From: owner-joni-digest@smoe.org (JMDL Digest) To: joni-digest@smoe.org Subject: JMDL Digest V2013 #1221 Reply-To: joni@smoe.org Sender: owner-joni-digest@smoe.org Errors-To: owner-joni-digest@smoe.org Precedence: bulk Unsubscribe:mailto:joni-digest-request@smoe.org?body=unsubscribe Website:http://jonimitchell.com JMDL Digest Tuesday, August 27 2013 Volume 2013 : Number 1221 ========== TOPICS and authors in this Digest: -------- Re: Minor chords [Michael Paz ] ---------------------------------------------------------------------- Date: Tue, 27 Aug 2013 11:27:09 -0500 From: Michael Paz Subject: Re: Minor chords What a cool thread kids! Thanks for the info. I hear it but could have never just said it. Paz (in San Antonio Texas for the next 6 days) NPIMH-Michelle Michael Paz michael@thepazgroup.com On Aug 27, 2013, at 10:00 AM, Victor Johnson wrote: I have always loved using parallel minor/parallel major interchanges from early on. There's something very magical about it and I agree it is very effective. I think that's probably something that drew me into Joni's music in the first place. The song I was recently listening to "On the Road to Happiness" by The Lilac Time uses that quite effectively. Nick Drake (the inspiration for the name 'The Lilac Time') also did this very effectively and also used alternate tunings quite effectively as well in songs like "River Man". Nick and Joni seem very akin to one another in that respect...another topic for another post! On Tue, Aug 27, 2013 at 10:40 AM, Dave Blackburn wrote: > Jim, and others, comment on Joni's use of minor chords from time to time > and the music teacher in me goes "ooh, ooh, ooh!" If I may... > > What she often employed, like Lennon and McCartney and numerous other > songsmiths is the use of the Parallel Minor in the context of a major key > song. For example a song in the key of E using chords native (diatonic) to > E major could employ an Eminor chord (the parallel minor means the root > note is the same but the tonality changes.) This creates a pronounced mood > shift. The ear accepts the transition readily as the tonic note has not > changed: only the tonality or mood. I Had a King is a good example, as is > My Old Man ("He's a dancer in the DA-RK.") The Dawntreader does it the > other way - going to the parallel major chord (D) in a song that > establishes itself in a minor key (Dmin). McCartney's Michelle and Penny > Lane are some more fine examples of the technique. > > Joni innately understood the emotional pull of certain chords and > voicings, for which she is duly praised, and she employed interesting > harmony with great taste as she does most things. As we know, her theory > knowledge was and maybe still is pretty scant but her ear led her to use > techniques like Parallel Minor/Parallel Major interchange because they are > effective. > > She does similar things with rhythm, introducing odd meter bars in the > context of even meter compositions, and uneven phrase lengths, but that > topic is for another post! > > Dave ------------------------------ End of JMDL Digest V2013 #1221 ****************************** ------- To post messages to the list, sendtojoni@smoe.org. Unsubscribe by clicking here: mailto:joni-digest-request@smoe.org?body=unsubscribe -------