Do any of you have a major, or minor aversion to

[jdtrbn]

Shouldn't the root note be completely irrelevant, and only the intervals matter?

These days we use equal temperament, so yes, that's the way it should be. But if someone says that different transpositions sound different to him/her, what can you say?

But that quote about D minor is from Spinal tap, not meant to be taken seriously.

[JerGoertz]

Shouldn't the root note be completely irrelevant, and only the intervals matter?

These days we use equal temperament, so yes, that's the way it should be. But if someone says that different transpositions sound different to him/her, what can you say?

But that quote about D minor is from Spinal tap, not meant to be taken seriously.

oHHHHHHhhhh, right, I remember that quote now!!

It's where he's talking about "mock" and "Lick My Love Pump", right? ?

[xtp]

Shouldn't the root note be completely irrelevant, and only the intervals matter?

These days we use equal temperament, so yes, that's the way it should be. But if someone says that different transpositions sound different to him/her, what can you say?

But that quote about D minor is from Spinal tap, not meant to be taken seriously.

oHHHHHHhhhh, right, I remember that quote now!!

It's where he's talking about "mock" and "Lick My Love Pump", right? ?

I actually have no idea what they are talking about, but i googled spinal tap and it came up with a movie [and a surgical procedure] so i assume it is from that movie that the references are too.

[Sascha Franck]

I actually have no idea what they are talking about, but i googled spinal tap and it came up with a movie [and a surgical procedure] so i assume it is from that movie that the references are too.

You gotta watch that movie. It's a bit aging but still damn funny.

[nasenmann]

Any major chord with #9.

It's disgusting. May have to do with my lack of knowledge of practical (jazz) chord voicings, though.

Dude, what about Hendrix? I just love that chord to death in that funky rock context, like in Purple Haze.

Normal 9th chords are awesome too, and it's funny how hard it is to make any progression with just simple 5 9 chords sound bad. It's that lovely sound of a violinist tuning his instrument. Well, maybe it's just too easy to do and that causes it to wear off...

I have to agree with the flat 3rd flat 9th one, though we'd probably just have to wait for a knowledgeable jazzer to show us someone making good use of it in the right context

Hm, I don't find myself using major chords with a major sixth very much, always makes me think of the stuff I had to play in our Big Band at school, which just makes them appear trite

[Melkor]

speaking of 6ths, another chord i have a slight aversion to is the m6 or minor sixth chord.


Many many moons ago i had an argument with my uni lecturer that went something like this:-

Him: spell out Am6 for me

Me: A C E F .... 1,b3,5,b6

Him: You are incorrect.Try again

Me: where did i go wrong?

Him: you must use a Major sixth in a minor 6th chord.

Me: But the Major sixth is F# and that note is NOT diatonic to the key we are trying to harmonize to.

Him: But dont you agree that the 5th and the b6 (E & F) will clash?....being only a semitone apart?

Me: well...yes...but......i really dont wanna use a note outside the key,what other options do i have?

Him: You have many .........you'll work them out in time



after all these years the only conclusions i have come to is that a true "correct" m6 chord (with a friggin Major 6th) should only be used in a DORIAN context ie with the minor 3rd-Major 6th-minor 7th tonality as the "focus"

OR

you can use the "illegal" m6 chord WITH its actual b6 instead of natural, IF you drop the 5th to avoid the clash ....... and by then it becomes easier to just view this chord as bVI in first inversion (in a minor key) ie it can be seen as either Am(no5,b6) or F/A in the key of A minor.


I LOATHE the sound of the former , and absolutely LOVE the sound of the latter.

[xtp]

I actually have no idea what they are talking about, but i googled spinal tap and it came up with a movie [and a surgical procedure] so i assume it is from that movie that the references are too.

You gotta watch that movie. It's a bit aging but still damn funny.

I remember seeing one based on a similar concept in the early 80s called bad news tour done by the guys who did 'the young ones'.

Back then i listened to a lot of Motorhead and Black Sabbath so it was rathr funny at the time. Especially since a lot of the newer 'heavy metal' bands like iron maiden and metallica had began to emerge.

[hibidy]

any type of 8 chord sucks!

Never use 8 chords!

[nuffink]

If you explain to me what an 8 chord is, I promise not to use it.

[thecontrolcentre]

You gotta watch that movie.

this site goes to eleven

[Sascha Franck]

after all these years the only conclusions i have come to is that a true "correct" m6 chord (with a friggin Major 6th) should only be used in a DORIAN context ie with the minor 3rd-Major 6th-minor 7th tonality as the "focus"

Melkor, first of, we should be clear about naming conventions. 6ths (and 13ths) are always used as major 6ths/13ths in case there's no "b" in front of them. That's a convention and it's got nothing to do with whatever chord in whatever scale. So, in F major, your Amin with a possible 6th has got to be Amin/b6. In G major, the Amin inside the scale has got to be Amin/6. That's just all there is about it.

However, in real life, it's indeed that most contexts using whatever min/b6 chord would rather sound like a major chord with the 3rd in the bass. No idea whether this is due to the 5/b6 clash or to our westernized hearing.
The min6 chord however has a pretty much established "foundation" as a Im chord or a IVm chord in jazz and certain other styles.

[H.Noury]

The best way to understand a chord, and then to use it with intelligence, and then to "like it" is to analyse his "melodical history".

For example, a M7 is the first degrés with the sensible note "as we say in french" witch is not resolved on the tonal (On CM7, B should have become C upper but did not). Then we are "waiting so long " this resolution, and the chord gets us sensible to this "lost time", or "long duration time". That is the same for all the chords. M6 is many times a minor and major chord together for example,...

There is one chord, the major one, and its symetrie, the minor one. All the rest is "melodical histories" to be analysed.

[jancivil]

I hate onions

[xtp]

I hate onions

wow, salads are sad without onions.

[Melkor]

Melkor, first of, we should be clear about naming conventions. 6ths (and 13ths) are always used as major 6ths/13ths in case there's no "b" in front of them. That's a convention and it's got nothing to do with whatever chord in whatever scale. So, in F major, your Amin with a possible 6th has got to be Amin/b6. In G major, the Amin inside the scale has got to be Amin/6. That's just all there is about it.

Yeah i found that out the HARD way a long time ago

it just always kinda bugged me that b6's in its parent tonic minor key STILL have to be listed as "flat" when the formula for natural minor explicitly states that it already IS flat.

For example, m7 chords ....... any 1st year student can spell this chord because they can freely assume that the 7th described, from its minor scale, is INDEED flat, and there is no need to describe the chord as m(b7) ... we just call it m7.

But m6 chords have their own special little rule ....

The only reason i bat on about this is that the m(b6) chord and the m6 interval is one of my absolute favourites.

In having to describe theoretically my extensive use of these, ive tripped up on that little convention quite a few times in my earlier years.