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Very nice indeed Ralph 👌 😊.
I have not done this lesson but it is interesting how you can play C# over Dminor. I will take a look at the lesson for Brian’s explanation of that.
I am currently working through EP587 where there is a whole thing on playing a minor chord over a major chord. He gives an example of playing F# minor over A and it works. When you examine the finger pattern of the F# minor you realise you are also playing Amajor 6th -pow! Light bulb moment 😄. I actually enjoy learning the theory behind stuff like that.
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Thanks Geoff. Brian is very perceptive about connecting things you know to other applications. He also did a lesson where he points out that a D9 chord contains an Aminor triad, which I never noticed. All useful stuff to be stored away.
RalphRalph P.
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Hmm..I wonder if you can play any minor chord in the key over the root major chord.
Like the the relative minor over the top of the major. Like F# is the relative minor in the A Major key – I suspect I could play an F# minor chord over the A major chord. The C# minor chord would be the third minor chord in the key of A – could I play a C# minor over the A major chord ? Food for thought, something I am going to play around with today I think.
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Playing C# over Dm turns that chord into a Dm(maj7). I’ll gladly admit that it is rather infrequent in pop and rock, but it appears in classical music and jazz.
Yes, in isolation that chord has a lot of tension and many people would probably gnash their teeth hearing it.
But music is context.
In order to understand why this works, you need to look at what the melody is doing on top of these chords: c# – b – a. That’s a completely standard melodic cadence coming to a peaceful rest (mi – re – do).
The underlying chords are Dm(maj7) – E7 – A. The first chord creates a lot of tension that gets partially released with the E7 chord since the dissonant c# becomes a consonant b; finally, the tension inherent to the E7 chord gets released with the tonic chord.The iv in place of the IV is a very common substitution and there are other examples of that in the lesson. This final Dm(maj7) is just a Dm on steriods.
So in fact we have a very classical Predominant -> Dominant -> Tonic, with slightly more tension on the PD chord than you would normally expect.
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