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I completely agree that understanding a minor 3rd being the same as a b3 isn’t, or shouldn’t be difficult. And to be honest I think the same way as yourself when it comes to minor keys for the most part...
But out of interest, how would you deal with being faced with say Cm7b5?
Regarding Nashville numbers, I would expect Cm to be written as 1m, although I’ve VERY rarely had to deal with NN in a written context, it’s pretty much always in an aural capacity. And in those cases the tonality has probably already been defined so the chord are said as usual and anything different would said as such.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Plus, see the difference between a diminished 7th chord and a half-diminished 7th...
Feedback
Around the same time that Rubbish became Garbage
A take-away became Take-out
Wearing a shirt became 'Rocking' a shirt
and young couples started 'Packing on the PDA '
............and stupid kids started calling the Police 'the Feds '
Basically an import from that shit hole on the other side of 'The Pond '
Because for me the important thing about harmonic minor is that the 7th is raised compared to natural minor, not that the 3 and 6 are lowered compared to major. Ie I want to show it’s a kind of minor scale, not that it’s a kind of major scale. But I think I am the odd one out on here. Good banter.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
If you know the relative degrees of the two scales (the tone, tone semitone thing) then it's straightforward to say a harmonic minor is the minor scale with the 7th degree sharpened.
And then we guitarists start to get into describing chord names by using numbers that relate the notes to the degrees of the major scale. So, even though I think of a minor triad as being the 1st, 3rd and 5th of the minor scale, I'll write it down for someone else as 1, b3, 5.
Nurse!
I think and hear things that way as well. I think of (and hear) the harmonic minor as a natural minor with a raised seventh. It's then a matter of what interval formula do you use to describe the scale or chord?
I'd write the interval formula for a natural minor (i.e. Aeolian) as:
1, 2, b3, 4, 5, b6, b7
But I don't hear it as a major scale with those interval modifications. I hear it as a natural minor scale as a starting point. The interval formula is just neat convention to describe it.
Regarding minor scale intervals, the use of 3rd, minor 3rd or b3 are just different views of the same thing. As as analogy, one might describe a point in 3D space in terms of Cartesian or spherical coordinates. It's the same point in space, just two views of the same thing.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
I’d be interested to know how would anyone describe a m7b5 chord?
here goes anyway.
after 40 years of playing instruments and learning some theory along the way, and getting some grades, I still don’t know how to CORRECTLY determine from looking at a piece of sheet music whether it is in a major or minor key.
I think I might be able to make a guess : viz key signature with no flats or sharps, so CMaj or Amin. If I see lots of A notes at the beginning or ending of bars/phrases it might be Aminor, and if I see lots of C notes doing the same it might be CMajor. But I don’t KNOW.
I think this is important . Imagine I am busking playing my trumpet and a piano accordionist walks by and says “can I jam with you”, because he needs to play chords (while I am only playing single notes) do I say CMajor or Aminor, and does it matter a jot ? Or do I say “if you are feeling in a happy mood we’ll be in CMajor, but if you are feeling moody we’ll play in AMinor”?
The very raison d’être for harmonic minor is (was originally) to describe a MAJOR 3rd on the dominant chord of a minor key, where otherwise it would be a minor v chord. So in A minor, the dominant can be E or E7 (not Em) in the harmony, with a major 3rd, which is the G#. That’s why it’s called harmonic minor.
(In classical music harmonic minor is almost never used on the tonic, it’s only used in 5th mode over the Dominant. So the scale would have a m2, a M3, and a m6 and m7. The 4th and 5th are perfect as normal). The scale is called Phrygian Dominant (for obvious reasons) and it’s the scale that Yngwie plays all the time.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.