phrygian chords piano

phrygian chords piano

The Fm/G is essentially a G7sus(♭9). IOW, that's what it sounds like, so that's what to call it. ), or ‘C Lydian’ (voiced e.g. From my googling, it looks like a lot of people don't really like his definition and would rather simply define it as a susb9, which I can get with and definitely makes more sense to me. Hence, more flexible thinking and frameworks may be needed. Then it also makes sense that the players are advised to play ‘C Dorian’ and ‘E Phrygian’ chords. We build the C sharp minor seventh chord by using the notes C sharp, E, G sharp, and B. Hopefully these lessons are giving you a good understanding of all of the ways in which musical notes, chords, and scales, relate to one another. Bb-D-E-A to F#-Bb-C-F to E-A-Bb-D. voicings. Wouldn’t it be instructive to note that we are going from E Phrygian (sound) to Gb Lydian (sound)? G7sus♭9 (G D C F A♭) is Dm7♭5 or Fm6 with a G bass. A sus♭9 chord could be the latter, but then it would be a "i" chord, not a "V" chord. Describing the tune as ‘C Dorian/E Phrygian’ is actually very descriptive and accurate of its contents. The voice-leading from the A-A♭-G is excellent, it has a lot of minor plagal cadence flavour but packaged within a perfect cadence bassline which ends up with what I can only describe as nostalgic dissonance. As for regular suspended chords: they are generally used in three ways: functional, modal, and "gospel". Resolving to C major sounds like Fm>C over a G bass note, decorated with an additional (optional) D. Whether you choose B♭ or B, or E♭ or E will be all about the voice-leading, how you want your lines to resolve to the C (or its extensions). Only place I’ve encountered it so far is Wayne Shorter’s Infant Eyes. The functional explanation is best here: V/V -> V -> i. Bar 11. It all depends on flavour. Levine’s particular ‘Phrygian chord’ voicing is just a member of a class, not a class. Fadd9/A, Fadd#11/A, Fmaj7#11/A etc. And find the simplest explanation. (A similar chord can be constructed the other way around, superimposing a dominant over the subdominant bass, e.g. The modal usage can also be used on a smaller scale to create non-functional / non-diatonic quasi-turnarounds; this is because just shifting suspended chords around (e.g. We retain the b9 and b7, but tinker with the 13 or the sus. This means that we can superimpose the chord tones of a subdominant chord (e.g. I do agree that in tonal, functional pieces, of which we are talking about 95% of the time, and therefore in most educational settings (outside of modern jazz), CST and modal chord labels are not helpful. Emadd9/C = Cmaj7#11 or Bmadd11/C etc.) The b2 of Ab Phrygian builds the A major chord (the IV chord in the modal sequence). C sharp, D, E, F sharp, G sharp, A, B, C sharp. in seconds, thirds, or tritones) creates a feeling of mode shifting, but because suspended chords are somewhat tonally ambiguous, the effect is much less jarring than shifting major or minor chords in a similar fashion (the latter is something you'll hear a lot in the Star Wars soundtrack and similar "epic" film and opera music, often as a cliché way of depicting evil, doom, danger, or similarly "dark" concepts). Allowing a song to have several distinct own (possibly unrelated) modal sections seems to be negated as a category. A song could have four bars of Cm6/9 with (mainly) C Dorian melodies and four bars of F/E with E Phrygian melodies. The A7sus(b9) (D minor/A Phrygian) could easily be another type of ’Phrygian’ V chord like A13b9 (Phrygian Dominant nat6 (Mixolydian b2) from D harmonic major) or A7b13b9 (Phrygian Dominant from D harmonic minor). Almost any sequence of suspended chords will sound convincing, really. And while I'm at it, any good places one might use a regular sus chord? More freedom of expression, more richness of analysis. Therefore, this becomes a natural movement in Phrygian chord progressions. Herbie Hancock uses this a lot, allegedly based on cryptic advice from Miles Davis, who said "don't play the butter notes", which Herbie, at the time, assumed referred to the thirds. You can also check out the Locrian Piano Mode or Lydian Piano Mode. I really wanna get a grasp on them as I assume they're pretty important for being so early on in the text (maybe a bad assumption?). The functional usage of suspended chords is literally as a "suspension" of another chord, often a dominant: the sus4 is a "suspended" third, and can be resolved by moving that voice to the proper third, creating a dominant-7 or minor-7 chord (with the usual 9).

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