KVR Audio

llze · Post by **llze** » Sun Mar 29, 2015 4:40 pm

Hello,

i am working on a little project i would like to share with you guys and hopefully get some feedback to improve on this.

I created an excel sheet wich lists all keys of major/minor scales and shows the chords and its substitutions based on diatonic reharmonisation by low triads (3 halfsteps) and high triads (4 halfsteps) and 4th.
I just began getting into music theory in a more dedicated way, so please forgive me if i made something technical wrong. The substitutions itself should be correct.

yea, this is supposed to end up on a website when it's correct and should give you a quick reference and maybe some inspiration for your songs.

Here is the download: https://dl.dropboxusercontent.com/u/851 ... 20v.1.xlsx

Any feedback welcome, thx!

cheers

this is an example of how it looks like for one key, however the sheet completes with all 12 keys in the scales, for every key in major / minor:

llze · Post by **llze** » Wed Apr 08, 2015 12:31 am

no thoughts anyone? Don't you see the usage yet?

jancivil · Post by **jancivil** » Wed Apr 08, 2015 11:19 am

No, I don't. You have decided that thirds relationships through itself is a formula for chord _substitutions_.
Upon examination, I see a D major is a substitute for E major, for example. I don't know why, there is no reasoning given for this exercise except I see that you kept making triads a third away from each of seven chords in a diatonic scale. D for E, donno about that per se, there would have to be a reason it works, in itself I don't see it.
Not quite sure, but it looks like you end up with G# diminished as a sub for A major, which I tend to doubt is worth looking to.

Typically the substitution shares notes in common with what it's a sub for. And there's some type of musical idea, such as a bit of deception in the [re-]harmonization of a tune, or just a little variety or spice.

Then 'triad low', 'triad high', I don't know what the reasoning is and I found that I was doing a puzzle I didn't enjoy particularly. A bit of advice, reduction of music to numerological formulae like this seems like a distraction from the business of discovering things in the process of musical thought.

coquillo · Post by **coquillo** » Wed Apr 08, 2015 11:40 am

Suloo wrote:no thoughts anyone? Don't you see the usage yet?

There's any number of musical systems out there - Schillinger, CAGED, LCCTO etc. but at the end of the day the music has to stand or fall on it's own merits. What does your music sound like?

llze · Post by **llze** » Sat Apr 11, 2015 9:00 am

ok, thx for the reply, i'll prepare a solid answer for it, just takes me a little time.

jancivil · Post by **jancivil** » Sat Apr 11, 2015 7:51 pm

I think a better use of your time will be to investigate chord substitutions in use and see about their meaning in the musical context, the idea where it occurs, than to explain this. Evidently it's taking the tertial relationship on out there, I don't need more.

There may be an actual case where D is a good option where E is the usual expectation, and I could invent one, but that's more or less a rhetorical question, because D for E per se is not what we call a substitute chord really.

llze · Post by **llze** » Sat Apr 11, 2015 8:02 pm

i wonder where you see a D for E?

read from left to right: D Major -> F# Minor -> B Minor -> G# Diminished
Then you also see the coloring, the low triad has two notes in common, marked in Green, the high triad shares the root note of the initial chord marked in red color..

Substitution is used to spice up simple cadences, where you exchange the base chord with its substitutions.
I also put in common cadences based on triads, 4th and 5th. One can start in the middle of such a cadence for examble and use a substition directly, thats common practise in songwriting, see Paul McCartney for example.

llze · Post by **llze** » Sat Apr 11, 2015 8:29 pm

coquillo wrote:
Suloo wrote:no thoughts anyone? Don't you see the usage yet?
There's any number of musical systems out there - Schillinger, CAGED, LCCTO etc. but at the end of the day the music has to stand or fall on it's own merits. What does your music sound like?

some of my music is on my soundcloud, but thats all before getting in to the theory again.

coquillo · Post by **coquillo** » Sun Apr 12, 2015 10:23 am

Suloo wrote:
coquillo wrote:
Suloo wrote:no thoughts anyone? Don't you see the usage yet?
There's any number of musical systems out there - Schillinger, CAGED, LCCTO etc. but at the end of the day the music has to stand or fall on it's own merits. What does your music sound like?
some of my music is on my soundcloud, but thats all before getting in to the theory again.

I replied as I did because I got caught up in all these systems (and more!) a while back and got shot down in flames when I posted about it. So I made music with what I had and very few people were interested because it didn't sound like their favourite genres. Now I'm making music purely for my own enjoyment and am less stressed for it.

Keep 'em guessing how you did it!

llze · Post by **llze** » Sun Apr 12, 2015 11:05 am

Ok yes, well..thought i give smth back to the community. Yea, i'm also not looking to create the next chartbreaker

I just like to follow structure so i thought about creating one for me.

padillac · Post by **padillac** » Wed Apr 15, 2015 10:58 pm

I'm still searching for the "C" chord.

llze · Post by **llze** » Wed Apr 15, 2015 11:03 pm

C Major or Minor?

kurodo · Post by **kurodo** » Thu Apr 16, 2015 8:20 am

padillac wrote:I'm still searching for the "C" chord.

You won't find C Natural in the F# Natural Minor scale, presumably this is just one sample chart from the entire collection from suloo.?

llze · Post by **llze** » Thu Apr 16, 2015 11:27 am

yes, it's just an example, i made these charts for all 12 keys in major and minor, just click the dropbox link and your browser should probably already show you the dimension of teh sheet.

cheers

Songwriting Toolbox v.1