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wilford - Posted - 03/28/2022: 13:23:17
I've composed a tune featuring banjo, mandolin and fiddle with a guitar, piano and bass backup. The guitar and piano are intentionally way back in the mix.
For the part B or chorus part I decided to go into the relative minor. I wrote it in A (three sharps) and so after leaving the V chord to start part B, I went to F# minor and then to the Major 2 chord ( I learned in music theory class in Ithaca College many years ago to call this chord the five-of-five, but no one calls it that anymore) and then to the V chord again. From there I went to the relative minor and then to the IV chord, I chord and V and then resolved to the I before beginning all over with Part A.
The neat thing about Part B is the relationship the chords have with one another. For example, I voiced the piano similar to the following: the V chord (E G# B) steps up so nicely to the relative minor (F# A C#) and the F# and A are also found in the next chord (B7) and only the C# moves a whole tone up to D# (F# A D# with the B note employed by various instruments). This B7 chord resolves to the V chord at E G# and D which later resolves to the I chord (second inversion) E A C#.
Later in the back measures of Part B I chose the V (E G# B) to relative minor (F# A C#) to 1st inversion IV (F# A D) to I, V, I and then back to the beginning of the piece.
I just love the way that the chords are so interrelated. Here's the tune "Heber Springs Ramble" that I'm discussing:
youtu.be/dljZ2wkbE9E
NCnotes - Posted - 03/28/2022: 15:22:10
Wow! I think it's that shift between major/minor sound that I'm loving, I really like the chord progression (and the rest of it too, of course!)
Maybe I should have paid more attention to music theory when various people tried to teach me...;-)
Edited by - NCnotes on 03/28/2022 15:26:30
wilford - Posted - 03/28/2022: 15:27:35
quote:
Originally posted by NCnotes
Wow! I think it's that shift between major/minor sound that I'm loving, I really like the chord progression (and the rest of it too, of course!)
Maybe I should have paid more attention to music theory when various people tried to teach me...;-)
Thank You very much. Have a great day! :)
RobBob - Posted - 03/30/2022: 07:12:19
I love it when another music nerd gets into the weeds of chord and progressions. Nice tune, rather bluegrass in flavor and the minor puts a nice twist on an old cliché.
wilford - Posted - 03/30/2022: 09:08:29
Continuing on with the nerd-i-ness :)
Below are 8 measures showing the close relationship of the notes in the chords used in this Part B:
1st measure: notice the A and C# remain in place as they are also found within the F# Minor chord.
3rd measure: notice the F# and A remain as they are related to the B7 chord.
4th measure: notice the tonal movement of 1 whole step from F# to E while the remaining two tones drop 1/2 step to form the V7.
6th measure: This chord ( the 1st inversion IV) has two common tones (F# and A) remaining from the previous F# Minor and note the C# resolves upwards 1/2 step to a D.
7th measure: These chords move from tonic to dominant setting up the tonic resolution.
(edit) actually Part B starts with the V chord and moves to the vi)
Chord progression: 2nd inversion I; root position vi (relative minor), 2nd inversion 5-of-5 or II7, root V7, root vi, 1st inversion IV, 2nd inversion I, root V, 2nd inversion I.
Edited by - wilford on 03/30/2022 09:14:44
wilford - Posted - 03/30/2022: 10:09:51
quote:
Originally posted by RobBob
I love it when another music nerd gets into the weeds of chord and progressions. Nice tune, rather bluegrass in flavor and the minor puts a nice twist on an old cliché.
Thank You, RobBob. Glad to know there's another nerd on here. :)
bsed55 - Posted - 03/30/2022: 18:01:12
Your tune sounds great and your description of the chords is poetic.
wilford - Posted - 03/30/2022: 18:13:18
Thank You, Bruce. :)
