So modifying to the A# with The C6 defines Fmaj?

 

So, c major is
CDEFGAB
Fmajor is
FGABbCDE ( a# is Bb)

The difference between F major key and C major key is just one note A#

All the types of C chords and what keys they belong to
Cmajor7....... CEGB (key C) Cmajor6 CEGA

C7............... CEGA# (key of F)

Cmin7 ........CD#GA# (key A#), (key D#), (keyG#)

Cmin7b5.....CD#F#A# (key C#)

Cdim7........CD#F#A (key C#),(keyE),(keyG),(keyA#)

.......
Now any major7 chord

Let's say Cmajor7 CEGB
Can be C6 CEGA
So Fmajor7 FACE can be F6 FACD

Gmajor7 GBDF# G6 GBDE

 

Hi MMJ,please what are the notes of the Amin6 chord? A,C,E,F ??

 

F♯ not F
Would sound strange with an F

 

Yes I know it would sound strange with a F,but he was talking about A minor scale.And there isn't any F# in A minor scale,so I don't understand.

Can you clarify this please?

 

Amin6 is ACEF# Aminmaj is ACEG#

So there is 3 Aminor scales .
A natural minor ( used in c major scale
ABCDEFG

A harmonic minor (used for progressions
ABCDEFG#
A melodic minor ( used for lines melodies
ABCDEF#G#

Use harmonic minor V chord EG#BD E7 v of Amin
Use melodic minor Amin6 ACEF# for I chord.
Use Aminmajor ACEG# for I chord
Use Amin7 for I chord ACEG



When you create a minor cadence ( ii V I
You use harmonic minors V chord
And melodic minor chord
Bmin7b5 ,E7,Amin6




Now for each key say C major A relative minor
Your are using
C major
C natural.minor
C harmonic minor
C melodic minor
A MAJOR
A natural minor
A harmonic minor
A melodic minor

Except C harmonic and melodic minor is in substitutions.
A major is in substitutions

The primary ends up being
C major
C minor
A harmonic minor
A melodic minor

 

Last edited: Jul 9, 2019

It's a bit confusing at first but think of this

Every maj6 is also a min7
Ex.
C6 CEGA is Amin7 ACEG

Every min6 is also min7b5
Ex.
Dmin6 DFAB. Is also Bmin7b5 BDFA

The use of tonic 7th chords is only recent.
Normally
You use tonic chords as 6th chords
The reason is it's actually less tension .

Take G7 GBDF resolving to Cmajor7 CEGB
The B needs to raise up to C but in Cmaj7
The B carries over but the B and F are tense and dominant .

So GBDF to CEGA
G up to A
B goes to C
F goes up G
D goes up E
It's a stronger resolution .
However
You can also just resolve to CEG major triad

Now a key means a link between 2 cadences.
So

Dmin7,G7,C6,Bmin7b5,E7,Amin6
Fmaj7 is the link

If you use the tritone substitution s
Dmin7,C#7,C6,Bmin7b5,A#7,Amin6

You get chromatic descending motion .

But ALL
A key is , is 2 cadences Cmaj Amin are linked
That link is FMaj7 ( or Dmin7)


The link is the location
C ii V I
Amin ii V I
Both take place inside of the links
( Fmaj7 or Dmin7


This really important because people get impression that a KEY means you can only play those 7 chords for a song it's not true
A KEY has nothing to do with what goes in songs it's
A structural consonant link between major and minor
And those 2 cadences are only expansion of the tonic.
So a KEY only means a connect between the 7 chords
And ZERO restrictions about adding anything in a song or a Melody or harmony

At all times in every key you have all 12 notes a part of a key.
C major or any key has all 12 notes to use.

 

Last edited: Jul 9, 2019

Chromatic scale from the perspective of C major.

C......... C.tonic
C#.......A7 ( V of ii chord Dmin7
D.......... Dmin7
D#.......Fminor IV min
E...........Emin7 or E7
F............Fmaj7 link
F#..........D7 V of V
G.............V chord G7
G#...........E7 V of Amin
A..............Amin tonic
A#............C7 cega# V of IV chord
B...............Bmin7b5 ii of A, (Vof I



This carries over to every Key
So as long as you know the function and you doing it on purpose to accomplish something
ALL 12 notes are available in every key.

 

If you take key of c major
1.CEGB
2.DFAC
3.EGBD
4.FACE.
5.GBDF
6.ACEG
7.BDFA


We see 2 cadences linked with Fmajor the.midfle chord.

Dmin7,G7,C6
Bmin7b5,E7b9,Amin6

Over top a low
Fmaj7


That gives us a major type of cadence
iimin7, V7,Imaj6
And a minor type of cadence
Iimin7b5,V7b9,imin6

Now because these cadences are an extension of I our tonic.
We actually have a cadence to each of the 7 chords.

While still staying inside the KEY of C major.
1.dmin7,G7,Cmaj6
2.emin7b5,A7b9,dmin6
3.f#min7b5,B7b9,emin6.
4.gmin7,C7,Fmaj6.
5.Amin7,D7,(you only have ii v because G7 is dom
6.Bmin7b5,E7b9,Amin6.
7.c#min7b5,F#7b9,Bmin7b5.


The only
Odd man out
Is the G7 we do use the ii V Amin7,D7 but skip the tonic
So in key of c major you'd see a progression like
Amin7, D7) dmin7,G7,C6,(Gmin7,C7,Fmaj7)

 

Last edited: Jul 9, 2019

What scales to use.

Dmin7,G7,C6
Dmin7 (DEFGABCD
G7(GABC#DEFG
C6(CDEF#GABC

Bmin7b5,E7,Amin6
Bmin7b5(BC#DEFGAB
E7(EFG#ABCDE
Amin6(ABCDEF#G#

 

Thanks for your previous answer.Yes now I understand when you say you were talking about harmonic minor and melodic minor scales.
But:

Sorry but it's not easy to understand you sometimes...
When You're saying Fmaj7 is the link,what does it mean ? You have to resolve from Amin6 to Fmaj7 ??

 

Hello friend , no it's okay .
That's excellent question .

So the 2 cadences
C major cadence
Dmin7,G7,C6
And Amin cadence
Bmin7b5,E7,Amin6
That is 6 chords in c major so there is only one left .
4.fmaj7
The c major and a minor cadences
Take place inside of Fmajor

Try it
Fmaj on bottom
While it rings in low register
Play
Bmin7b5,E7,Amin6,Dmin7,G7,C6
Over Fmaj7 ringing out whole time

Or tritone substitutions
Bmin7b5,Ab7,Amin6,Dmin7,C#7,C6
Over Fmaj7 ringing out whole time .

1.cegb
2.dfac.
3.egbd
4.face
5.gbdf
6.aceg.
7.bdfa

All 7 chords are consonant over top a Fmaj7
This is because 7 chords inside of the key are
2 cadences c major and Amin (which consonant over Fmajor.

You can extend this to Dmin7 as well to get a minor " link"
So
Bmin7b5,E7,Amin6,Dmin7,G7,C6
Over top
Dmin7 ringing out whole time
All 7 chords are consonant over top of Dmin7 as well
So even though the cadence creates dissonance resolving to consonance that all happens inside the link .
All keys are like this with it's 4 chord.

 

It might seem bit confusing at first but it makes sense.
When you play using the link you are transitioning over to seven note chords ( connection between tonal and modal music )

So let's say you have just a C major cadence.
Dmin7,G7,C6

Let's use the information about the link transition to 7 note chords
( Ex.
Bmin7b5,E7,Amin7,Dmin7,G7,C7
Over
Fmaj7

So going back our cadence

Dmin7,G7,C6

Now we going to convert over to 7 note chords

DFACEGB,GBDGAC#E,CEGBDF#A

And you can use the chords in there as movement

So for the G7 Lydian dominant you can use it's chords moving over top of G7

 

What this really means about what a key actually is
A connect between the 7 chords
2 cadences and a link.
That's all a key really is.
A key is not about any restrictions
Like only using 7 chords in song or part of song
It's that there is a certain link connection between the 7 chords .
Then we can make a cadence to each chord in the key without leaving it also.
1.dmin7,G7,Cmajor7
2.Emin7b5,A7b9,Dmin7
3.F#min7b5,B7b9,Emin7
4.Gmin7,C7,Fmaj7
5.Amin7,D7,G7
6.Bmin7b5,E7b9,Amin7
7.C#min7b5,F#7b9,Bmin7b5.

You have a cadence to each chord in Cmajor
While still staying inside of Cmajor .

Here the scales.
iimin7(ii Dorian)V7(Vlydian dominant,(Imaj(Ilydian

Minor

iimin7b5(locrian#9),V7(Lydian dominant(imin6 melodic minor)


An easy way to rember the scales to any chord
Let's say Cmajor
CEGB
1357
You simply add wholetone above the 135
So
CEGBDF#A
So say G7
GBDF
1357
Add whole tone above 135
AC#E
So
GBDFAC#E
13579#1113
Say
Dmin7
DFAC
1357
Add wholetone above 135
EGB
DFACEGB

Say Bmin7b5
BDFA
1357
Add wholetone above 135
C#EG
BDFAC#EG

Using scales this way means you can use any of the 7notes on the strong beat
( As well as chromatic scale on weak beats)

 

Last edited: Jul 11, 2019