Re: Bassline / harmony question


"andrew queisser" <andrewdotqueisser@xxxxxx> wrote in message
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"Brian Running" <brunning@xxxxxxxxxxxxxxxxx> wrote in message
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Most of these songs also use I, IV and V in their chord progressions and
that's where my question comes in: shouldn't I see b-flats where the IV
chord (f) is being played and f-sharp where the V chord (g) is played? Is it
because the melody usually avoids b and f during those chords?

Because there's no B flat in an F chord, and no F sharp in a G chord. It's
still in the key of C.

Right, no B-flat in an F chord but I was wondering why I never see the melody
modulating to the key of the chord being played. I must be thinking about it
the wrong way - the melody is staying in C so the accompanying chords are
almost like inversions of the C chord, not really the full-blown "keys" on
their own?



This can be done, if you want to make a complex enough harmonic progression.
You could go from a root of C to the e-minor chord on the third of the C-scale,
but sometime it can be tasty to make it an E-Major or Edominant7 chord instead,
if you want to resolve it down to an a-minor chord. When this is done in this
specific way, that altered E chord is said to act as a "Dominant" for the
a-minor chord which follows it, in the same way that G-Major (V or V7) is the
Dominant of C-Major/minor.

If that makes any sense at all. It's all about what you want to do. Heck, most
Rosk is based on progressions of CMaj-BflatMaj-FMaj-CMaj (assuming we use the
key of C Major for the example.)

--
CPD



.

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