Message 6/14
Date: 12-Feb-03 @ 10:40 PM Edit: 12-Feb-03 | 10:43 PM -
RE: Dorian Scale
1. c Maj 7 does not have the same notes as F maj. C Maj 7 (I'm pretty sure you mean with a flatted 7th - C, E, G, Bb) leads nicely to Fmaj because of the tension between E and Bb resolving up and down a half step, respectively, to F and A (the Fmaj chord is F,A,C,). The E-Bb interval is known as a tritone interval (augemented 4th or diminished 5th) and wants to resolve to a triad... in this case F-A. You'll probably find some of this if you do a search for harmony lesson.
that's why the V7 (in the key of C, that's G7... G, B D, F) resolves so nicely up to the tonic... the tritone is resolving to a triad.
Probably the most common chord progression (at least in jazz and blues) is the ii-V-I progression (in the key of C, that would be Dmin [d,f,a] to G7 [g,b,d,f] to Cmaj [c,e,g]
Notice that the ii chord is minor (hence the lower case)... as the dorian chord always is. so is a triad built on the phrygian mode, lydian is major, mixolydian is major, aeolean is minor, locrian is minor (a weird, diminished minor)... so these are your tools for interesting basslines. Just stay in the mode of the chord you're currently in in your progression and you can go all over the place and it'll sound pretty cool.
Sorry if I'm rambling, but hopefully some of this will stick
I love to help with harmony because it keeps me brushed up on my lessons
So hook me up with any other ???s ya got
psy