chords to the key or scale??????????

[willem]

MJ WROTE

I would be very interesting to hear the real answer to this, if there is one.

Good Question Willem.

MJ

[/quote]

I think we are in the same direction, what we know is when there is a chord progression(example key Cmaj) and you strum it, an other player can improvise a lead(or lick) with the notes of that key and this is then not out of key(or tune),so when we turn this around, i mean,make a melody with the notes from that key then you can put any chord out that key under this melody notes,but minor chords works different then major,so how we decide to make a chordprogression?

ps philosophize woth your own knowledge.!

[reiver]

willem wrote:

MJ WROTE

I would be very interesting to hear the real answer to this, if there is one.

Good Question Willem.

MJ

I think we are in the same direction, what we know is when there is a chord progression(example key Cmaj) and you strum it, an other player can improvise a lead(or lick) with the notes of that key and this is then not out of key(or tune),so when we turn this around, i mean,make a melody with the notes from that key then you can put any chord out that key under this melody notes,but minor chords works different then major,so how we decide to make a chordprogression?

ps philosophize woth your own knowledge.![/quote]

Willem

If I understand you correctly, then I'm afraid that I think it's more complicated than that. Not every note in a melody in the key of C will always sound good regardless of which chord in the key of C we are playing. Knowing the key helps us to limit the note options, but the actual chord limits them further. Otherwise any song in the key of C would sound OK if we played a C chord all the way through it.

Don't think this will have helped you much, but it may have clarified the position a bit.

r

[Music Junkie]

Yeah, there are certain "guidelines" that help us to narrow things down, but we should not get limited to only playing what is in a certain key or scale. Neil covered it in one of his posts, or clips, can't remember which. If in the key of C Major, it is most likely that you would use the notes from the scale of C Major or A Minor (they both have the same notes in them - just start at different places......).

Willem:

I would not go as far as to say that ANY chord out of the key would sound good behind a melody made of the same scale.... The diminished chords create a lot of tension and sometimes just don't sound right. Also, you need to work your progression so that you hit certain chords at certain parts of the melody. Some chords are going to sound better behind certain notes. I have not gotten to a place where I completely understand which ones yet. I am working diligently on that in lessons though. I am hoping to gain much more knowledge on that topic.

Sorry if this is confusing.....

:unsure:

[BigBear]

reiver wrote:

Not every note in a melody in the key of C will always sound good regardless of which chord in the key of C we are playing.

Reiver- I'm not sure that's true. Any note in the key of C and any of the chords in that key should always work together. They may not fit the song or the direction of the melody but they should work. If you move to a minor key that may not be true.

If you play a lead or a scale pattern in Cmaj they have to work or your leads will sound goofy. I may be wrong on this but I am under the impression that if you stay in the key it should always work.

Any of you experts out there have a comment? Neil?

Cheers!! :cheer:

[willem]

R.....
I understand you perfect..now i have a melody C-D-E-F-G-A-B-C-D-E-F-G-A-C/THEN INSIDE OUT.. think it in eightnotes 4/4. what chords would you put under it and where..

[willem]

I SEE WE ARE GETTING ANSWERS..............THANKS BUDDY'S

[willem]

Music Junkie wrote:

Yeah, there are certain "guidelines" that help us to narrow things down, but we should not get limited to only playing what is in a certain key or scale. Neil covered it in one of his posts, or clips, can't remember which. If in the key of C Major, it is most likely that you would use the notes from the scale of C Major or A Minor (they both have the same notes in them - just start at different places......).

Willem:

I would not go as far as to say that ANY chord out of the key would sound good behind a melody made of the same scale.... The diminished chords create a lot of tension and sometimes just don't sound right. Also, you need to work your progression so that you hit certain chords at certain parts of the melody. Some chords are going to sound better behind certain notes. I have not gotten to a place where I completely understand which ones yet. I am working diligently on that in lessons though. I am hoping to gain much more knowledge on that topic.

Sorry if this is confusing.....

:unsure:

THANKS

[willem]

Music Junkie wrote:
Neil covered it in one of his posts, or clips, can't remember which.[/quote]

I WANT TO FIND THIS.......ANYBODY???

[Music Junkie]

Willem:

Check the TG Live for September 12th maybe.......

:unsure:

[reiver]

BigBear wrote:

reiver wrote:

Not every note in a melody in the key of C will always sound good regardless of which chord in the key of C we are playing.

Reiver- I'm not sure that's true. Any note in the key of C and any of the chords in that key should always work together. They may not fit the song or the direction of the melody but they should work. If you move to a minor key that may not be true.

If you play a lead or a scale pattern in Cmaj they have to work or your leads will sound goofy. I may be wrong on this but I am under the impression that if you stay in the key it should always work.

Any of you experts out there have a comment? Neil?

Cheers!! :cheer:

Bear

I think that if you try playing a Cmaj chord while singing the note of D you may not still think that all notes work with all chords in the same key. There has to be more selectivity or chord progressions wouldn't exist because chord selection would be irrelevant, within any given key.

Hopefully we'll hear from an expert soon to put us out of our misery. Theory is not a strength of mine.

r