Hybrids

e_del · #1 08-02-2011, 04:19 PM

This topic briefly poked out in another thread, and at last I found and refurbished a little document I made soon after my first encounter with the "chord hybrids", as Jack Pezanelli calls them in his masterclass (I don't know about any official publication about this topic)...

I condensed the various triads positions against a fixed C bass note
At that time I was into 7 string guitar, so the schema has the 7th string (tuned in A a octave lower, pretty common in jazz)

You have to figure yourself what is the best fingering that fits your needs.
Maybe it could have been made more clear, but it worked for me... anyway, as usual, any correction/suggestion is welcome...

I hope you find it useful...

(attach file removed, re-uploaded farther on)

brwnhornet59 · #2 08-02-2011, 05:43 PM

Cool E_del, I will check em out.

brwnhornet59 · #3 08-02-2011, 05:44 PM

Well I would check em out, but the d/l keeps saying interrupted. It's not on my end or my service.

=(

bako · #4 08-02-2011, 10:42 PM

same problem

e_del · #5 08-03-2011, 12:58 AM

Quote:

Originally Posted by brwnhornet59

Well I would check em out, but the d/l keeps saying interrupted. It's not on my end or my service.
=(

mmm... me too.. :-(
Athough the upload windows reports the correct size (about 450 K), the download gets interruptes at about 80..

retry... with a zipped version of the document... (270 KB)...

let me know.
(uhm.. seems not working too...)

e_del · #6 08-03-2011, 01:51 AM

Quote:

Originally Posted by e_del

mmm... me too.. :-(
Athough the upload windows reports the correct size (about 450 K), the download gets interruptes at about 80..

retry... with a zipped version of the document... (270 KB)...

let me know.

I'm sorry, but I'm having trouble also downloading the zipped file... it gets corrupted.

here (hopefully) you find a copy

If someone knows a better way to share PDFs and other documents...

brwnhornet59 · #7 08-03-2011, 09:24 AM

I clicked on the last link. It took me to a site called Issuu. I logged in through my F/b account and was able to retrieve the file. Look pretty cool. Color coated and all. Thanx man!!

bako · #8 08-03-2011, 09:38 AM

e_del

Nice chart. Interesting color coded format.

A few addendum:

A/C I hear as part of C13b9 (no b7)
B/C is CdimMa7 or Ab7#9 or D13b9
D/C is also CMa13#11 or more abstract Cdim9 (no b3)
Eb/C is also C7#9
F#/C is C7b5b9
G/C could also be CmMa9 sine the 3rd is not defined

Mick Goodrick in his books spoke of 2 type of scale derived triad over bass note structures.)

1 5 7 9 and 1 7 9 11

He referred to them as TBN #1 and TBN #2
He presented these in inversions as well as their prime form.

1 3 5 7 // 1 9 11 13 // 1 11 13 1 // 1 13 1 3 // are all 7th chords or triads with doublings.

Brett Willmott is his book addressed polychords by breaking them down to to a family of related triad over bass chords.

G over C includes

G/C-----G/E-----G/G is redundant---G/A---

I once made a list (handwritten) mixing and matching every combination of six 3 note structures in relation to a each structure centered on a C root.

Major---Minor---Augmented---Diminished---Majorb5---Suspended

As you can imagine it's a lot of chords. I've mostly dealt with the ones that have six different notes (hexatonic scales)
The ones that have one doubling form pentatonics.

I showed it to a favorite former teacher of mine who said he prefers to build chords up from function and that this was like checking out a dictionary looking for interesting words to use. Very rational, but I rarely let intelligent thinking get in the way of my explorations. It is a work in progress that I revisit from time to time.

e_del · #9 08-03-2011, 01:44 PM

Quote:

Originally Posted by bako

A few addendum:

A/C I hear as part of C13b9 (no b7)
B/C is CdimMa7 or Ab7#9 or D13b9
D/C is also CMa13#11 or more abstract Cdim9 (no b3)
Eb/C is also C7#9
F#/C is C7b5b9
G/C could also be CmMa9 sine the 3rd is not defined

You're right, but in this case I prefer to look at the "traditional" chords I indicated only for memorizing the fingerings, and e.g. that using the min7 chord shapes is less dissonant than using the maj7 ones... not to look for a harmonic function.

Once I decided the "dissonance degree" (and thus the triad/bass couple), the top note melody is what decides the inversions I use, regardless of harmony...