-
Mostly for Allan, I'll do some more of these and post them here.
This a sort of page of notes for a book I may write. This is an examination of a sort of voice leading skeleton that forms the basis of some well known standard melodies. There's a bunch of these. It's a bit like Jerry Coker's Hearing the Changes or the LEGO Bricks book, but rooted more in voice leading/counterpoint rather than chord symbols.
I want to ground it in jazz repertoire and practical improvisation but drawing from what I've learned from historical (c18) improvisation approaches.
Sorry, no tabs yet ;-)
EDIT: corrected some mistakes and added a tune
Last edited by Christian Miller; 02-26-2024 at 05:36 PM.
-
02-26-2024 11:23 AM
-
Hopefully I'll get a cancellation this evening so that I can dive in....or else I may have a coffee and burn the midnight candle.
-
What I love about Christian is that he could get my eyes completely glazing over with those first 3 lines, and then he hits me with the "not just curly wig music" line and I'm back in, excitedly telling myself "ok, let's play through this!"
-
Other good example tunes would include The Serpent's Tooth, Do a Deer and Memories of You
Any others?
-
Fantastic. Don't hesitate to include your rapier wit. I want the Full Monte!
Alan
-
Originally Posted by A. Kingstone
-
Opps, nevermind. You did it correctly ;-)
-
Must try the full monte on this one.
G / G# / (A-7 - Bm7) / (C - Dm7) / (A-/E - Fmaj7) / D7/F# / G
Hope nobody walks past
Gotta put the kids to bed now. Hopefully won't be too tired later otherwise I'll try to do more tomorrow.
-
Originally Posted by Liarspoker
Sent from my iPhone using Tapatalk
-
Originally Posted by Christian Miller
-
Originally Posted by Liarspoker
But I’m not seeing it here, it starts with a 6th and moves to a 5th in that first bar for instance, and that E is pretty much a pedal. I think I’d need to look at this one a little more to get a feel for it.
The same chord progression could have multiple voice leading schemas. An example of one that has a similar chord progression to Mean to Me etc but uses a different voice leading line would be Bewitched. That’s not a sequential melody but built from a pedal note and a moving lower voice.
Actually I feel like the key thing for the Monte is the ascending melodic sequence for at least two steps. In this case it’s sort of like a sequence but not quite.
Interesting - don’t know this tune. It looks more like bewitched? Moving top voice alternating with a pedal. Not sure what you’d call that. An oblique sequence?
Sent from my iPhone using Tapatalk
-
Now a tricky one is - is Ain’t Misbehaving one?
It feels like Montes to me, with the ascending sequence and all that, but doesn’t have the 5-6 thing going on. It’s just fifths. So not sure really.
Sent from my iPhone using Tapatalk
-
The pick up note is a D. You could put it on 1 and play 1& (DE). Finishes on a D too. Next bar E is 6. A7 starts with a 5 then...It kinda falls apart.
I must really revisit all this again. Not only in theory but compositionally as well.
These are great exercises to do. Tired now but will do more soon!
-
Originally Posted by Liarspoker
Btw the 5-6 voice leading isn’t the only pattern that could be a Monte. There are some others. As soon as you put dim chords you end up losing the 6ths which is what we see with Ain’t Misbehaving.
You also get 5-3 like G on C#o7 going to F on Dm say. Very satisfying. Blackbird does it.
Sent from my iPhone using Tapatalk
-
Yes, I must read up on it again.
Also I have to write a short piece in Hungarian Minor for the MGH Patreon group. I might try a monte or a different schemata, or combine a few
-
Originally Posted by Christian Miller
According to this guy, bestiality and sexuality was a common theme in Rodgers & Hammerstein musicals:
"Oklahoma!" is one of the dirtiest movie musicals of all time - Jason Cochran
Didn't mean to hijack your 'curly wig' thread, Christian. Nice stuff. Carry on!
-
Originally Posted by PMB
-
Originally Posted by Liarspoker
I suppose you could also see it as a cycle 6 with the third chord missing.
-
5
3 = Fifth Outside - Third Bottom
6
3 = Sixth Outside - Third Bottom
Is that what that means?
-
Figured Bass Reduction isn't a recipe is it? I can't figure it out.
This is great work Christian. Thanks so much.Last edited by A. Kingstone; 02-27-2024 at 09:39 AM.
-
Originally Posted by A. Kingstone
So root position is always 5 3 (or just 5, or nothing)
And first inv is always 6 3 (or 6 for short)
A sixth chord is 6 5 3 (or 5 3 for short)
I haven’t used to much shorthand here, but the diatonic third is implied unless specified. (Might change that in the book to make it clearer.)
So 6-5 means 5 3 - 6 3.
The reduction 7-6 for Barry harris exercise implies shell voicings (7 3 - 6 3 in longhand.)
All intervals are diatonic unless altered
Sent from my iPhone using Tapatalk
-
If you start in with hemi-semi-demi quavers my brain will explode.
-
Originally Posted by A. Kingstone
Sent from my iPhone using Tapatalk
-
Originally Posted by A. Kingstone
Did you write a book Alan? I recall reading something to that effect?
-
Originally Posted by Liarspoker
I did! I used bastardised Canadian English mind you.
-
I'm totally confused by those numbers (5, 3, 6 etc). Do they have a name I can use to look up on wikipedia to better understand?
Blue Bossa-practising in slow temo
Today, 05:40 AM in Improvisation