1. #1

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    This also relates to a bunch threads about harmony that are very active these days.
    I've seen in many occasions people talk about using chords that are not build using the conventional tetrian forms. Barry Harris's concept of borrowing, Christopher Woitach's harmonic textures are examples of that.

    The idea is that you can start with a conventional tetrian + extensions/alterations chord and drive new chords by replacing some of the voices with pretty much any note from the scale that the chord comes from. You can just move scalarly up and down the fretboard assemble chords that are not formal conceptions of the diatonic functional harmony.

    Barry Harris imposes some structure to this by requiring the new notes to come from the related diminished but I don't think that's even 100% strict. Woitach's approach is only limited by what the left hand can reach and grab in the place of the replaced voice.
    There doesn't seem to be even a requirement to keep the 3rds and 7ths of the original chord.

    How do you organize this approach? How do you reconcile it with the functional harmony as the resulting chords may point to different functions than the original? Is this only meant to be used as passing voices during chord melodies or busy comping?

    I get that the name "Loose Chords" might be objectionable, I don't think there is a common name for what I'm talking about though. If there is, I'd be happy to know it and change the title of the thread to that.

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Not exactly related ... but I've been wanting to link to this video about a chording game.



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