![]() ![]() Eg when going from a C chord to an F, a melody or riff might go G-G#-A, imply a Caug chord in passing. Still rare, but would be the most likely occurrence of a major scale with a permanently raised note.Ī raised 5th (augmented 5th) occurs fairly often as a passing alteration. This does occur in jazz, and occasionally in rock (Joe Satriani is a big fan of lydian). ![]() It's extremely common, in fact, in rock'n'roll solos to have both 3rds in the scale, with the b3 resolving up to M3. But it's more like having both kinds of 3rd in the chord, minor and major. ![]() They would be VERY rare as consistent parts of a scale.Įg, in jazz you get "7#9" chords - implying a raised 2nd. These things are rare, but do happen, at least as momentary passing sounds. I mean is it something common or would it sound very odd to ears used to listening to Rock (Funk, Pop, Soul whatever. ?ĭo we also have flattening or sharpening of 2nd, 4th, 5th, 6th ? does anyone have a musical example of this in Rock (Funk, Pop, Soul whatever. I also heard that another common practice is the flattening of the 3rd. I guess both are acceptable (I would actually play G major during the verse and G mixolydian during the chorus especially when comes Fmaj7). ![]() funny because I was first trying to solo on it and I didn't really know if I had to play a G major scale or a G mixolydian which makes perfect sense, I think. I understand that it creates a clash between F and F#. I read somewhere that flattening the 7th somewhere in the song was common practice in Rock (I googled around and found it's called a subtonic, I will read more on that so I understand what it exactly means). but then, here is a new one, Oasis' Live Forever : I just transcribed another song and there was really nothing to say about it (all chords within the same scale). Thanks all of you who helped me on David Gray's song. ![]()
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