Topic: 7's

If a C7 resolves into a F then what does a A7 resolve into???

xbosshoggin

xbosshoggin
Will.I.Am
Keep Bossing my friends

Re: 7's

Well if C7 resolves to F, then A7 should resolve to D......  it's a counting thing.

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Take Care;
Doug

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Re: 7's

Well I got that but I just got a ukulele and i can't get it to work right....

xbosshoggin
Will.I.Am
Keep Bossing my friends

Re: 7's

try and think of it as the musical alphabet an example would be the C scale
C D E F G A B C if you place a number under each letter it would be 1 2 3 4 5 6 7 8
these numbers are called steps or intervals C  D  E  F  G  A  B  C
1  2  3  4  5   6  7  8

C7 resolves to F or 1 to 4 in the key of D there are two sharps F# and C# so the D major scale is
D  E  F# G  A  B  C# D  so the ratio of 1 to 4 is D to G this is true for every key
1  2  3   4   5  6   7   8
it would be helpful to know a little theory on the sharps and flats in the major scales so you could apply this formula

"Growing old is not for sissies"

Re: 7's

Russel, what do you mean by 1 to 4 in the key of d?

Re: 7's

In the key of D, D is the 1 or root  follow the scale there are two sharps in D F# and C# look at the D scale above the 4th step in the D scale is G as shown as I stated this can be applied to any key once you convert the sharps or flats in that key

Baldguitardude wrote:

Russel, what do you mean by 1 to 4 in the key of d?

"Growing old is not for sissies"

Re: 7's

I would like to add there are several references to how a major scale is constructed in this forum it is based on intervals ( whole steps and half steps) I  I  I/2 1 1 1 1/2 or whole step, whole step,  half step, whole step, whole step whole step, half step C has no sharps or flats G has one(F#) sharp D has two sharps(F#and C#) A has 3 sharps (F#C#G#) etc... there are many references to all the keys with sharps and the order they appear as well as the flats

"Growing old is not for sissies"

Re: 7's

I'm confused by your logic. c7 and F have nothing to do with the key of D in this context...maybe I'm just misunderstanding how you are thinking of this?

Re: 7's

sorry if I confused you the original question was if C7 resolves to F what dose A7 resolve to and in this context C7 is the 5th step of F and A7 is the 5th step in D so F is the root of the key and A7 resolves to D or 5 to 1 all of the keys have the same formula and they all relate its either a cycle of 5ths or a cycle of 4ths it just depends on which direction you go.

Baldguitardude wrote:

I'm confused by your logic. c7 and F have nothing to do with the key of D in this context...maybe I'm just misunderstanding how you are thinking of this?

"Growing old is not for sissies"

Re: 7's

A picture is worth a thousand words look at the diagram and you will see how all the keys relate to each other(resolve) this is the cycle,clockwise its the cycle of 4ths counter clockwise its the cycle of 5ths.I hope this helps explain how chords relate
http://www.jbott.com/c5_1.jpg

"Growing old is not for sissies"

Re: 7's

I know how the resolutions work, was just confused by your reasoning.

Limiting oneself to the V7-I resolutions only apply if you're working exclusively in the major scale. In the mixolydian scale, you also have a dominant 7th chord on the tonic chord. If you're playing around with the blues scale (b3 and b7) you also have a dominant 7 chord on the IV.

Re: 7's

Modal scales work the same way, only different.

The chord structures will shift along with the half step intervals.   The dominant 7 on the tonic for myxolidian is only there because it is based on the V (dominant) of the major scale.  It's why you play the III diminished, too.

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Re: 7's

I was only trying to explain what to more learned individuals take for granted the relationship of V to 1 not cover the entire spectrum of all the scales his question was basic.

Baldguitardude wrote:

I know how the resolutions work, was just confused by your reasoning.

Limiting oneself to the V7-I resolutions only apply if you're working exclusively in the major scale. In the mixolydian scale, you also have a dominant 7th chord on the tonic chord. If you're playing around with the blues scale (b3 and b7) you also have a dominant 7 chord on the IV.

"Growing old is not for sissies"

Re: 7's

@Jerome isnt that an overly complicated way of thinking about it?

Re: 7's

Baldguitardude wrote:

@Jerome isnt that an overly complicated way of thinking about it?

It's an incredibly simple way to think about it.  Instead memorizing 77 (seven modes * 11 keys) different modal scales and their associated chord structures, you only need memorize one.   If you know how the major (Ionian mode) scale fits together, you know all the modes, too.  And if you can play them in one key, you can play them in all keys.

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Re: 7's

Oh I see what you're saying now.

Re: 7's

I'm not that smart.  I have to simplify everything or I'd get nothing done.

Someday we'll win this thing...

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Re: 7's

I have a weird-ass brain. To me that takes a lot of extra steps...also if I'm  always thinking of things around the Ionian I can't get the textures of different modes.

For instance, I didn't really noodle much with the major pent much until recently. Prior to that I was playing in a lot of minor keys and playing music that required flat 3rds, so I just ignored the major. I started playing the major pent by thinking of "minor pent a b3 down the neck" and my solos just SUUUUUCKED. I had to stop what I was doing and learn the major pent as the major pent, without relating it to the minor pent.

Maybe its an inflexibility in my head.

Re: 7's

I definitely think peoples brains work differently and that leads to different approaches.  For example, using your switch to the major and minor pent, I look at that simply as the same scale,  just resolving on a different note.  For example, if I can play A minor pent I can also play C major pent using the exact same pattern, just by starting on the second note of the A minor pent.   The modal relationship between the two keys makes that possible, and I don't have to learn anything new.

Someday we'll win this thing...

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Re: 7's

Doesn't it become more of a pain with chromatic passing tones and whatnot?

Re: 7's

Baldguitardude wrote:

Doesn't it become more of a pain with chromatic passing tones and whatnot?

No.  Those chromatic tones are purely a matter of scale pattern, not the scale itself.  If you're running up between the II and II for example, it's going to be the same no matter where on the neck (what key) you play it.

Fundamentally, you don't really even need to know you're playing major, minor, or modal scales if you can run the scale pattern all the way across and up the neck.  All you need to know is which tone you need to resolve to, and make sure your solo gets there at the right time.

Someday we'll win this thing...

[url=http://www.aclosesecond.com]www.aclosesecond.com[/url]

Re: 7's

Yeah I guess that's true!

Re: 7's

I love music, especially the melody...