How to make chords from a scale, more than 3 notes

Chords, scales, harmony, melody, etc.
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brekehan wrote:
jancivil wrote:Well either you're pulling our leg saying you're this new to stacking another third on a triad for a seventh chord or, no shit you need to get some experience with seventh chords where they function normally first. Crawl before you believe you're a sprinter type-thing.

As I said, hungarian minor so-called, or gypsy minor is not built for chords really anyway. That's the real deal here.
I don't think :P is a great strategy while you're canvassing for help from people that don't owe you anything. Good luck to you.
Did my frustration upset you? That is not the intent. Your answers are helpful.
brekehan wrote:Everywhere I go to learn theory I get a lot of 'don't use theory, use your ears' or 'you can't ask that yet' answers :P Even so, I get bits of useful information between.
People trying to suss something bouncing around on the internet are prone to the POV things are more or less equal; and this approach has you at a place where you lack discernment.

You need a coherent path. So it's frustrating to me to spend time on your problem with this sort of result. Something in your expression annoyed me in that moment.
I mean it, four note chords arbitraily slapped on this mode is not the exercise for you. I don't know a better way to tell you than to simply tell you: you're not ready to ask this particular question. Why 'Hungarian MInor', with so little theory? It all seems so arbitrary.

I'm sorry, I should have been more generous, still. You seem a bit ADD and I shouldn't expect you to be me.
Last edited by jancivil on Thu Jul 31, 2014 7:19 pm, edited 1 time in total.

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brekehan wrote: I know what a major chord is, what a minor chord is, what a maj7, maj9, maj11, maj13 are, I know what a min chord is, aug, diminished, etc. but I can't really find any information anywhere on why people would play certain chords in certain keys, beyond the fact that the notes fall in that key. I'm not finding that missing link that tells me why the vii is diminished, I'm just to accept that it is. I want to know why it is.
Why would there be this information absent the context of particular music, particular musical thought?

The vii in major (or a harmonic type of minor) is diminished because that's the outcome of making a harmony by thirds from the scale. That's 'how', not 'why'. Why is purple a mix of blue and red?

Why it's used is contextual.
B D F is like G B D F (the dominant seventh) and there is, in conventional harmonic practice a tendency for that {B-F} to be a tension with an expectation to 'resolve'.
If you're not restricted to this convention, you could take it in the abstract and make other things with it. But one should note that tension in some context; and this is an appropriate enough school of thought to suss these things in first.

You should see about finding the whys in actual music, rather than why in the abstract; there are principles derived from analysis of what is done rather than a recipe book. Sometimes it will be hard to say why. The missing link is musical thought.

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