You mean...1 2 b3 #4 5 b6 7?glpg80":axjzdctt said:i never got the chance to learn this mode.
could someone explain it over two different/seperate key's? say, E and then D?
thanks
That's Egyptian or suspended pentatonic.stephen sawall":17s5yhsu said:http://home.swipnet.se/freakguitar/egypt.html
http://www.all-guitar-chords.com/guitar ... m=Egyptian
degenaro":18ipef4i said:You mean...1 2 b3 #4 5 b6 7?glpg80":18ipef4i said:i never got the chance to learn this mode.
could someone explain it over two different/seperate key's? say, E and then D?
thanks
Well in E if we lay it out it becomes...
E-F#-G-A#-B-C-D# so if you harmonize it you get...
e-g-b-d# =Emin/maj7
f#-a#-c-e=F#7b5
g-b-d#-f#=Gmaj7#5
a#-c-e-g=even though it really should be viewed as an A# chord it really is nothing but a C7 with the 7 in the bass...we get back to this...
c-e-g-b=Cmaj7
d#-f#-a#-c=D#maj6
So any progression with one or more of these chords that scale will be fine...
stephen sawall":1lm0w111 said:I knew it was Egyptian Pentatonic and was looking for the other one when Ed beat me to it .... obviously he knew it's make up off the top of his head and I did not.
To be honest the fact he knew the spelling and some chords that it would work with I find impressive. ..... but I guess I should not be surprised.
Actually I didn't, I know the scale construction and then it's just a matter of harmonizing it to get the chords...no different than harmonizing any scale...like say a major scale.glpg80":20maegt3 said:stephen sawall":20maegt3 said:I knew it was Egyptian Pentatonic and was looking for the other one when Ed beat me to it .... obviously he knew it's make up off the top of his head and I did not.
To be honest the fact he knew the spelling and some chords that it would work with I find impressive. ..... but I guess I should not be surprised.
+1
especially an oddball chord progression like egyptian
HECK NO....but there are only so many things you can do with 12 notes.stephen sawall":25ubew7i said:Just out of curiosity Ed are you familiar with the make up of many of the "exotic" scales ?
..... and even more useful to me I saw you post the scales that make up all the normal used scales. Could I get you to put them here or a link ? I could not find it.(thanks)
How did your gig go the other day ? (sorry for all the Q)
degenaro":14zs7das said:You mean...1 2 b3 #4 5 b6 7
Key of E:
E-F#-G-A#-B-C-D# so if you harmonize it you get...
e-g-b-d# =Emin/maj7
degenaro":ftrjdjxb said:Here, try it
1b23#4#56b7...harmonize it...in C...
I give you the first chord c,e,g#,bb=C+7
degenaro":bz8wckk3 said:1 b2 3 #4 #5 6 b7...harmonize it...in C...
No difference in this example between lower and upper case.glpg80":kxxl8myt said:degenaro":kxxl8myt said:You mean...1 2 b3 #4 5 b6 7
Key of E:
E-F#-G-A#-B-C-D# so if you harmonize it you get...
e-g-b-d# =Emin/maj7
im not sure what you did here - im not following for some reason. explain harmonies for me? i believe i dont know the technical application and because of this, i dont now how to construct it over a mode or create a harmony properly from key to key and still use the same modal tonality for each key.
i was just asking for the chord makeup in my post, but creating harmonies i know nothing about with theory
explain the difference in the small e and the large E? one is bass clef the other is treble correct?
how do you know that the harmony is an Emaj7th? - what makes it a major, and the 7th is the location of the chord on the fretboard itself right?
glpg80":2f1239qi said:1 b2 3 #4 #5 6 b7
C bD bE F G# A# bB
correct?
so the second harmony, since the first was C and given, would be:
2 4 6 1
dD F A# C = Dmin7?
degenaro":jyx2dmt5 said:No difference in this example between lower and upper case.glpg80":jyx2dmt5 said:degenaro":jyx2dmt5 said:You mean...1 2 b3 #4 5 b6 7
Key of E:
E-F#-G-A#-B-C-D# so if you harmonize it you get...
e-g-b-d# =Emin/maj7
im not sure what you did here - im not following for some reason. explain harmonies for me? i believe i dont know the technical application and because of this, i dont now how to construct it over a mode or create a harmony properly from key to key and still use the same modal tonality for each key.
i was just asking for the chord makeup in my post, but creating harmonies i know nothing about with theory
explain the difference in the small e and the large E? one is bass clef the other is treble correct?
how do you know that the harmony is an Emaj7th? - what makes it a major, and the 7th is the location of the chord on the fretboard itself right?
You harmonize a scale by skipping...
C major scale...
c-d-e-f-g-a-b
you have 1-2-3-4-5-6-7
Now take the starting note and start skipping a step and the sequence becomes 1-3-5-7-9-11-13
c-e-g-b-d-f-a
First 3 notes 1,3,5 makes it a major triad, add the next note which happens to be the 7th note of the scale makes it a major 7 chord...add the next one which is the 9th and you get the 9th chord etc...
Same thing starting with the D...D,F,A D minor triad, D,F,A,C D minor 7, etc...
As for what makes a chord minor or major...
From the root you have a major third and a minor third it's a major chord
minor third and major third is a minor triad
2 major thirds is an augmented triad
2 minor thirds a diminished triad
the
The 1 3 5 rule you got right...glpg80":3txhlch1 said:degenaro":3txhlch1 said:No difference in this example between lower and upper case.glpg80":3txhlch1 said:degenaro":3txhlch1 said:You mean...1 2 b3 #4 5 b6 7
Key of E:
E-F#-G-A#-B-C-D# so if you harmonize it you get...
e-g-b-d# =Emin/maj7
im not sure what you did here - im not following for some reason. explain harmonies for me? i believe i dont know the technical application and because of this, i dont now how to construct it over a mode or create a harmony properly from key to key and still use the same modal tonality for each key.
i was just asking for the chord makeup in my post, but creating harmonies i know nothing about with theory
explain the difference in the small e and the large E? one is bass clef the other is treble correct?
how do you know that the harmony is an Emaj7th? - what makes it a major, and the 7th is the location of the chord on the fretboard itself right?
You harmonize a scale by skipping...
C major scale...
c-d-e-f-g-a-b
you have 1-2-3-4-5-6-7
Now take the starting note and start skipping a step and the sequence becomes 1-3-5-7-9-11-13
c-e-g-b-d-f-a
First 3 notes 1,3,5 makes it a major triad, add the next note which happens to be the 7th note of the scale makes it a major 7 chord...add the next one which is the 9th and you get the 9th chord etc...
Same thing starting with the D...D,F,A D minor triad, D,F,A,C D minor 7, etc...
As for what makes a chord minor or major...
From the root you have a major third and a minor third it's a major chord
minor third and major third is a minor triad
2 major thirds is an augmented triad
2 minor thirds a diminished triad
the
wow, you crammed alot of information in that post, it took me quite a while to churn the information and read over it for it to sink in. thank you for taking the time to explain it - i greatly appreciate it.
you cleared up the difference between a triad and a chord as well, and the differences between a minor triad and diminished triad.
can you explain the difference between a minor third and major third differences between them being a minor triad and a major chord? is it the addition of the 4th harmony note that differentiates between a triad and a chord construction that would dictate its category?
do you still use the 1 3 5 rule with the next following harmony as well, or go 2 4 6 1, then 3 5 7 2, then 4 6 1 3, etc