![]() Played before the i, Em, it gives us a rather weak-sounding harmonic resolution, as shown in Ex. You’ll notice that the v chord (in formal music theory, a lowercase Roman numeral is used to indicate a minor-type chord) generated by the E natural minor scale is Bm, not B. Along with its major counterpart, V-I, this is the most essential chord change in music and an integral part of the harmonic language of most styles. The one thing we can’t do, however, is have a traditional V-i resolution (B to Em in this case). Using these chords, we can jam out on the Aeolian progression Em-C-D-Em (theoretically spelled i-bVI-bVII-i) found in many classic metal and rock songs. These are the same seven triads that live within the G major scale, except here we’re starting on the note E and reckoning that as our new root, or tonal center. 2 illustrates the set of seven diatonic triads (three-note chords) that are generated from the E natural minor scale by harmonizing it in diatonic (scale-based) thirds and fifths on three adjacent strings. ![]()
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