shufflebeat wrote: ↑Fri Jul 08, 2022 7:51 pm
That's a perfectly reasonable suggestion because those notes fit that pattern. However, there are other patterns that fit as well. Not all will be credible but some are at least as credible as the C+ (D+).
My idea of 'what the chords are' is what you would strum along with, or play block chords on the piano. If we're dealing with a record there is less ambiguity.
If I play, for instance, an Am7 chord (1/m3/5/b7) and then take the 1 out the remaining notes don't necessarily remain an Am if I do something in the melody to imply movement.
Yes, if we leave out A from Am7 we have a C triad. Am7 is a C triad with an added A. Four note chords can be thought on as triads with an added note :
Cmaj7 = Em/C, Dm7 = F/D, Em7 = G/E, Fmaj7 = Am/F ...
If a guitarist was playing a C triad then the bass player could decide whether it's C by playing C, E or G, or Am7 by playing A.
We can keep going with that : Fmaj9 = Am7/F. That's in
True by ahem ... Spandau Ballet. It's the big ringy out chord.
A lot of pop music uses triads exclusively, with maybe an occasional dominant 7th thrown in.
Ergo, the move to G# (A#) in the line you refer to *may* be understood in more than one way.
Yes, a piece of music can always be re-harmonised.
Maybe it just sounded nice.
![Smile :)](./files/images/smilies/icon_e_smile.gif)
I don't know if I'd say 'nice'.
![Very Happy :D](./files/images/smilies/icon_e_biggrin.gif)
It's got a slightly manic circus/fairground feel to me. But yes, the sound comes first. Unless you're deaf you must use your ears, surely? The idea that anyone blindly (or deafly) writes music using only theory doesn't hold. Do I think Abba knew that that was an augmented chord? No. He moved his fingers about and came up with something. I would think he realised later.