False Relation - Music Theory
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Date: 2022-03-28
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Comments and reviews: 9
OneEye
Im used to modulating. Plus Music is just a Game of TENSION and release to me.
As long as i resolve it eventually....it'll work.
I dont have to resolve it right away.
Sometime...I'll actually strike the high tension chords LOUD...
to make sure the audience are still AWAKE..lol
CLuster notes actaully dont clash as much if they're SPREAD OUT in different octaves.
I make this chord on the guitar. (it's pretty/Enchanting) From the Key of F MAJOR/Dmin
I'll make the D min chord at the 5th fret..against the high E...with low two strings open
so i can play different BASS NOTES...against the D min add 9 chord...
such as the Eb note ( there's 4 -ea Cluster notes in that chord)
It's pretty if I Arpegiate it....
Or the C# note...
or the Eb Maj dyad below the D min dyad
I'll play this chord too....Bb Maj7 barr chord at the 1st fret..against the open E
Bb maj7 add #11....
Play different bass notes...such as A , F, E...ect
THIS CHORD....F Maj barr chord...against high B and E..
It'll still be F Maj7 ( inverted) add #11 ( B note)..
Then play different bass notes...F...E or F#/Gb
The F #/Gb or B note isnt in F ionian.....or the Eb and C# note in the KEY of F MAJOR.lol
I just see the F# or Eb as N6 option notes or chords.lol
I can simply play the G min barr chord...
Then simply play the Bb Maj6 or G min7/Ab
( I'll simply see the G min b2 as G dorian b2 to F melodic min)
I dont have a problem..playing C7 into F MAJOR or F min....whatever flavor.
Or playing G7, A7 into D melodic , harmonic min...ect too.
or Play the G full dim H/W ( dorian b2, #4 AND Lydian dominant b2)
8 notes SCALES.....( but you can make maj. min. dominant. or dim chord
every b3 intervals too...using this scale.
It's SYMMETRICAL....
the trick is to play it over the F MAJOR/Dmin (TONIC)
or the N6...after the relative min....Eb and MAJOR's tonic Gb
becuase they're b3 intervals apart.
or even the Eb Maj7
Before playing C7 into D min or F MAJOR...
I might play B dim...C# dim instead of C7 ..it's just from D melodic min.
or
E min.....B dim C# dim D min.
or
Db Maj G min C7 into F MAJOR or D min
In a nutshell...the other 5 notes out of 12..that's NOT in F MAJOR/ D natural min.lol
reply
Im used to modulating. Plus Music is just a Game of TENSION and release to me.
As long as i resolve it eventually....it'll work.
I dont have to resolve it right away.
Sometime...I'll actually strike the high tension chords LOUD...
to make sure the audience are still AWAKE..lol
CLuster notes actaully dont clash as much if they're SPREAD OUT in different octaves.
I make this chord on the guitar. (it's pretty/Enchanting) From the Key of F MAJOR/Dmin
I'll make the D min chord at the 5th fret..against the high E...with low two strings open
so i can play different BASS NOTES...against the D min add 9 chord...
such as the Eb note ( there's 4 -ea Cluster notes in that chord)
It's pretty if I Arpegiate it....
Or the C# note...
or the Eb Maj dyad below the D min dyad
I'll play this chord too....Bb Maj7 barr chord at the 1st fret..against the open E
Bb maj7 add #11....
Play different bass notes...such as A , F, E...ect
THIS CHORD....F Maj barr chord...against high B and E..
It'll still be F Maj7 ( inverted) add #11 ( B note)..
Then play different bass notes...F...E or F#/Gb
The F #/Gb or B note isnt in F ionian.....or the Eb and C# note in the KEY of F MAJOR.lol
I just see the F# or Eb as N6 option notes or chords.lol
I can simply play the G min barr chord...
Then simply play the Bb Maj6 or G min7/Ab
( I'll simply see the G min b2 as G dorian b2 to F melodic min)
I dont have a problem..playing C7 into F MAJOR or F min....whatever flavor.
Or playing G7, A7 into D melodic , harmonic min...ect too.
or Play the G full dim H/W ( dorian b2, #4 AND Lydian dominant b2)
8 notes SCALES.....( but you can make maj. min. dominant. or dim chord
every b3 intervals too...using this scale.
It's SYMMETRICAL....
the trick is to play it over the F MAJOR/Dmin (TONIC)
or the N6...after the relative min....Eb and MAJOR's tonic Gb
becuase they're b3 intervals apart.
or even the Eb Maj7
Before playing C7 into D min or F MAJOR...
I might play B dim...C# dim instead of C7 ..it's just from D melodic min.
or
E min.....B dim C# dim D min.
or
Db Maj G min C7 into F MAJOR or D min
In a nutshell...the other 5 notes out of 12..that's NOT in F MAJOR/ D natural min.lol
reply
Randolph
Great! In the US we use the term -cross relation-, which doesn't sound as pejorative (-your relation is false!-)! I've never been clear on the precise criteria for a false relation. One can easily imagine a B natural and Bb within a measure or two that would not raise any eyebrows at all. Is it essentially subjective -- viz., two tones that sound in conflict in some way? Or are there more objective criteria? Your examples focus on intra-chord relations and adjacent chord relations. How -far apart- can two tones be before one needn't give much thought to a false relation? And what about dissonances that get the listener's attention but for enharmonic reasons aren't written as two versions of the same note -- e.g., using a major 7th chord? The listener cannot see the spelling of the notes, but can hear the discord. Is a puzzlement.
reply
Great! In the US we use the term -cross relation-, which doesn't sound as pejorative (-your relation is false!-)! I've never been clear on the precise criteria for a false relation. One can easily imagine a B natural and Bb within a measure or two that would not raise any eyebrows at all. Is it essentially subjective -- viz., two tones that sound in conflict in some way? Or are there more objective criteria? Your examples focus on intra-chord relations and adjacent chord relations. How -far apart- can two tones be before one needn't give much thought to a false relation? And what about dissonances that get the listener's attention but for enharmonic reasons aren't written as two versions of the same note -- e.g., using a major 7th chord? The listener cannot see the spelling of the notes, but can hear the discord. Is a puzzlement.
reply
Jake
Why are we calling it F#? (I am just reminded of your scales lesson where we don't use the same letter name twice in a scale.)
Given that if we are in F we have Bb, wouldn't it be more accurate to call it Gb instead? It feels to me more like the leading tone to Gb when you played it. It even felt like a b9 to the F.
Or have I just taken the wrong end of the stick?
reply
Why are we calling it F#? (I am just reminded of your scales lesson where we don't use the same letter name twice in a scale.)
Given that if we are in F we have Bb, wouldn't it be more accurate to call it Gb instead? It feels to me more like the leading tone to Gb when you played it. It even felt like a b9 to the F.
Or have I just taken the wrong end of the stick?
reply
Ed
Why is it that so often people say that the 'seventh' notes are so important when it comes to changing key, or almost changing key? Does this mean the seventh note in connection with the the chord built on the dominant seventh, or the 'seventh' of the actual scale one is presently in, or why do people make such mention of the 'seventh', giving it all this importance?
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Why is it that so often people say that the 'seventh' notes are so important when it comes to changing key, or almost changing key? Does this mean the seventh note in connection with the the chord built on the dominant seventh, or the 'seventh' of the actual scale one is presently in, or why do people make such mention of the 'seventh', giving it all this importance?
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Peter
Can you elaborate on why C# would sound like D minor? I'm curious, because it's not a note that's in D minor (it would be the 7th in D major). Do you mean that it's in one of the chords? I do see that Edim7 has Db in it. Or if you have a D minor major-seventh? I'm not sure if that sounds very Dm-ish.
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Can you elaborate on why C# would sound like D minor? I'm curious, because it's not a note that's in D minor (it would be the 7th in D major). Do you mean that it's in one of the chords? I do see that Edim7 has Db in it. Or if you have a D minor major-seventh? I'm not sure if that sounds very Dm-ish.
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Ilovetosingem
Hi Gareth. When you said F# with F, straight away I thought F# major7 would work ok, the E being E#. I do hear the 2 Octave below with the F# is a little odd! Musica ficta, wow you know so much. Thanks again. PS I just found something called false resolutions!
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Hi Gareth. When you said F# with F, straight away I thought F# major7 would work ok, the E being E#. I do hear the 2 Octave below with the F# is a little odd! Musica ficta, wow you know so much. Thanks again. PS I just found something called false resolutions!
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Jon
He he he - if film music's your thing, then you positively dine on false relations -
And thank you for a fascinating explanation of the term.
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He he he - if film music's your thing, then you positively dine on false relations -
And thank you for a fascinating explanation of the term.
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Mark
Could we get a whole video on music ficta? I'm familiar with the concept, but a bit shaky on when composers generally used it. Thanks.
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Could we get a whole video on music ficta? I'm familiar with the concept, but a bit shaky on when composers generally used it. Thanks.
reply
Life
I-ve always wondered what was -allowed- regarding chromatic (particularly diminished chords) passing chords and false relations.
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I-ve always wondered what was -allowed- regarding chromatic (particularly diminished chords) passing chords and false relations.
reply
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