Music Theory Problems

This scale is one of the few that contain all the notes in those 2 chords (I've also seen it called "augmented gypsy minor"):
http://en.wikipedia.org/wiki/Hungarian_minor_scale

Key of F#m.  You can think of the D as a substitution for the F# i chord, in which case you get a simple i-V progression.

Here's a better explanation:
What scale or mode am i using and what key is it, i am using the following notes to form a solo:
C# D E F G A A# For the D - C# progression
And
C C# D E F G A A# (is there such thing as octatonic?) For the D - A# - G - A - A# progression.

Responding to your edit, if you're using both C and C# in Dm, I'd say it's just straight Dm with a chromatic C# sometimes.

But it really depends on how you use it - for instance, if you play the notes C-C#-D in succession, it's Dmin, with a chromatic passing tone (C#). 

But if you vary the notes in the scale depending on the chord underneath, you're really modulating between multiple scales/key centers.

Sometimes when you're dealing with progressions that don't fit readily into common scales/modes, it's easier to think in terms of just the chord tones in each chord with added passing tones that link to the previous/next chord in the progression. If you extend the chords, and add the 7th's and maybe other chord tones to the chords in your progression (even if anyone only actually plays simple major/minor triads), this becomes easier.

Which is the 2nd progression? D - (C#) - A# - G - A - A#, or as I would write it D - (C#) - Bb - G - A - Bb?

Isn't that a Dmaj triad? If so, D pentatonic major would work.

Really what I do is just look at the chord tones and see what you get (I've added what I thought the 7th's should be):
Dmaj7=D F# A C# = Imaj7
Gmaj7=G B D F# = IVmaj7
A7=A C# E G = V7
Bbmaj7=Bb D F/E# A = bVImaj7
C#=C# F/E# G# = VII

So you get:
D E E#/F F# G (G#) A Bb B C# D
D E          F# G           A       B C# D = D major

Note that Imaj7, IVmaj7, and V7 are normal diatonic harmony, and the Bb leads to one of those chords (G or D) in the progression.

So I think D major, with some altered chords that create color. Then I think of the Bb's "out of key" E#/F note resolves to F# (in both Gmaj7 and Dmaj), and the Bb note resolves to B (in Gmaj) or A (Dmaj). So I might play this scale over Bb:
D E E#/F G A Bb C# D = D harmonic minor (IOW, switch D major scale's F# to E#/F and B to Bb)
Or, if you want the C#maj chord too:
D E E#/F G# A Bb C# D = D hungarian minor

But of course someone else might hear it and analyze it differently - it's not really always cut and dry. The rule is start with the chord tones, and work from there.

I also recommend listening to the progression using 7th chords instead of just triads, as it's sometimes easier to hear that way. FI, Dmaj7 - C#maj7 sounds much different than Dmaj7 - C#7. Then you can decide easily which scale you want:
Dmaj7 - C#7 = F# harmonic minor (of which C# phrygian dominant is a mode)
Dmaj7 - C#maj7 =  F# hungarian minor

SeveredVesper


Thanks drew! But how about this
All triads:
D - C# - A# - G - A - A#

Hi Steve,

I believe this progression resolves to the scale, or key, of Eb minor.

if it sounds cool, screw the letters

This is what I use when I need to find a scale or chord:
http://www.all-guitar-chords.com/reverse_scales.php
http://www.all-guitar-chords.com/chord_name.php

Lanceindastudio


if it sounds cool, screw the letters

yeah....+1

Music theory is something that you use to explain what the composer did after he does it.

The only time I've been in "bad" threads were ones on theory.
I hope mentioning that no mention of the G# was mentioned isn't held against me, lol.
As it wasn't listed as a b5 in C#7 (as all the G's mentioned were natural) and the OP stated it was a C# triad, yielding C#, E#, G#. So if the G's are left natural...C#7(b5) not C#7.

And quote from post #8  "C#=C# F/E# G# = VII"  well that's just not correct. That triad is a major. To be the VII of D as indicated it would need to be a minor with the b5 (G). C#-E-G and B to include the 7th.  Just a minor correction. :)

Sorry for the interuption...
 

Off topic:

'Sorry about my typo SeveredVesper;

(I wish my father forced music theory down my throat; and a few guitar and piano lessons when I was 3 or 4; TBH, I envy you 2 and do look forward to your next offerings.)

(But I so luv music theory books ... even for loser basics; every tim

Sorry for making a highly flammable thread then?
Anyway i already got it long before, thanks to you guys!
I just love chromatism, a pleasure that gives me hard times though.

I'm was actually wrong. It was a D and C# MINOR triad, but anyway the solo was already long done, and it sounds diabolic!