I'm reminded of an old story, Bass Thumper, about the jazz great who was asked if he had taken lessons to read music. "Yes, he said, but not enough to hurt my playing."

Incidentally, I screen shot that table & gave copies to a musician Sunday who had inquired about the 1-4-5 progression, specifically in regards to adapting to the variety of keys. ( I deleted the Db , Gb, Cb, for simplicity sake.) So, thanks for that.
And, yeah, the minor scales require a "Minor Keys" chart. The quick rule of turning a major into a minor chord is to flat the three of the major chord.
In other words, if D Major chord is D-F#-A, the D Minor chord is D-F-A. The one three five refers to chords; meaning, the first, third, and fifth degree of the scale (D-E-F#-G-A-C-B-C#-D) as opposed to the chord progression such as 1-4-5, or D-G-A.

Incidentally, a good place to start is to learn the 1-3-5's of each note in the 12 note scale. Commit to memory and you'll know the 12 major chords, including some you'll see little of.

Chord progression is something that has developed as composers sought to create a framework for the listeners. This is apparent to those who have studied the hymnals of previous centuries. We find the system is based on relative emotional triggering. Cmaj as a root chord has this driving sort of congregational feel to it. Yet, play that same Cmaj in a compostion in which the C note is the 5th; namely the key of F, and it takes on the quality of tension, urging a return to the root. Here again, the rules are general. Then there is the theory of harmony.

https://www.howmusicreallyworks.com/Pages_Chapter_6/6_17.html

Thanks to each participating. We never stop learning !


PS: David caught a big mistake in my previous comment. I hope I corrected it. Thanks, David!






Last edited by edshaw; 08/01/22 03:32 AM.
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