I don't understand these chords

[Kyzzok]

Hi there,

I'm working on a remix. Here is the MIDI files :

Pluck : http://www54.zippyshare.com/v/30087068/file.html
Pad : http://www25.zippyshare.com/v/9419743/file.html

Screen : http://www.heberger-image.fr/data/image ... _pluck.png

The root note is G# and most of the notation comes from the G# major scale (or Ab major scale) but in the melody there are a D which is not in the scale, so i'm confused...

Thanks in advance !

[jancivil]

The Ab major chord comes across as 'IV' and the key is actually Eb. The chord Ab Bb D being V7 with the seventh at the bottom.

You seem to have proceeded from the assumption that the first chord must be 'I' or the first chord of the key. Not so much.

Also for future reference 'root note' ≠ 'tonic' or keynote, it's just a property of a chord.

[jancivil]

Even if Ab became established as the real key, Ab Bb D would be (Bb7), V7 of Eb {V of V} which is not so unusual. Eb [major chord] is the dominant of Ab, Bb7 a secondary dominant [to Eb].
So even if D is not a member of the scale of Ab, there can be reasons for its inclusion in some music.

[Kyzzok]

OK, thank you a lot jancivil

[Kyzzok]

the key is actually Eb.

If the key is Eb (major right ?) why there are a A# in the chord (which is not included in the Eb major scale) ? I missed something...

[cryophonik]

the key is actually Eb.

If the key is Eb (major right ?) why there are a A# in the chord (which is not included in the Eb major scale) ? I missed something...

That's (presumably - I didn't look at the MIDI files) a Bb, not an A#. Don't mix flats and sharps within a key signature (i.e., see your circle of fifths).

[dea-man]

Surely you've heard "accidentals" in melody?

[jancivil]

the key is actually Eb.

If the key is Eb (major right ?) why there are a A# in the chord (which is not included in the Eb major scale) ? I missed something...

Key of Eb: Eb F G Ab Bb C D.
Chord is Bb D [F] Ab. F is not present in your case, but it isn't really necessary for it to be that Bb7 harmony, V7 of Eb.

You should get a basis in keys and scales first!
For example, there is not really a 'key of G#' as the amount of sharps resulting from it are unwieldy.
G# A# B# C# D# E# Fx. F double sharp is the seventh degree of that scale, and it has never been deemed practical to have double sharps or flats in a key signature.
It's an Fx rather than a G because we will not have two Gs in a simple scale; it's consecutive letter names always.

Note Well: the convention of making key signatures is a series of rising fifths in its order beginning with an F#: 1 sharp = Key of G; 2 #s = Key of D; 3 #s = Key of A; 4 #s = Key of E; 5 #s = Key of B; 6 #s = Key of F#. Key of C# has the most sharps, seven: F#, C#, G#, D#, A#, E#, B#.
Key of G# exceeds that, by that circle of fifths and doesn't work, it isn't 8 sharps and F# is out the window.



This is typically your primary move gaining music theory in western terms.

The flats go the other way around the circle. 1 flat = Key of F. Etc. Both go seven times away from C major [or A minor, relative minors same key signature as major].
Note that seven flats, like seven sharps, results in a key that's a semitone from C, the other direction. {Key of Cb vs Key of C#.}
So six sharps key sig means key is F#; six flats key sig means key is Gb; which is one of three 'enharmonic' equivalents per the cycle.
Past six we find this overlap: seven sharps gives the equivalent of five flats and vice versa. Also note that 7 + 5 = 12.
So six semitones shows the exact middle of the 12-tone 'octave' (a term of convention belonging to seven note scales).

[stockholm808]

There is no wrong note only wrong timing.

[sam_fishman]

Hi! Maybe, someone knows if there is a computer program which helps to build and analyze chords and intervals ?