Music theory question
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NegativeEase
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Re: Music theory question
A minor is the "relative minor" of C Major
Every major key that you play a song in, the relative minor scale is the optimal blues pentatonic scale -it's always 3 half steps down. So if a song is in G Major, solo in the E minor pentatonic. If the song is in D Major, solo in the B Minor Pentatonic.
Got it?
Of course this just the basics and there's a crazy amount of options outside of this -but this is the very basics you need to know.
A minor is the "relative minor" of C Major
Every major key that you play a song in, the relative minor scale is the optimal blues pentatonic scale -it's always 3 half steps down. So if a song is in G Major, solo in the E minor pentatonic. If the song is in D Major, solo in the B Minor Pentatonic.
Got it?
Of course this just the basics and there's a crazy amount of options outside of this -but this is the very basics you need to know.
Gtrjunior
New member
Music theory question
The important difference is the chord tones.
In C you would shoot to resolve on C, E, and G. (Not including the 7th for simplicity).
In Am your shoot for A,C,E.
And of course, this is the tip of the iceberg. It only get deeper from here. Lol
The important difference is the chord tones.
In C you would shoot to resolve on C, E, and G. (Not including the 7th for simplicity).
In Am your shoot for A,C,E.
And of course, this is the tip of the iceberg. It only get deeper from here. Lol
GuitarStv
Sock Market Trader
Re: Music theory question
A minor pentatonic = 1 b3 4 5 b7 of A = A C D E G
C major pentaonic = 1 2 3 5 6 of C = C D E G A
As mentioned, the same notes in both scales which is why it sounds like it works. You just have to remember not to target the A root note of A min pentatonic . . . it's pretty natural to play a minor pentatonic lick and end on the root note, but the A ends up sounding like a 6th of the C major scale which will not sound as strong for a phrase resolution as landing on the C, E, or G.
A minor pentatonic = 1 b3 4 5 b7 of A = A C D E G
C major pentaonic = 1 2 3 5 6 of C = C D E G A
As mentioned, the same notes in both scales which is why it sounds like it works. You just have to remember not to target the A root note of A min pentatonic . . . it's pretty natural to play a minor pentatonic lick and end on the root note, but the A ends up sounding like a 6th of the C major scale which will not sound as strong for a phrase resolution as landing on the C, E, or G.
NegativeEase
New member
Re: Music theory question
Indeed, forgot to mention that -the only difference between either is what note you start or feature versus the steps you take which suggest to the mind a key foundation.
Really if you think about it, a song written with only the chords C and A minor -really is a one chord song with 2 chord voicings.
Indeed, forgot to mention that -the only difference between either is what note you start or feature versus the steps you take which suggest to the mind a key foundation.
Really if you think about it, a song written with only the chords C and A minor -really is a one chord song with 2 chord voicings.
RorySquier
New member
Re: Music theory question
I believe or sense there is some underlying darkness lurking in thine pentatonic scale...no?:33::bowdown::headbang:
;>)/
I believe or sense there is some underlying darkness lurking in thine pentatonic scale...no?:33::bowdown::headbang:
;>)/
ibanezrocks
HardtailPisser
Re: Music theory question
As already mentioned, both scales are the same notes. Solos usually heavily rely on 1, 3, 5, as resting notes, which are C, E, G in C major and A, C, E in A minor. Depending on your phrasing, it can be unclear from the listeners perspective which key you're soloing in.
What you hear as the root in a song depends on a lot of things, like where a chord progression starts or ends and how it changes throughout the song. If the chord progression isn't firmly rooted (somewhat subjective), the solo can definitely be enough to pull it over from C to A.
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As already mentioned, both scales are the same notes. Solos usually heavily rely on 1, 3, 5, as resting notes, which are C, E, G in C major and A, C, E in A minor. Depending on your phrasing, it can be unclear from the listeners perspective which key you're soloing in.
What you hear as the root in a song depends on a lot of things, like where a chord progression starts or ends and how it changes throughout the song. If the chord progression isn't firmly rooted (somewhat subjective), the solo can definitely be enough to pull it over from C to A.
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Gtrjunior
New member
Music theory question
Sure it should...
The 7th of C7 is B. B is the 2nd of Am. It’s all within both keys.
In Am, B isn’t exactly a good note to land on for resolution but it completely works in C, especially in a bluesy setting.
Revision:
Diatonic to C, the correct chord would be Cmaj7.
If you play C7 (Dominant) and solo with Am penta, there is neither a B or Bb in the scale, so you sort off “skirt around” the issue of the B (or Bb note).
Sure it should...
The 7th of C7 is B. B is the 2nd of Am. It’s all within both keys.
In Am, B isn’t exactly a good note to land on for resolution but it completely works in C, especially in a bluesy setting.
Revision:
Diatonic to C, the correct chord would be Cmaj7.
If you play C7 (Dominant) and solo with Am penta, there is neither a B or Bb in the scale, so you sort off “skirt around” the issue of the B (or Bb note).
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Sirion
Well-known member
Re: Music theory question
Am7/C is a fine chord, isn't it?
Just be careful with the spacing and the resolution.
If we are talking about an Am pentatonic scale, it avoids the Bb/B (or B/H) clash that might arise from use of the full A minor scale.
Am7/C is a fine chord, isn't it?
Just be careful with the spacing and the resolution.If we are talking about an Am pentatonic scale, it avoids the Bb/B (or B/H) clash that might arise from use of the full A minor scale.
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Gtrjunior
New member
Re: Music theory question
There is no Bb in an Am scale.
Am7/C is a fine chord, isn't it?
If we are talking about an Am pentatonic scale, it avoids the Bb/B (or B/H) clash that might arise from use of the full A minor scale.
There is no Bb in an Am scale.
NegativeEase
New member
Re: Music theory question
A great musician can make ANY note sound good over any other note or chord etc to the listener -so long as they have a passage that is leading the brain in a direction of conflict or resolution.
The brain really just wants to know where we are going and how long we are hanging around. :lmao:
A great musician can make ANY note sound good over any other note or chord etc to the listener -so long as they have a passage that is leading the brain in a direction of conflict or resolution.
The brain really just wants to know where we are going and how long we are hanging around. :lmao:
ItsaBass
New member
Re: Music theory question
A minor and C major contain the same notes, but it does not mean that they are the same scales. You don't just play in A minor over a C major song, and have it sound fine. You are pulling from the same bunch of notes when playing strictly within both scales, but you are moving very differently in terms of melody, harmony, resolution, etc. That said, as the chords change in a song that is in C major, you might find yourself actually playing in A minor for a bit. Lots of songs do it: flop back and forth between "being in" a relative major and a relative minor key. I think of it as a "mini modulation," or "temporary modulation."
A minor and C major contain the same notes, but it does not mean that they are the same scales. You don't just play in A minor over a C major song, and have it sound fine. You are pulling from the same bunch of notes when playing strictly within both scales, but you are moving very differently in terms of melody, harmony, resolution, etc. That said, as the chords change in a song that is in C major, you might find yourself actually playing in A minor for a bit. Lots of songs do it: flop back and forth between "being in" a relative major and a relative minor key. I think of it as a "mini modulation," or "temporary modulation."
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Obsessive Compulsive
New member
Re: Music theory question
He said C7 not Cmaj7.
Am works over C7 cause both share the same notes when in altered dominant setting.
He said C7 not Cmaj7.
Am works over C7 cause both share the same notes when in altered dominant setting.
Re: Music theory question
Great discussion thus far...
I tend to think the other direction starting with the relative major and minor scales and thining out the notes as I move towards pentatonic.
By seeing the pentatonic overlaid with the major or relative minor, it becomes easier for me to see the raising of the seven in the minor scale. A lot of us do this without even thinking about it, however, there is an abundance of blues and jazz riffs that use the raised 7th for a stronger push into the minor tonic. most of the time I'll switch back to the regular minor when going down the scale however I also quite often raise the 6 and the 7 going up... Just as before, it makes the minor tonic considerably stronger, or you can switch into a Picardy third which is simply turning the minor tonic chord into a major chord.
It's also helps me with a related concept, I really enjoy great guitarist who switch between major and minor pentatonics, Clapton it's famous for it. If I'm working in a true blues song where 1 4 and 5 are domanants, I usually automatically shift to the parallel minor (cm in place of C major) especially if other instruments aren't playing chords (Cream is a perfect example).
The lowered 7th on the I and IV give me 2 more notes to mess with, and it's relatively easy to hear, but I tend to be more aggressive when I can see potential chord members superimposed on the full scale.
Hope this makes sense... It's easier to play than it is to describe
Sent from my SM-G960U1 using Tapatalk
Great discussion thus far...
I tend to think the other direction starting with the relative major and minor scales and thining out the notes as I move towards pentatonic.
By seeing the pentatonic overlaid with the major or relative minor, it becomes easier for me to see the raising of the seven in the minor scale. A lot of us do this without even thinking about it, however, there is an abundance of blues and jazz riffs that use the raised 7th for a stronger push into the minor tonic. most of the time I'll switch back to the regular minor when going down the scale however I also quite often raise the 6 and the 7 going up... Just as before, it makes the minor tonic considerably stronger, or you can switch into a Picardy third which is simply turning the minor tonic chord into a major chord.
It's also helps me with a related concept, I really enjoy great guitarist who switch between major and minor pentatonics, Clapton it's famous for it. If I'm working in a true blues song where 1 4 and 5 are domanants, I usually automatically shift to the parallel minor (cm in place of C major) especially if other instruments aren't playing chords (Cream is a perfect example).
The lowered 7th on the I and IV give me 2 more notes to mess with, and it's relatively easy to hear, but I tend to be more aggressive when I can see potential chord members superimposed on the full scale.
Hope this makes sense... It's easier to play than it is to describe
Sent from my SM-G960U1 using Tapatalk
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