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The minor ninth of E is F#. The minor 9th of E diatonically in key C is F. m9 as an interval may be E>F, but we're talking chords here, so a m9 chord (on E) is E G B D F#. Apr 18, 2019 at 20:28. I think you mean “the ninth in an Em9 chord is F♯,” because the minor ninth of E (the note) is always F.
The triads that start with D, E, and A have flattened thirds, and are consequently minor chords. This is how a major key comes to contain minor chords. In any major key, the 1st, 4th and 5th chords will be major. In the example given here, the C chord was the 1st chord and the D chord was the second chord of the C major key.
Diatonic chords in C major: I, ii, iii, IV, V, vi, vii° -> C, Dm, Em, F, G, Am, Bdim; Diatonic chords in C natural minor: i, ii°, III, iv, v, VI, VII -> Cm, Ddim, E♭, Fm, Gm, A♭, B♭ Although it is normal for such chord to be not diatonic to the original key, it must be diatonic to the parallel major or natural minor key. When we notate ...
2. It is possible to have Bb in the key of C, but it is also possible to have G (instead of Gm) in the key of F. You have to judge by the context, which chord sounds like the "home" (or tonic) chord. However, questions asking to identify what key a piece is in are off topic here. – Caleb Hines.
With capo on third fret - if you play chords for key of G - take G and add 3 semitones and you get Bb or A#. G-(+1Ab)-(+2A)-(+3 = Bb). If you put the capo on the first fret and play chords as if in the key of C (such as C, F & G) you take C and add 1 semitone and get C# or Db (same note - two different names depending on the frame of reference).
Well, E7 should really point you to an A major chord, changing key pretty severely, but we're still drawn to the A minor, just less strongly than to that key change. Now, that A minor chord contains the notes A, C, E... The F major contains F, A, C... Two notes overlapping. As for the probable reason this is used: it sounds nice.
Assuming C is tonic: In terms of Roman numerals, this is a VI--VII--I progression. The chords you listed are. Ab C Eb; Bb D F; C E G; Which gives a scale collection of C D Eb E F G Ab Bb C, which is no scale collection that I know of, so there's going to be some aspect of chromaticism involved. This can happen in one of two ways, both under the ...
As mentioned before, E or E7 in the key of C usually acts as a secondary dominant. It's the dominant of both A major and A minor chords. It's often used in progression like E-A-D-G-C (perhaps with some sevenths or minors instead of major chords here.) The other important case is E-a; in this case, it's the dominant of the relative minor.
The notes C, E and G played together are always a C major chord. A C major chord is always the notes C, E and G. Fret that shape on a guitar, and it's always C Major. When you play in a different key, C major's role changes. If you're playing in the key of C major, then C major is the root chord - the I.
If you want to change the chords played (usually to make them easier), but keep the music sounding at the same pitch, count down by semitones from the original key to the key you want play in, place the capo at this fret, then rewrite all the chords by counting down by the same number of semitones. For instance, to play music written in Eb ...