Not sure that it made any sence to mee :? I?ve never heard of using roman numerals but that might just be me :oops:

As to return to the C13 vs. C7add6; i asked my piano teacher who said that he had never heard of a C7add6 beacuse it would be the same thing as a C13. The only reason that he could see for using a C7add6 is if you specificly wan?t to leave the 9th out. He also said that you could take the 9th out of a C13 if desired just as it is possible to remove the 5th to remain the same complexity throughout the melody. Futhermore he told me that it didn?t make any difference if the 13th was an octave above or not. It would still be a 13-cord. It could actually be below as you can transform a cord anyway you like just it?s the same tones. Often you play the cords in the right hand without the tonica (example C in a C7 cord) bacause you play it in the bas with your left hand. Even somtimes you can play a 4/4 bas go-around (or whatever it?s called) divided into 1/4 notes with the tonica as startpoint and just play the cord stacato one 1/8 note after the tonica. It gives the song more life compared to just playing the cord and bas together...

yea ive never heard of it either. the rest of your post sort of made sense.

but a C13 without the 9th isnt the same. it sounds different. if you kept the 9th and added the 11th aswell it sounds wrong too.

the bit about playing the tonica on the bass note made sense though but surely it would all depend on where you play the root note as to where the 13th would be?

i was just showing onkel how you can play a Vsus2 on my 1337 keyboard. note that O minor / M major 7th is graet chord combo for tarnce!1 turn the tarnce wheel all the way up and keep it in armin mode.

LOl i thought I'd become dyslexic for a second there. Phew.... :lol:

DS

Ok, in December I'm going to learn to be a better guitarist. I've never learned how to do fretboard-tapping leads very well, and I also need to study up in modes other than Dorian.

After that, I'm going to go out and find something to make me inspired again.

Juho, I think this was an excellent idea for a thread.

Yes, apart from some hijacking Osama would be proud of.......

That?s what he said :roll:

I cannot believe you guys have never heard of using Roman numerals!! Buy a theory book im sure you will see it in there...not a theory for guitar not a theory for piano...just a music theory book! not jazz theory or rock theory either...like a book you would buy for a class in music theory...or maybe something like counterpoint...you have heard of counterpoint havent you?

peace
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Ehhmm, never heard of a counterpoint but maybe that?s because i don?t know what it?s called in danish :? By the way i saw your roman numerals on a music theory web-site but i don?t know how it works. Never used it...

Hoho. Or samba theory or even ragtime theory.

The basic synopsis of it is this...for every scale degree there is a roman numeral...ie a major scale

C D E F G A B
I ii iii IV V vi vii

G A B C D E F#
I ii iii IV V vi vii

As for upper case and lower case you can get into that later...

this way if you are making a chord you have a bit less confusion and have a better understanding of the functionality of the chord and its relation to the root...

ie if you have a chord Gmaj7b5 you would right it as V7 or V7 of I
because you would know that G is the 5th of the scale of C and its a 7th chord...also instead of writting letters and figuring out what Gmin, G7add9, Gmaj6...to write its all general and is all related to the scale you are in...quick for site reading...It seems odd until you start learning it...its all just a replacement of the notes so you have no mix up between numbers and letters...ie I6

in Cmaj this would be a CEG chord in first inversion or EGC

I hope this helps but it probably wont!!

peace
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peace
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