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#1 |
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Harmonizing minor scales
I know that the formula for harmonizing a scale is I ii iii IV V vi viidim but how do you harmonize natural minor, harmonic minor and melodic minor scales?
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#2 |
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b3 b6 and maj7 for harmonic minor
b3 and maj7 for melodic minor b3, b6, b7 for natural answer your question? |
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#3 |
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I think he's asking for the Roman numeral analysis of the minor scales. If that's the case, you'd analyze each scale like this:
Natural minor: i - ii dim. - III - iv - v - VI - VII Harmonic minor (raised 7th): i - ii dim. - III+ - iv - V - VI - (nat.) vii dim. Melodic minor (raised 6th & 7th): i - ii - III+ - iv - V - (nat.) vi dim. - (nat.) vii dim. Make sense? Check online for analysis charts, too. It'll help you visualize and memorize the harmony patterns. |
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#4 | |
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Quote:
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#5 |
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oh,
shoulda just stacked the thrids bro Last edited by GrindOverMatter; 06-03-2011 at 10:55 PM.. |
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#6 |
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lol, this thread just gave me a terrible flashback of learning all the chord scales from major and melodic minor in every inversion in mick goodrick cycles 2 through 7 during 2nd year uni---fuck that sucked
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#7 |
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yeah, right now i have to dedicate myself to learning a shitload of theory, i know a decent amount, but to get back into my school's music program i need to be more advanced.
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#8 |
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if you do it the way classical musicians used to, then minor = a combination of harmonic, melodic and natural minor... for example... harmonize this way:
i - ii dim - III - iv - V - VI - vii dim -the V is "technically" from the harmonic minor scale -the III is "technically" from the natural minor scale but the V needs a raised third (ie raised 7 scale degree) to become a dominant chord... and if we used a raised 7 for the III chord, we would actually have a III+ chord, which contains the leading tone but has no function, therefore it would not be a good chord to use in a classical progression... the most common way that hungarian minor came about was the use of augmented 6th chords... it was originally used as an alternate pre-dominant chord... the augmented 6th interval creates a raised 4th in the harmonic minor scale resulting in hungarian minor/double harmonic minor... as for melodic minor, this is almost always the scale they used over these progressions (actually melodic minor ascending, natural minor descending) to avoid the augmented second interval created by the raised 7th.... just some classical theory, the other posts on in this thread demonstrate a modal approach to different minor keys, but this "utility" minor is actually how composers used minor for many years |
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#9 |
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Wow that answer to your question is really good and accurate because i was also go through the same scale issue but after that i read the post my problem is solved..Thanks
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#10 |
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![]() try a zoom 505 dude!
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#11 |
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Fucking realised that only playing guitar makes me feel really dumb...
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#12 |
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![]() PLAYING GUITAR IS FUN!
ITS LIKE SUCKING A GUYS DICK! JUSY ENJOY IT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!! |
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#13 |
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Re: Harmonizing minor scales
lol, this string just gave me a horrendous flashback of taking in all the harmony scales from a major and melodic minor in each reversal in mick Goodrick pushes 2 through 7 amid second-year uni - screw that sucked
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Re: Harmonizing minor scales
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Re: Harmonizing minor scales
Thanks for this
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