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Author Topic: Removing thirds: best practice  (Read 799 times)

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Chris Ryall

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Re: Removing thirds: best practice
« Reply #20 on: June 03, 2020, 10:58:07 AM »

We seem to have got there in the end. Apologies for straying off Steve’s original question, but I suspect the question would hardly have arisen 11 years ago when I joined the forum

There’s been a palpable change in attitude from “it’s nice to have an switch to take 3rds out, and when should I do that” to “which to tape out permanently” or even “actually Mr Luthier, I hardly use them. I’d rather save on the mechanism, and spend the reed cost on some extra bass/1+5 buttons”.

A generalisation admittedly, and many are completely happy with the traditional batterie d’Harmonie that eg Pokerworks provide. My feeling has long been that 1+5s are more flexible, it’s been proven wrt maj7 cross chords. I think attitudes are moving on.

Will make a table of all cross chord pairs and post as new thread.
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Steve C.

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Re: Removing thirds: best practice
« Reply #21 on: June 03, 2020, 01:13:22 PM »

I don't play well enough to actually use them much, but you do get some neat sounds from cross chord pairs...
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Chris Ryall

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Re: Removing thirds: best practice
« Reply #22 on: June 03, 2020, 08:09:07 PM »

Massive utility in eg G of Em/C CMaj7, and D/B Bmin7.  The Gmaj7 B5/G should be used judiciously in Folk music as it’s a bit jazz. I often use it to finish a song, where the carure has been in tension. It’s very “relaxed”.

Generally, use the extended (crossed) chord in place of the usual triad, practice them to be fluid substitutions, and “trust your ears” 😉
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Lester

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Re: Removing thirds: best practice
« Reply #23 on: June 03, 2020, 08:19:35 PM »


Massive utility in eg G of Em/C CMaj7, and D/B Bmin7.  The Gmaj7 B5/G should be used judiciously in Folk music as it’s a bit jazz. I often use it to finish a song, where the carure has been in tension. It’s very “relaxed”.

Generally, use the extended (crossed) chord in place of the usual triad, practice them to be fluid substitutions, and “trust your ears” 😉

'carure' Wot's that?

Tone Dumb Greg

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Re: Removing thirds: best practice
« Reply #24 on: June 03, 2020, 08:27:34 PM »


Massive utility in eg G of Em/C CMaj7, and D/B Bmin7.  The Gmaj7 B5/G should be used judiciously in Folk music as it’s a bit jazz. I often use it to finish a song, where the carure has been in tension. It’s very “relaxed”.

Generally, use the extended (crossed) chord in place of the usual triad, practice them to be fluid substitutions, and “trust your ears” 😉

'carure' Wot's that?

I think carrure is wot the french nobs call  bar structure.
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Greg Smith
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Chris Ryall

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Re: Removing thirds: best practice
« Reply #25 on: June 03, 2020, 09:17:06 PM »

Yes, in French carrure refers to the “carriage” or “journey” of the music, usually but not specifically with respect to the bars. “12 bar blues” would be a nice exemplar

As far as I know I don’t have a hereditary title.

Nor am I aware of a native English term with the same meaning, so as a first language English speaker I exercised my right to steal one from another tongue. That’s one of the great strengths of English 🙂 Think … gestalt, or tsunamisillage or even melodeonista 🤔

Happy to stand by my word. Please offer a better one 🙂. Thanks


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playandteach

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Re: Removing thirds: best practice
« Reply #26 on: June 03, 2020, 11:42:40 PM »

I think if your ears have it as a Em minor chord anyway, you don't need proof of it. I could but won't use supporting evidence. Why? Because the most primitive understanding of this is as valid as the most evolutionarily advanced. Apart from the language which doesn't matter anyway.
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