Music Theory - Revision history

Leo: /* Modes */

2024-02-14T00:09:02Z

Modes

← Older revision		Revision as of 00:09, 14 February 2024
Line 918:		Line 918:
	\|Altered		\|Altered
	Super locrian		Super locrian

	Ionian #1		Ionian #1

	Locrian b4 scale		Locrian b4 scale

	Diminished Wholetone		Diminished Wholetone
	\|1 '''♭2 ♭3 ♭4 ♭5 ♭6 ♭7'''		\|1 '''♭2 ♭3 ♭4 ♭5 ♭6 ♭7'''
Line 930:		Line 933:
	\|Ascending melodic minor		\|Ascending melodic minor
	Jazz melodic minor scale		Jazz melodic minor scale

	Dorian #7		Dorian #7
	\|1 2 '''♭3''' 4 5 6 7		\|1 2 '''♭3''' 4 5 6 7
	\|1-½-1-1-1-1-½		\|<code>1-½-1-1-1-1-½</code>
	\|minor		\|minor
	mi-maj7		mi-maj7
Line 941:		Line 945:
	Phrygian #6		Phrygian #6
	\|1 '''♭2 ♭3''' 4 5 6 '''♭7'''		\|1 '''♭2 ♭3''' 4 5 6 '''♭7'''
	\|½-1-1-1-1-½-1		\|<code>½-1-1-1-1-½-1</code>
	\|m7		\|m7
	\|phrygian chord; substitutes dom chord		\|phrygian chord; substitutes dom chord
Line 950:		Line 954:
	Lydian #5		Lydian #5
	\|1 2 3 '''#4 #5''' 6 7		\|1 2 3 '''#4 #5''' 6 7
	\|1-1-1-1-½-1-½		\|<code>1-1-1-1-½-1-½</code>
	\|Ma7#5		\|Ma7#5
	\|#5, hence augmented		\|#5, hence augmented
Line 963:		Line 967:
	Mixolydian #4		Mixolydian #4
	\|1 2 3 '''#4''' 5 6 '''♭7'''		\|1 2 3 '''#4''' 5 6 '''♭7'''
	\|1-1-1-½-1-½-1		\|<code>1-1-1-½-1-½-1</code>
	\|7		\|7
	\|Like Mixolydian but with a #4.		\|Like Mixolydian but with a #4.
Line 971:		Line 975:
	\|Aeolian dominant		\|Aeolian dominant
	Mixolydian b6		Mixolydian b6

	Mixolydian b13 scale		Mixolydian b13 scale

	Hindu scale		Hindu scale
	\|1 2 '''♭3''' 4 '''♭5 ♭6 ♭7'''		\|1 2 '''♭3''' 4 '''♭5 ♭6 ♭7'''
	\|1-1-½-1-½-1-1		\|<code>1-1-½-1-½-1-1</code>
	\|7		\|7
	\|use altered scale or whole tone scale instead		\|use altered scale or whole tone scale instead
Line 986:		Line 991:
	Aeolian b5		Aeolian b5
	\|1 2 '''♭3''' 4 '''♭5 ♭6 ♭7'''		\|1 2 '''♭3''' 4 '''♭5 ♭6 ♭7'''
	\|1-½-1-½-1-1-1		\|<code>1-½-1-½-1-1-1</code>
	\|ø		\|ø
	\|Play this mode when used over: m7♭5 (ø) chords		\|Play this mode when used over: m7♭5 (ø) chords

Leo: /* Melodic minor modes */

2024-02-13T21:43:41Z

Melodic minor modes

← Older revision		Revision as of 21:43, 13 February 2024
Line 916:		Line 916:
	\|-		\|-
	\|1		\|1
	\|Ionian		\|Altered
	~~Major~~		Super locrian
	\|1 ~~2 3 4 5 6 7~~		Ionian #1
	\| <code>1-1-½-1-1-1-½</code>		Locrian b4 scale
	\|~~△, 6, △7, △9, 6/9, △13~~		Diminished Wholetone
	\|~~Has major 2nd, 3rd, 6th~~, ~~and 7th.~~		\|1 '''♭2 ♭3 ♭4 ♭5 ♭6 ♭7'''
	~~Improv on any diatonic chord and major chords.~~		\| <code>½-1-½-1-1-1-1</code>
	\|}		\|7alt
	~~{\| class="wikitable"~~		mi7♭5
	!#		\|Use On: dominant chords with altered tensions, also see The Altered Scale
	~~!Mode name(s)~~
	~~!Degrees~~
	~~!Notes~~
	\|-		\|-
	\|1		\|2
	\| Jazz melodic minor scale		\|Ascending melodic minor
	\|1 2 b3 4 5 6 7		Jazz melodic minor scale
			Dorian #7
			\|1 2 '''♭3''' 4 5 6 7
			\|1-½-1-1-1-1-½
			\|minor
			mi-maj7
	\|Play this mode when used over: minor chords, min/maj7 chords		\|Play this mode when used over: minor chords, min/maj7 chords
	\|-		\|-
	\|2		\|3
	\|Dorian b2		\|Dorian b2
	Phrygian #6		Phrygian #6
	\|1 ~~b2 b3~~ 4 5 6 b7		\|1 '''♭2 ♭3''' 4 5 6 '''♭7'''
			\|½-1-1-1-1-½-1
			\|m7
	\|phrygian chord; substitutes dom chord		\|phrygian chord; substitutes dom chord
	Play this mode when used over: Dom7+susb9		Play this mode when used over: Dom7+susb9
	\|-		\|-
	\|3		\|4
	\|Lydian Augmented		\|Lydian Augmented
	Lydian #5		Lydian #5
	\|1 2 3 #4 #5 6 7		\|1 2 3 '''#4 #5''' 6 7
			\|1-1-1-1-½-1-½
			\|Ma7#5
	\|#5, hence augmented		\|#5, hence augmented
	Play this mode over: Maj		Play this mode over: Maj
	\|-		\|-
	\|4		\|5
	\|Lydian Dominant		\|Lydian Dominant
	Lydian b7, Overtone scale		Lydian b7
	\|1 2 3 #4 5 6 b7
	\| Like Mixolydian but with a #4.		Overtone scale

			Mixolydian #4
			\|1 2 3 '''#4''' 5 6 '''♭7'''
			\|1-1-1-½-1-½-1
			\|7
			\|Like Mixolydian but with a #4.
	Play this mode when used over: Dom7+#11		Play this mode when used over: Dom7+#11
	\|-		\|-
	\| 5		\|6
	\| Mixolydian b6		\|Aeolian dominant
	Mixolydian b13 scale, Hindu scale		Mixolydian b6
	\|1 2 3 4 ~~5 b6 b7~~		Mixolydian b13 scale

			Hindu scale
			\|1 2 '''♭3''' 4 '''♭5 ♭6 ♭7'''
			\|1-1-½-1-½-1-1
			\|7
	\|use altered scale or whole tone scale instead		\|use altered scale or whole tone scale instead
	Play this mode when used over: dominant ~~7b13~~ chords (this type of usage is rarer)		Play this mode when used over: dominant 7♭13 chords (this type of usage is rarer)
	\|-		\|-
	\|6		\|7
	\|Half Diminished		\|Half Diminished
	Locrian ~~♮2 scale,~~ Aeolian b5		Locrian ♮/#2
	\|1 2 b3 4 ~~b5 b6 b7~~
	\|Play this mode when used over: ~~m7b5~~ (ø) chords		Aeolian b5
	\|-		\|1 2 '''♭3''' 4 '''♭5 ♭6 ♭7'''
	\|7		\|1-½-1-½-1-1-1
	~~\|Altered Scale~~		\|ø
	~~Super Locrian scale, Locrian b4 scale, Diminished Wholetone~~		\|Play this mode when used over: m7♭5 (ø) chords
	~~\|1 b2 b3 b4 b5 b6 b7~~
	~~\|Use On: dominant chords with altered tensions, also see The Altered Scale~~
	\|}		\|}
	In the case of C minor: Note that you can improve using the associated mode over the listed chord.		In the case of C minor: Note that you can improve using the associated mode over the listed chord.

Leo: /* Major modes */

2024-02-13T21:28:42Z

Major modes

@@ Line 884: / Line 884: @@
 |6
 |Aeolian
 |1 2 '''♭3''' 4 5 '''♭6 ♭7'''
 |          <code>1-½-1-1-½-1-1</code>
@@ Line 906: / Line 907: @@
 Overview of each mode is given in the table below.
 {| class="wikitable"
 !#

Leo: /* Scales */

2024-02-13T21:26:43Z

Scales

Show changes

Leo: /* Scales */

2023-12-29T06:27:30Z

Scales

@@ Line 225: / Line 225: @@
 Quartal ii-V-I is possible. Eg: Dm11 - G9 - CMaj9 (ADGCF BFADG BEADG) or Dm11 - G13 - C69 (ADGCF FBEAD EADGC)
 === Chord notes ===
@@ Line 780: / Line 797: @@
 * Add a grace note on either 2 or b3 in front of the third of the scale.
 * To add harmony: add 5 above 2 or 3; add R above 5 or 6
 == Circle of fifths ==

Leo at 05:20, 20 October 2023

2023-10-20T05:20:27Z

← Older revision		Revision as of 05:20, 20 October 2023
Line 1,533:		Line 1,533:
	# Like #5 with a walking bass line on every beat, but play the melody and rootless chords in between the melody with right hand.		# Like #5 with a walking bass line on every beat, but play the melody and rootless chords in between the melody with right hand.
	# Two handed chords in between the melody and walking bassline.		# Two handed chords in between the melody and walking bassline.
			When playing the melody which repeats again, you may choose to play it slightly differently to add additional interest. Try one of the following options:

			* Embellish the melody
			* Thicken the melody: Keep the melody as the top note but try to:
			** Add sets of thirds and fourths; add only sixths; use triads; use octaves.
			** Drone notes
			*

	=== Fly me to the moon ===		=== Fly me to the moon ===
Line 1,587:		Line 1,594:
	\|-		\|-
	!Rootless Chord + 9		!Rootless Chord + 9
	\|C E G B		\|CMaj7 / A
	\|F A C E		C E G B
	\|B D F A		\|FMaj7 / D
	\|E G B D		F A C E
	\|E G B♭ D		\|Bm7b5 / G
	\|A C E G		B D F A
			\|Emin7 / C
			E G B D
			\|Em7b5 / C
			E G B♭ D
			\|Amin7 / F
			A C E G
	\|D F A C#		\|D F A C#
	\|G♯ B D F♯		\|G#m7b5 / E
	\|C# E G B		G♯ B D F♯
			\|C#m7b5 / A
			C# E G B
	\|-		\|-
	!Quartal & Open Voice (L/R)		!Quartal & Open Voice (L/R)
Line 1,608:		Line 1,623:
	\|		\|
	\|}		\|}
			Note that:

			* Minor 7 chord's rootless 9th becomes its 3rd major 7 chord
			* Major 7 chord's rootless 9th becomes its 3rd minor 7 chord
			* Dominant 7 chord's rootless 9th becomes its 3rd half diminished chord
			* Not sure what diminished 7th gets you.

	=== Autumn Leaves ===		=== Autumn Leaves ===

Leo at 06:27, 19 October 2023

2023-10-19T06:27:14Z

@@ Line 55: / Line 55: @@
 !Slash chords
 |/
-|<score lang="lilypond"><<
+|Denotes the chord to be played above which note.
 \chords { bes1/c c/des  }
 \relative {
@@ Line 62: / Line 63: @@
+}
 >>
-</score>
+</score>The note after '/' is the bass note.
 |-
 !11th chords
@@ Line 72: / Line 73: @@
 |Usually 9th played below 13th
 |}
 === Diminished chords ===
@@ Line 752: / Line 770: @@
 ##* The 6 chord (Amin7) can be replaced with a A7 (using secondary dominant) which makes it the V of ii. We can then replace the A7 with (tritone away from A7 is Eb) a Eb7 chord. 'tritone sub of vi'
 == Modes ==

Leo: /* ii-V-I */ Added inversions

2023-10-15T07:00:02Z

ii-V-I: Added inversions

← Older revision		Revision as of 07:00, 15 October 2023
Line 525:		Line 525:
	\|Fmaj7		\|Fmaj7
	\|<score lang="lilypond"><<		\|<score lang="lilypond"><<
	\transpose c f \chords { d2:m7 g2:7 c1:maj7 }		\transpose c f \chords { d2:m7 g2:7 c1:maj7 d2:m7 g2:7 c1:maj7 }
	\transpose c f \chordmode {		\transpose c f \chordmode {
	\key c \major		\key c \major
	\omit Staff.TimeSignature		\omit Staff.TimeSignature
	d2:m7 g2:7/d c1:maj7		d2:m7 g2:7/d c1:maj7 \invertChords 2 { d2:m7 g2:7/d c1:maj7 }
	}		}
	>>		>>
Line 539:		Line 539:
	\|B♭maj7		\|B♭maj7
	\|<score lang="lilypond"><<		\|<score lang="lilypond"><<
	\transpose c bes \chords { d2:m7 g2:7 c1:maj7 }		\transpose c bes \chords { d2:m7 g2:7 c1:maj7 d2:m7 g2:7 c1:maj7 }
	\transpose c bes \chordmode {		\transpose c bes \chordmode {
	\key c \major		\key c \major
	\omit Staff.TimeSignature		\omit Staff.TimeSignature
	d,2:m7 g,2:7/d c,1:maj7		d,2:m7 g,2:7/d c,1:maj7 \invertChords 2 { d2:m7 g2:7/d c1:maj7 }
	}		}
	>></score>		>></score>
Line 552:		Line 552:
	\|E♭maj7		\|E♭maj7
	\|<score lang="lilypond"><<		\|<score lang="lilypond"><<
	\transpose c ees \chords { d2:m7 g2:7 c1:maj7 }		\transpose c ees \chords { d2:m7 g2:7 c1:maj7 d2:m7 g2:7 c1:maj7 }
	\transpose c ees \chordmode {		\transpose c ees \chordmode {
	\key c \major		\key c \major
	\omit Staff.TimeSignature		\omit Staff.TimeSignature
	d2:m7 g2:7/d c1:maj7		d2:m7 g2:7/d c1:maj7 \invertChords 2 { d2:m7 g2:7/d c1:maj7 }
	}		}
	>></score>		>></score>
Line 565:		Line 565:
	\|A♭maj7		\|A♭maj7
	\|<score lang="lilypond"><<		\|<score lang="lilypond"><<
	\transpose c aes \chords { d2:m7 g2:7 c1:maj7 }		\transpose c aes \chords { d2:m7 g2:7 c1:maj7 d2:m7 g2:7 c1:maj7 }
	\transpose c aes \chordmode {		\transpose c aes \chordmode {
	\key c \major		\key c \major
	\omit Staff.TimeSignature		\omit Staff.TimeSignature
	d,2:m7 g,2:7/d c,1:maj7		d,2:m7 g,2:7/d c,1:maj7 \invertChords 2 { d2:m7 g2:7/d c1:maj7 }
	}		}
	>></score>		>></score>
Line 582:		Line 582:
	C♯maj7		C♯maj7
	\|<score lang="lilypond"><<		\|<score lang="lilypond"><<
	\transpose c des \chords { d2:m7 g2:7 c1:maj7 }		\transpose c des \chords { d2:m7 g2:7 c1:maj7 d2:m7 g2:7 c1:maj7 }
	\transpose c des \chordmode {		\transpose c des \chordmode {
	\key c \major		\key c \major
	\omit Staff.TimeSignature		\omit Staff.TimeSignature
	d2:m7 g2:7/d c1:maj7		d2:m7 g2:7/d c1:maj7 \invertChords 2 { d2:m7 g2:7/d c1:maj7 }
	}		}
	>></score>		>></score>
Line 599:		Line 599:
	F♯maj7		F♯maj7
	\|<score lang="lilypond"><<		\|<score lang="lilypond"><<
	\transpose c ges \chords { d2:m7 g2:7 c1:maj7 }		\transpose c ges \chords { d2:m7 g2:7 c1:maj7 d2:m7 g2:7 c1:maj7 }
	\transpose c ges \chordmode {		\transpose c ges \chordmode {
	\key c \major		\key c \major
	\omit Staff.TimeSignature		\omit Staff.TimeSignature
	d2:m7 g2:7/d c1:maj7		d2:m7 g2:7/d c1:maj7 \invertChords 2 { d2:m7 g2:7/d c1:maj7 }
	}		}
	>></score>		>></score>
Line 616:		Line 616:
	Bmaj7		Bmaj7
	\|<score lang="lilypond"><<		\|<score lang="lilypond"><<
	\transpose c b \chords { d2:m7 g2:7 c1:maj7 }		\transpose c b \chords { d2:m7 g2:7 c1:maj7 d2:m7 g2:7 c1:maj7 }
	\transpose c b \chordmode {		\transpose c b \chordmode {
	\key c \major		\key c \major
	\omit Staff.TimeSignature		\omit Staff.TimeSignature
	d,2:m7 g,2:7/d c,1:maj7		d,2:m7 g,2:7/d c,1:maj7 \invertChords 2 { d2:m7 g2:7/d c1:maj7 }
	}		}
	>></score>		>></score>
Line 629:		Line 629:
	\|Emaj7		\|Emaj7
	\|<score lang="lilypond"><<		\|<score lang="lilypond"><<
	\transpose c e \chords { d2:m7 g2:7 c1:maj7 }		\transpose c e \chords { d2:m7 g2:7 c1:maj7 d2:m7 g2:7 c1:maj7 }
	\transpose c e \chordmode {		\transpose c e \chordmode {
	\key c \major		\key c \major
	\omit Staff.TimeSignature		\omit Staff.TimeSignature
	d2:m7 g2:7/d c1:maj7		d2:m7 g2:7/d c1:maj7 \invertChords 2 { d2:m7 g2:7/d c1:maj7 }
	}		}
	>></score>		>></score>
Line 642:		Line 642:
	\|Amaj7		\|Amaj7
	\|<score lang="lilypond"><<		\|<score lang="lilypond"><<
	\transpose c a \chords { d2:m7 g2:7 c1:maj7 }		\transpose c a \chords { d2:m7 g2:7 c1:maj7 d2:m7 g2:7 c1:maj7 }
	\transpose c a \chordmode {		\transpose c a \chordmode {
	\key c \major		\key c \major
	\omit Staff.TimeSignature		\omit Staff.TimeSignature
	d,2:m7 g,2:7/d c,1:maj7		d,2:m7 g,2:7/d c,1:maj7 \invertChords 2 { d2:m7 g2:7/d c1:maj7 }
	}		}
	>></score>		>></score>
Line 655:		Line 655:
	\|Dmaj7		\|Dmaj7
	\|<score lang="lilypond"><<		\|<score lang="lilypond"><<
	\transpose c d \chords { d2:m7 g2:7 c1:maj7 }		\transpose c d \chords { d2:m7 g2:7 c1:maj7 d2:m7 g2:7 c1:maj7 }
	\transpose c d \chordmode {		\transpose c d \chordmode {
	\key c \major		\key c \major
	\omit Staff.TimeSignature		\omit Staff.TimeSignature
	d2:m7 g2:7/d c1:maj7		d2:m7 g2:7/d c1:maj7 \invertChords 2 { d2:m7 g2:7/d c1:maj7 }
	}		}
	>></score>		>></score>
Line 668:		Line 668:
	\|Gmaj7		\|Gmaj7
	\|<score lang="lilypond"><<		\|<score lang="lilypond"><<
	\transpose c g \chords { d2:m7 g2:7 c1:maj7 }		\transpose c g \chords { d2:m7 g2:7 c1:maj7 d2:m7 g2:7 c1:maj7 }
	\transpose c g \chordmode {		\transpose c g \chordmode {
	\key c \major		\key c \major
	\omit Staff.TimeSignature		\omit Staff.TimeSignature
	d2:m7 g2:7/d c1:maj7		d2:m7 g2:7/d c1:maj7 \invertChords 2 { d2:m7 g2:7/d c1:maj7 }
	}		}
	>></score>		>></score>

Leo: Added inversion

2023-10-15T06:58:01Z

Added inversion

← Older revision		Revision as of 06:58, 15 October 2023
Line 511:		Line 511:
	\|Cmaj7		\|Cmaj7
	\|<score lang="lilypond"><<		\|<score lang="lilypond"><<
	\chords { d2:m7 g2:7 c1:maj7 }		\chords { d2:m7 g2:7 c1:maj7 d2:m7 g2:7 c1:maj7 }
	\chordmode {		\chordmode {
	\key c \major		\key c \major
	\omit Staff.TimeSignature		\omit Staff.TimeSignature
	d2:m7 g2:7/d c1:maj7		d2:m7 g2:7/d c1:maj7 \invertChords 2 { d2:m7 g2:7/d c1:maj7 }
	}		}
	>>		>>

Leo at 05:05, 28 September 2023

2023-09-28T05:05:47Z

@@ Line 438: / Line 438: @@
 ==== 12 bar blues ====
-C C C C F F C C G F C C
+There are a few variations of the 12 bar blues. For typical jazzy music, it goes as follows:
 ==== 1-7-6-5 / i - VII - VI - V7 ====
@@ Line 726: / Line 732: @@
 B major: B-F♯-G♯m-E