any other music, a piece could concievably contain every one of the 12 tones. Granted, it might modulate a lot, but still.

SATB chorale writing came several hundred years after tritones became perfectly legal. The most basic cadence of them all, the V7 - I chord invokes a tritone, and that was invented pre-Renaissance. Baroque composers loved tritones to death, especially the fully diminished vii chord of a minor key. There are tritones and dissonances out the wazoo.

The use of the tritone in western music came about when music began to become chordal. For most of the middle ages, music was largely homophonic. Gregorian chant was the primary religous music, and consisted of a cantus firmus - a fixed line of melody with very few intervallic leaps. The tritone was a lot more subtle in this music, because it didn't require leaps of more than a major third. The only instance that the tritone might be implied was if the intervallic distance between the highest note in the phrase and the lowest note in the phrase was tritonal. While explicitly banned by the church, there wasn't much place for the tritone in the music - it didn't fit at all. It wasn't until 1200 that organum, or polyphony began to be used with a second line put up against the cantus firmus, and then tritones began sneaking in. Usually the cantus firmus was harmonized in fourths or fifths, but secular music began playing more horizontally, and chords began to form, thus creating the concept of tension and release at which the tritone was the most useful.

[TheDancingHorse]

Holy crap!!! I didn't realize a dominant chord used a tritone??????!!!!

But seriously, I never implied anything about the tritone. But there are still the "rules" that they followed. I won't insult your intelligence by going off on a long explanation - but the implication in my post was about whether there is some golden note outside of of chord tones that always works. And I mentioned church music because of posts brought up earlier.

But thank you for the wonderful dissertation on the history of the tritone in western music. Most helpful. :thumb:

[HaVIC5]

The reference to the tritone in the V7 chord wasn't meant as a something that could be construed as condescending. I actually wasn't really commenting on your statement that much, sorry.

[Joelbassman]

Also there is no note that will fit everything the closest is the third degree of a scale because if its major or minor or diminished which most songs are the 3rd is always constant
What?

Yes if the chord is maj the third will be a third always. But if it's minor its flat and so is diminshed but you also flat the third as well.

Not sure of what you are trying to say there? :confused:

[naut]

i'm gonna blow my ****ing brains out.

[Joelbassman]

^Hahaha, I get the same whenever I read one of Havics theory related posts. :amaze:

[eburton04]

In church music, like any other music, a piece could concievably contain every one of the 12 tones. Granted, it might modulate a lot, but still.

SATB chorale writing came several hundred years after tritones became perfectly legal. The most basic cadence of them all, the V7 - I chord invokes a tritone, and that was invented pre-Renaissance. Baroque composers loved tritones to death, especially the fully diminished vii chord of a minor key. There are tritones and dissonances out the wazoo.

The use of the tritone in western music came about when music began to become chordal. For most of the middle ages, music was largely homophonic. Gregorian chant was the primary religous music, and consisted of a cantus firmus - a fixed line of melody with very few intervallic leaps. The tritone was a lot more subtle in this music, because it didn't require leaps of more than a major third. The only instance that the tritone might be implied was if the intervallic distance between the highest note in the phrase and the lowest note in the phrase was tritonal. While explicitly banned by the church, there wasn't much place for the tritone in the music - it didn't fit at all. It wasn't until 1200 that organum, or polyphony began to be used with a second line put up against the cantus firmus, and then tritones began sneaking in. Usually the cantus firmus was harmonized in fourths or fifths, but secular music began playing more horizontally, and chords began to form, thus creating the concept of tension and release at which the tritone was the most useful.


ya know, **** my theory professor for failing me in theory 2. i understood all of that.

but then again, i probably learned most of that in theory 1... but damn i still got a D in that ****.


****!