-
I’m going to have to delete this whole thread, aren’t I.
-
12-07-2024 12:25 AM
-
What’s the deal with augmented chords? There’s like, none in the real book but my big band charts have a ton of them.
-
Originally Posted by AllanAllen
-
And some nice melodic minor chords … it’s hiding in the min(maj7) and 9#11
-
So are you guys doing the homework or not?
Originally Posted by Bobby TimmonsOriginally Posted by pamosmusic
Originally Posted by AllanAllenLast edited by Bobby Timmons; 12-07-2024 at 04:33 AM.
-
Originally Posted by Bobby Timmons
You could always demonstrate for the class?
-
(And there are plenty of augmented chords in the real book … remember that the “#5” and “+” designations are synonyms)
-
Originally Posted by pamosmusic
-
Originally Posted by AllanAllen
Basically what happens when you have a V with a b3 blue note in the melody
Think ‘Mood Indigo’
Went out of fashion a bit in the modern jazz era
Sent from my iPhone using Tapatalk
-
Originally Posted by Bobby Timmons
What Would Professor Bobby Do?
-
Originally Posted by pamosmusic
-
Originally Posted by Christian Miller
Someday My Prince
Bewitched
Maybe that’s a b6
-
Originally Posted by Christian Miller
I feel like in the old school stuff, it also ends up being incidental to some moving voice stuff.
Is it String of Pearls that does that?
-
Originally Posted by pamosmusic
Sometimes you sub with a VII7+5
Fats Waller etc
-
In other news. I added regular triads a few days ago so I started doing some short elevator sequences.
I feel like there’s a huge textural shift between dyads and triads that doesn’t feel as seamless as with the shift between different kinds of three note voicings or between three and four note voicings.
But I’ve got …
unisons
thirds
fifths and triads
sevenths and what amounts to a second inversion triad or shell
a seventh and a third (so an octave span)
and a shell based on the drop 2
so that’s probably as far as I’ll go for a while. Maybe I’ll try to make something happen with the drop 3s later
-
-
Originally Posted by Christian Miller
-
Originally Posted by joe2758
Also I quite like it.
-
Originally Posted by joe2758
Classic Miller.
We’ve got the neon channel logo. We’ve got a very English holiday sweater. We’ve got his mouth open mid rant.
this might even been a 10/10
-
Originally Posted by pamosmusic
EDIT I do not know what an English holiday sweater is. The correct terminology is 'Cringe Christmas Jumper'Last edited by Christian Miller; 12-07-2024 at 09:44 AM.
-
For me, this method’s real chordal starting point is when you can go from any minor 6th or Dominant 7th chord associated with a Diminished to any other associated minor 6th or dominant 7th, across the stringsets associated with the chord form (drop 2, drop 3, drop 2 and 4). Echols really emphasizes this, which is why I really dig his stuff. E.g, Bdim: to go from any chord G7-Bb7-Db7-E7 to Bm6-Dm6-Fm6-Abm6. This replaces the over-thinking associated with what extension combinations that are excessively discussed in modern harmonic pedagogy —- blah blah blah (#9, b9, #5,b5, #11, b13). It’s neat, orderly, grip based, but in a way you can use your ear to find your way though, systemically.
As for the augmented triad, Roni Ben Hurr really emphasized this as a V7 chord function to get to any major or minor chord a half step up from any of the three notes of the augmented triad. G# augmented? Use it to get to Am or AM; Cm or CM; Em or EM.
-
Originally Posted by pamosmusic
-
Originally Posted by Bobby Timmons
-
Originally Posted by Bobby Timmons
-
Originally Posted by pamosmusic
Sent from my iPhone using Tapatalk
Inflation?
Yesterday, 10:30 PM in Guitar, Amps & Gizmos