为什么旋律小音阶（爵士小音阶）的主和弦用m6，而不用maj7？？
比如a旋律小调Am6和Amaj7？？~~[ 本帖最后由 SuzanneVega 于 2008-9-16 20:38 编辑 ] 直接没看懂...
c旋律小调主和弦和a有什么关系? m6和maj7，三音不同啊，性质就不同了
回复 2# guiter 的帖子
写错了嘛~~。。 个人觉得这个还要看具体的example...进行上的需要是一方面...另一方面来源于7决定音阶导致的惯用性问题...回复 5# guiter 的帖子
我发现旋律小调太深奥了。。。关于的旋律小调的问题先放一放吧。。。。
今天话太多，懒得多说了 直接把维基百科的给你贴过来吧
Melodic minor scaleMuch of jazz harmony is based on the melodic minor scale, one difference being that the "descending" version of the scale used in classical harmony is not used. The modes of the (ascending) melodic minor scale are the basis for much of jazz improvisation and are variously named as below, using the key of C-minor as an example:
Melodic minor scale toneCharacteristic chord in C-minorScale Tones (chord tones in bold)Scale Name(s)
Ⅰ - CCm(∆)C D E♭ F G A Bmelodic minor
Ⅱ - DDm7sus(♭9)D E♭ F G A B CPhrygian ♯6 or Dorian ♭2
Ⅲ - E♭E♭∆(♯5)E♭ F G A B C DLydian ♯5
Ⅳ - FF7(♯11)F G A B C D E♭Mixolydian ♯4
Ⅴ - GG(-6)G A B C D E♭ FMixolydian ♭6 or "Hindu"
Ⅵ - AA∅A B C D E♭ F GLocrian ♯2
Ⅶ - BB7(alt)B C D E♭ F G AAltered, diminished whole tone, or Locrian ♭4
The Ⅶ chord in particular is rich with alterations. As it contains the notes and alterations (Ⅰ, ♭9, m3/♯9, ♭11, ♭5/♯11, ♭13, m7), it is particularly important in the jazz harmonic idiom, notably as a Ⅴ chord in a minor key. For our example key of C-minor, the V chord is G7, so the improviser would draw upon the G7 altered scale (mode Ⅶ of the Ab melodic minor). A complete ⅱ-Ⅴ-ⅰ progression in C-minor might suggest the following:
iiD∅D Locrian ♯2 (mode Ⅵ of the F melodic minor scale)
VG7(alt)G altered scale (mode Ⅶ of the A♭ melodic minor scale)
ICm(∆)C melodic minor (mode Ⅰ of the C melodic minor scale)
你记住其中一个就可以了，当极其偶然的情况下，在小调式出现（小大7和弦 我所听过得最不和谐的和弦）为主和弦的时候可以使用 Harmonic Minor 或者Melodic Minor 小大7和弦比如在G小调中和弦i由 G, bB,D, #F组成 恩...
我也练琴去了...最近一直忙工控...钢琴吉他都厚厚的一层灰鸟...
回复 7# liusihong82 的帖子
有好多符号难懂的符号啊。。。。。。。我玩儿去了，今天谢谢你~~~
8888 对了，忘跟你说了，在爵士乐中Melodic Minor,即旋律小调在Descending既下行的时候是不用还原的，上行怎么样，下行还怎么样。
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