Egyptian scale/orientation?

[glpg80]

i never got the chance to learn this mode.

could someone explain it over two different/seperate key's? say, E and then D?

thanks

 

[stephen sawall]

http://home.swipnet.se/freakguitar/egypt.html

http://www.all-guitar-chords.com/guitar ... m=Egyptian

 

[glpg80]

cool site steve thanks

 

[degenaro]

i never got the chance to learn this mode.

could someone explain it over two different/seperate key's? say, E and then D?

thanks

You mean...1 2 b3 #4 5 b6 7?
Well in E if we lay it out it becomes...
E-F#-G-A#-B-C-D# so if you harmonize it you get...
e-g-b-d# =Emin/maj7
f#-a#-c-e=F#7b5
g-b-d#-f#=Gmaj7#5
a#-c-e-g=even though it really should be viewed as an A# chord it really is nothing but a C7 with the 7 in the bass...we get back to this...
c-e-g-b=Cmaj7
d#-f#-a#-c=D#maj6

So any progression with one or more of these chords that scale will be fine...

 

[degenaro]

http://home.swipnet.se/freakguitar/egypt.html

http://www.all-guitar-chords.com/guitar ... m=Egyptian

That's Egyptian or suspended pentatonic.

 

[glpg80]

i never got the chance to learn this mode.

could someone explain it over two different/seperate key's? say, E and then D?

thanks

You mean...1 2 b3 #4 5 b6 7?
Well in E if we lay it out it becomes...
E-F#-G-A#-B-C-D# so if you harmonize it you get...
e-g-b-d# =Emin/maj7
f#-a#-c-e=F#7b5
g-b-d#-f#=Gmaj7#5
a#-c-e-g=even though it really should be viewed as an A# chord it really is nothing but a C7 with the 7 in the bass...we get back to this...
c-e-g-b=Cmaj7
d#-f#-a#-c=D#maj6

So any progression with one or more of these chords that scale will be fine...

thanks Ed i noticed something was not adding up right on the site versus the real egyptian tonality - the sharp 4th flat 6th and the 7th staying normal sounds much more like it than a flat 7th like the site was using.

going to stfu and study your post now. thanks for the insight

 

[stephen sawall]

I knew it was Egyptian Pentatonic and was looking for the other one when Ed beat me to it .... obviously he knew it's make up off the top of his head and I did not.

To be honest the fact he knew the spelling and some chords that it would work with I find impressive. ..... but I guess I should not be surprised.

 

[glpg80]

I knew it was Egyptian Pentatonic and was looking for the other one when Ed beat me to it .... obviously he knew it's make up off the top of his head and I did not.

To be honest the fact he knew the spelling and some chords that it would work with I find impressive. ..... but I guess I should not be surprised.

+1

especially an oddball chord progression like egyptian

 

[degenaro]

I knew it was Egyptian Pentatonic and was looking for the other one when Ed beat me to it .... obviously he knew it's make up off the top of his head and I did not.

To be honest the fact he knew the spelling and some chords that it would work with I find impressive. ..... but I guess I should not be surprised.

+1

especially an oddball chord progression like egyptian

Actually I didn't, I know the scale construction and then it's just a matter of harmonizing it to get the chords...no different than harmonizing any scale...like say a major scale.

Here, try it
1b23#4#56b7...harmonize it...in C...
I give you the first chord c,e,g#,bb=C+7

 

[stephen sawall]

Just out of curiosity Ed are you familiar with the make up of many of the "exotic" scales ?

..... and even more useful to me I saw you post the scales that make up all the normal used scales. Could I get you to put them here or a link ? I could not find it.(thanks)

How did your gig go the other day ? (sorry for all the Q)

 

[degenaro]

Just out of curiosity Ed are you familiar with the make up of many of the "exotic" scales ?

..... and even more useful to me I saw you post the scales that make up all the normal used scales. Could I get you to put them here or a link ? I could not find it.(thanks)

How did your gig go the other day ? (sorry for all the Q)

HECK NO....but there are only so many things you can do with 12 notes.
Start building scales...the smallest amout of info is 1...in C the c note...
then 2 notes 1+2 or 1+b2 or 1+#2, tthen 3 notes...1,2,3, or 1b2,b3, 1b23,1b2#3, 12b3, 12#3..etc...

so if you take this to a pentatonic...
1,2,3,5,6 major pentatonic
then go and mess with the permutations...
1,2,3,5b6
1,2,3,#,5,6
1,2,3,#5,b6etc...

That make sense?

As for common stuff to know and abouse...I deal with 7 scales major, harmonic minor, melodic minor, harmonic major, half/whole and whole tone

As for the gig...turned out really well. I got a bunch of Baked Tater regulars stop by like the Monday night folks, etc...was good. I posted video snippets in the main forum.

 

[glpg80]

You mean...1 2 b3 #4 5 b6 7

Key of E:


E-F#-G-A#-B-C-D# so if you harmonize it you get...
e-g-b-d# =Emin/maj7

im not sure what you did here - im not following for some reason. explain harmonies for me? i believe i dont know the technical application and because of this, i dont now how to construct it over a mode or create a harmony properly from key to key and still use the same modal tonality for each key.

i was just asking for the chord makeup in my post, but creating harmonies i know nothing about with theory

explain the difference in the small e and the large E? one is bass clef the other is treble correct?

how do you know that the harmony is an Emaj7th? - what makes it a major, and the 7th is the location of the chord on the fretboard itself right?

 

[stephen sawall]

Here, try it
1b23#4#56b7...harmonize it...in C...
I give you the first chord c,e,g#,bb=C+7

So we are looking at ...

C, Db, E, F#, G#, A, Bb

C, E, G#, Bb
Db, F#, A, C
E, G#, Bb, Db
F#, A, C, E
G#, Bb, Db, F#
A, C, E, G#
Bb, Db, F#, A

I would need to look up or think about the name of a few of these .... others like the A, C, E, G# I recognize right away.

And you answered my question .... with this ...

"As for common stuff to know and abouse...I deal with 7 scales major, harmonic minor, melodic minor, harmonic major, half/whole and whole tone."

So these and chromatic is what I was thinking about.

And yes "That make sense?" it does.

Thanks

Cool to hear the gig went well ....

 

[glpg80]

1 b2 3 #4 #5 6 b7...harmonize it...in C...

C bD bE F G# A# bB

correct?

so the second harmony would be:

dD F A# C = what chord though? how do i transcribe/name it?

 

[degenaro]

You mean...1 2 b3 #4 5 b6 7

Key of E:


E-F#-G-A#-B-C-D# so if you harmonize it you get...
e-g-b-d# =Emin/maj7

im not sure what you did here - im not following for some reason. explain harmonies for me? i believe i dont know the technical application and because of this, i dont now how to construct it over a mode or create a harmony properly from key to key and still use the same modal tonality for each key.

i was just asking for the chord makeup in my post, but creating harmonies i know nothing about with theory

explain the difference in the small e and the large E? one is bass clef the other is treble correct?

how do you know that the harmony is an Emaj7th? - what makes it a major, and the 7th is the location of the chord on the fretboard itself right?

No difference in this example between lower and upper case.
You harmonize a scale by skipping...
C major scale...
c-d-e-f-g-a-b
you have 1-2-3-4-5-6-7
Now take the starting note and start skipping a step and the sequence becomes 1-3-5-7-9-11-13
c-e-g-b-d-f-a
First 3 notes 1,3,5 makes it a major triad, add the next note which happens to be the 7th note of the scale makes it a major 7 chord...add the next one which is the 9th and you get the 9th chord etc...
Same thing starting with the D...D,F,A D minor triad, D,F,A,C D minor 7, etc...

As for what makes a chord minor or major...
From the root you have a major third and a minor third it's a major chord
minor third and major third is a minor triad
2 major thirds is an augmented triad
2 minor thirds a diminished triad
the

 

[ericsabbath]

what people usually call "egyptian sounding" is actually phrygian (my favorite)

 

[glpg80]

1 b2 3 #4 #5 6 b7
C bD bE F G# A# bB

correct?

so the second harmony, since the first was C and given, would be:

2 4 6 1
dD F A# C = Dmin7?

How did i do?

 

[glpg80]

You mean...1 2 b3 #4 5 b6 7

Key of E:


E-F#-G-A#-B-C-D# so if you harmonize it you get...
e-g-b-d# =Emin/maj7

im not sure what you did here - im not following for some reason. explain harmonies for me? i believe i dont know the technical application and because of this, i dont now how to construct it over a mode or create a harmony properly from key to key and still use the same modal tonality for each key.

i was just asking for the chord makeup in my post, but creating harmonies i know nothing about with theory

explain the difference in the small e and the large E? one is bass clef the other is treble correct?

how do you know that the harmony is an Emaj7th? - what makes it a major, and the 7th is the location of the chord on the fretboard itself right?

No difference in this example between lower and upper case.
You harmonize a scale by skipping...
C major scale...
c-d-e-f-g-a-b
you have 1-2-3-4-5-6-7
Now take the starting note and start skipping a step and the sequence becomes 1-3-5-7-9-11-13
c-e-g-b-d-f-a
First 3 notes 1,3,5 makes it a major triad, add the next note which happens to be the 7th note of the scale makes it a major 7 chord...add the next one which is the 9th and you get the 9th chord etc...
Same thing starting with the D...D,F,A D minor triad, D,F,A,C D minor 7, etc...

As for what makes a chord minor or major...
From the root you have a major third and a minor third it's a major chord
minor third and major third is a minor triad
2 major thirds is an augmented triad
2 minor thirds a diminished triad
the

wow, you crammed alot of information in that post, it took me quite a while to churn the information and read over it for it to sink in. thank you for taking the time to explain it - i greatly appreciate it.

you cleared up the difference between a triad and a chord as well, and the differences between a minor triad and diminished triad.

can you explain the difference between a minor third and major third differences between them being a minor triad and a major chord? is it the addition of the 4th harmony note that differentiates between a triad and a chord construction that would dictate its category?

do you still use the 1 3 5 rule with the next following harmony as well, or go 2 4 6 1, then 3 5 7 2, then 4 6 1 3, etc

 

[degenaro]

You mean...1 2 b3 #4 5 b6 7

Key of E:


E-F#-G-A#-B-C-D# so if you harmonize it you get...
e-g-b-d# =Emin/maj7

im not sure what you did here - im not following for some reason. explain harmonies for me? i believe i dont know the technical application and because of this, i dont now how to construct it over a mode or create a harmony properly from key to key and still use the same modal tonality for each key.

i was just asking for the chord makeup in my post, but creating harmonies i know nothing about with theory

explain the difference in the small e and the large E? one is bass clef the other is treble correct?

how do you know that the harmony is an Emaj7th? - what makes it a major, and the 7th is the location of the chord on the fretboard itself right?

No difference in this example between lower and upper case.
You harmonize a scale by skipping...
C major scale...
c-d-e-f-g-a-b
you have 1-2-3-4-5-6-7
Now take the starting note and start skipping a step and the sequence becomes 1-3-5-7-9-11-13
c-e-g-b-d-f-a
First 3 notes 1,3,5 makes it a major triad, add the next note which happens to be the 7th note of the scale makes it a major 7 chord...add the next one which is the 9th and you get the 9th chord etc...
Same thing starting with the D...D,F,A D minor triad, D,F,A,C D minor 7, etc...

As for what makes a chord minor or major...
From the root you have a major third and a minor third it's a major chord
minor third and major third is a minor triad
2 major thirds is an augmented triad
2 minor thirds a diminished triad
the

wow, you crammed alot of information in that post, it took me quite a while to churn the information and read over it for it to sink in. thank you for taking the time to explain it - i greatly appreciate it.

you cleared up the difference between a triad and a chord as well, and the differences between a minor triad and diminished triad.

can you explain the difference between a minor third and major third differences between them being a minor triad and a major chord? is it the addition of the 4th harmony note that differentiates between a triad and a chord construction that would dictate its category?

do you still use the 1 3 5 rule with the next following harmony as well, or go 2 4 6 1, then 3 5 7 2, then 4 6 1 3, etc

The 1 3 5 rule you got right...

Technically...2 notes are diad, 3 are a triad, but a triad is a chord by definition.

Here's the deal with minor and major thirds...and this is much easier on a keyboard than guitar to understand...

if you look at the white keys on keys it's the C major scale
c-d-e-f-g-a-b and repeats...the distance between the white keys when there is no black key in between is a halfstep as in b to c and e to f, all the others are a whole step as in c to d, d to e, f to g, g to a , a to b.
So the same thing happens with thirds...
C to E major third...or for guitar purposes 4 frets
D to F minor third...or 3 frets.
E to G minor/3 frets
F to A major/4 frets
G to B major/4 frets
A to C minor/3 frets
B to D minor/3 frets

So...a chord really is defined by the first 3rd and then the 7th. If you take a look at this above the chord build on a major scale's first, fourth and fifth degree will be major. The one's on the major scale's second, third and 6th degree will be minor chords.
The odd man out is the chord build on the 7th degree which is a half diminished chord by way of how the scale is constructed...i.e.
2 minor thirds...
To recap the vii chord has a flat 5 is build by stack 2 minor thirds, major chords are a major and a minor third on top, and minor chords the other way around...just keep in mind that a fifth is 7 half steps...minor third 3 steps, major 4 steps...so stacking those in either way the second third is always ending up a fifth to the root.

 

[splawner]

I knew it was Egyptian Pentatonic and was looking for the other one when Ed beat me to it .... obviously he knew it's make up off the top of his head and I did not.

To be honest the fact he knew the spelling and some chords that it would work with I find impressive. ..... but I guess I should not be surprised.
+1