Minor harmonies are a riddle for most guitar players; the way that there are different kinds of minor scopes, for example, the normal minor, symphonious minor and melodic minor just adds to the disarray. This one actuality keeps many individuals away from studying minor harmonies and harmony movements.
Be that as it may, consider the possibility that there was a simple method to figure out how to play minor harmonies in less time than you suspected conceivable. Here’s the uplifting news: there are heaps of energizing approaches to learn minor harmonies and minor harmony movements.
Exclusive on kiley368
Here is only three:
Step by step instructions to Learn Minor Chord Progressions
Stage 1. relative minor replacement – one of the most fundamental yet extremely powerful methods for making minor harmony movements is to supplant the “one” harmony with the “6th” harmony.
Here is a model in the key of C:
Harmonies made from the C significant scale
harmony 1 = C; harmony 2 = Dm; harmony 3 = Em; harmony 4 = F; harmony 5 = G harmony 6 = Am ; harmony 7 = Bdim; harmony 8 = C
By supplanting the “one” [C] harmony with the “6th” harmony [Am] a fascinating variety of a fundamental harmony movement is delivered.
Essential harmonies;
C/| F/| G/| C/| becomes …
Am/| F/| G/| Am/|
which carries me to stage 2
Stage 2: minor blues movements – Take a standard 12 bar blues movement and change all the harmonies to minor harmonies.
Ex 1. 12 bar blues in the key of An utilizing customary significant harmonies
A/|/|/|/| D/|/| A//|/|E//| D/| A//|/||
Ex 2. 12 blues with adjusted harmony movement
Am/|/|/|/| Dm/|/| Am/|/|Em/| Dm/| Am/|/||
Stage 3: Harmonic minor blues movements – this kind of movement is practically indistinguishable from the minor blues movement in sync 2 with the exception of utilization of a significant [E] or predominant seventh [E7] harmony in bar nine.
Ex 3. 12 blues with symphonious minor harmony movement utilizing significant harmony in bar nine.
Am/|/|/|/| Dm/|/| Am/|/|E/| Dm/| Am/|/||
Ex 4. 12 blues with symphonious minor harmony movement utilizing prevailing seventh harmony in bar nine.
Am/|/|/|/| Dm/|/| Am/|/|E7/| Dm/| Am/|/||
The motivation behind why we can utilize either major or prevailing seventh harmonies for the symphonious minor blues movement is that harmony five in the consonant scale [triadic version] is a significant harmony though harmony five in the consonant minor [scaletone seventh version] is a predominant seventh harmony.
While making a blues harmony movement dependent on the consonant minor scope either harmony can be utilized.
Triadic alludes to a ‘three note’ harmonization of a scale though the term scaletone seventh alludes to a four note harmonization.
Waheat 