I like it -- it's peppy.
I like it -- it's peppy.
(The melody of the linked song is also mirrored. The original starts with an ascending line; the mirror descends by the same intervals.)
At first I was going to link this 18-minute discussion, but it's not exactly clear or all that helpful. Just a starting point. But I figured the song was a better choice.
Essentially you end up with major chords becoming minor, minor chords becoming major, and scale positions being offset so that X ==> 7 - X.
In other words, the normal diatonic chords built off a major scale:
I
ii
iii
IV
V
vi
vii (dim)
becomes
vi
V
IV
iii
ii
I
"vii (dim)" (it doesn't exactly stay the same, but I doubt if anyone here would know the difference)
(The melody of the linked song is also mirrored. The original starts with an ascending line; the mirror descends by the same intervals.)
At first I was going to link this 18-minute discussion, but it's not exactly clear or all that helpful. Just a starting point. But I figured the song was a better choice.
Essentially you end up with major chords becoming minor, minor chords becoming major, and scale positions being offset so that X ==> 7 - X.
In other words, the normal diatonic chords built off a major scale:
I
ii
iii
IV
V
vi
vii (dim)
becomes
vi
V
IV
iii
ii
I
"vii (dim)" (it doesn't exactly stay the same, but I doubt if anyone here would know the difference)
That was interesting. I sang this song as a lead with a choir behind me in a school chorus. I'm pretty astute when it comes to music. However if I were to attempt to try and sing using this technique. My voice would probably crack like a drunk chicken.
That was interesting.
I sang this song as a lead with a choir behind me in a school chorus. I'm pretty astute when it comes to music. However if I were to attempt to try and sing using this technique. My voice would probably crack like a drunk chicken.
I can't imagine trying to "un-learn" a melody that is so familiar, especially since I am so accustomed to just making my fingers play what I want them to, even if I don't hear it. (A disconnect between my inner ear and my playing is NOT a blessing, but at least there is one benefit - I can just play by rote/sight if need be)
I can't imagine trying to "un-learn" a melody that is so familiar, especially since I am so accustomed to just making my fingers play what I want them to, even if I don't hear it. (A disconnect between my inner ear and my playing is NOT a blessing, but at least there is one benefit - I can just play by rote/sight if need be)
Isn't that just relative major/minors? I used to create these inverted power chords usually with a third in the mix. Very thick sound
Isn't that just relative major/minors? I used to create these inverted power chords usually with a third in the mix. Very thick sound
Not exactly... I'm still working this stuff out, but there are a couple different approaches.
My approach is just trying to figure out how to reharmonize songs. This "theory" (or theoretical approach) just provides a formula based on a "reflection across an [invisible] axis". So one the one hand, CEG (C major triad) becomes GEbC (high to low), which is CEbG (C minor triad, low to high). But the chord built off the next scale degree, i.e. D minor triad (DFA) becomes Bb D F (i.e. not a "D" chord)
When you reflect a major scale across the axis between the 1st and 5th scale degrees (in this case, between Eb and E), you move into the parallel minor scale (and it's related, relative major scale). In the case of C major, you go to C minor, i.e. Eb major.
Back to my approach. I take more of a functional harmonic approach to determining what chords to use in a song. So that's where I derived the substitutions above
Not *exactly*... I'm still working this stuff out, but there are a couple different approaches.
My approach is just trying to figure out how to reharmonize songs. This "theory" (or theoretical approach) just provides a formula based on a "reflection across an [invisible] axis". So one the one hand, CEG (C major triad) becomes GEbC (high to low), which is CEbG (C minor triad, low to high). But the chord built off the next scale degree, i.e. D minor triad (DFA) becomes Bb D F (i.e. *not* a "D" chord)
When you reflect a major scale across the axis between the 1st and 5th scale degrees (in this case, between Eb and E), you move into the *parallel* minor scale (and it's related, relative major scale). In the case of C major, you go to C minor, i.e. Eb major.
Back to my approach. I take more of a functional harmonic approach to determining what chords to use in a song. So that's where I derived the substitutions above
So Dm/Bb?
So Dm/Bb?
Could you rephrase that?
Looking back at what I wrote, the connection between Dm and Bb is that they are "negatives" (really, reflections might be a better term, unofficially) of each other WHEN RELFECTED ACROSS [the pitch between Eb and E].
Reflecting the triads built off C major (Cmaj, Dm, Em, Fmaj, Gmaj, Am, Bdim), across [that pitch] gives (Cm, Bbmaj, etc)
Not sure if that answers or helps!
Could you rephrase that?
Looking back at what I wrote, the connection between Dm and Bb is that they are "negatives" (really, *reflections* might be a better term, unofficially) of each other WHEN RELFECTED ACROSS [the pitch between Eb and E].
Reflecting the triads built off C major (Cmaj, Dm, Em, Fmaj, Gmaj, Am, Bdim), across [that pitch] gives (Cm, Bbmaj, etc)
Not sure if that answers or helps!
(post is archived)