Minor as reference point for modal interchange and chord…
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Minor as reference point for modal interchange and chord qualities
When we compare chord qualities using roman numerals in modes, we usually reference them based on the major scale. For example, the third chord from an aeolian scale is referenced as bIII7, because in the parallel minor key, the third scale degree is lowered a half-step compared to it's parallel major key (and is a major seventh chord).
Thinking in chord qualities helped me to improvise based on modes. For example, if I'm playing in C major and want to add some color from the parallel C minor key, I can just keep in mind the bIII7 to pick the right chord and it's quality. This same principle can be applied to all modes, so I don't need to memorize specific chords in all modes, but rather just their qualities based on the scale degree.
Now, my question is wether it can make sense to use a minor key as a reference point and to basicially "flip" that, so instead of thinking bIII7 I'm rather thinking #iii7 (the third scale degree in major is raised a half-step in comparison to minor).
Since I haven't come across this "thinking" in any music theory textbook, I'm not sure if there is a better approach to think about those reference points when improvising (I usually improvise in major or minor and use modal interchange for color) and I'm looking for some guidance on this.
#audio #music
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When we compare chord qualities using roman numerals in modes, we usually reference them based on the major scale. For example, the third chord from an aeolian scale is referenced as bIII7, because in the parallel minor key, the third scale degree is lowered a half-step compared to it's parallel major key (and is a major seventh chord).
Thinking in chord qualities helped me to improvise based on modes. For example, if I'm playing in C major and want to add some color from the parallel C minor key, I can just keep in mind the bIII7 to pick the right chord and it's quality. This same principle can be applied to all modes, so I don't need to memorize specific chords in all modes, but rather just their qualities based on the scale degree.
Now, my question is wether it can make sense to use a minor key as a reference point and to basicially "flip" that, so instead of thinking bIII7 I'm rather thinking #iii7 (the third scale degree in major is raised a half-step in comparison to minor).
Since I haven't come across this "thinking" in any music theory textbook, I'm not sure if there is a better approach to think about those reference points when improvising (I usually improvise in major or minor and use modal interchange for color) and I'm looking for some guidance on this.
#audio #music
source
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