So I am reading on the interwebs about F# Maj (because I am working with a sound kit in that key and want to write a keyboard part)
Why not either down 1/2 step (F Major) or up 1/2 step (G Major)???? GRIN
Why not either down 1/2 step (F Major) or up 1/2 step (G Major)???? GRIN
They have F# Maj as - F# G# A# B C# D# E# F# but have the chords as all major chords with the exception of the A# which is an A# Minor. Both C# Major and A# Minor contain a natural F, which does not exist in the key.
F# = F#, A#, C# G# = G#, B#, D# A# = A#, C#, E# (E# = F) B = B, D#, F# C# = C#, E#, G# (again, E# is F) D# = D#, F#, A# E#= E#, G#, B#
Chords based on any/all major scale(s):
I = Major II = minor III = minor IV = Major V = Major VI = minor VII = diminished
Is this right? If it is, how does that affect using the I, IV, V chord progression?
I = F# Major (F#, A#, C#) If extended by adding an E#, chord becomes F# Major 7
IV = B Major (B, D#, F#) If extended by adding A#, chord becomes B Major 7
V = C# Major (C#, E#, G#) If extended by adding a B, chord becomes a C# Dominant 7
Get all that?
Well, let me try to simplify it a little bit.
All of the scales have a pattern. Each pattern has multiple variations some based on a concept called the "semitone." Which is basically a half step. Natural notes become flats and sharps and vice versa.
It doesn't take much thinking to figure out that a half step UP in one scale renders the same note as a half step DOWN in another. A good explanation of the patterns can be found here. What Jack is explaining about is the pattern for each CHORD in a scale rather than the NOTES. If you read the link above, or at least the part on patterns, it will be much more clear what Jack was saying.
As always, I was looking for this information to fill a practical need. The result of that experimentation can be found in this song. Where I needed the information to write the organ part. Enjoy.
Thanks for playing along.
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