The Jazz Guitar Chord Dictionary
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  1. #76

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    Here's a thing I've just done. The first chorus is the scales as above, the second is the way I often do it using chord sounds, and the third is a combination of both, which is probably what I'd end up doing. Be patient, I'm not Miles Davis :-)


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  3. #77

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    Quote Originally Posted by ragman1
    Possibly, but Lydian is usually the norm.

    As for the Iris thing, it's like this, following the ideas above:

    Fm11 - F Dorian (Eb maj)
    EM7 - E Lydian (B maj)
    GbM7 - Gb Lydian (Db maj)
    Bb7b13 - Bb W/T or Alt (B mel)
    Db7 - Db Lyd Dom (Ab mel)
    AbM#5 - F mel (probably)
    Cm7/Dbm7 - Dorian
    Dbm-6 - Db W/T (probably)

    Mind you, I wouldn't necessarily run through 'scales', there are arps, triads and other things to consider. Actually a lot easier, as I'm sure you know. I tend not to overdo the CST and try other things. In any case, I'm fairly minimal these days.

    Yes, I thought Wayne's original soloing wasn't quite up to scratch either. Shame, it's a brilliant head. But he probably improved it thereafter; he'd have realised it himself. He was better with Miles.
    Sure - really in CST the chord symbols and scale names should be the same flipping thing.... but here we are. This is the way I'd do a bop on it

    Fm11 - C7
    EM7 - F#7
    GbM7 - Ab7
    Bb7b13 - Db7 to the third of Bb7
    Db7 - Db7
    AbM#5 - F minor
    Cm7 - F7
    Db7 - Db7
    Cm7 - F7

    I've got really into playing bop language a step up on majors to get a Lydian sound with all my Barry Harris kerplunk.

    The trick of playing bop on it would be to link the chords together. We can see some tritone and dim relationships - for instance Bb7/Db7, but some unusual things as well. BTW, I learned bop scales from a Wayne Shorter solo...

    But you can do this sort of procedure with anything really. I'm curious to what the fellas actually played, cos I know the textbook CST choices. Often real music is a lot weirder,

  4. #78

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    Quote Originally Posted by christianm77
    Sure - really in CST the chord symbols and scale names should be the same flipping thing.... but here we are. This is the way I'd do a bop on it

    Fm11 - C7
    EM7 - F#7
    GbM7 - Ab7
    Bb7b13 - Db7 to the third of Bb7
    Db7 - Db7
    AbM#5 - F minor
    Cm7 - F7
    Db7 - Db7
    Cm7 - F7

    I've got really into playing bop language a step up on majors to get a Lydian sound with all my Barry Harris kerplunk.

    The trick of playing bop on it would be to link the chords together. We can see some tritone and dim relationships - for instance Bb7/Db7, but some unusual things as well. BTW, I learned bop scales from a Wayne Shorter solo...

    But you can do this sort of procedure with anything really. I'm curious to what the fellas actually played, cos I know the textbook CST choices. Often real music is a lot weirder,
    Quote Originally Posted by christianm77
    Sure - really in CST the chord symbols and scale names should be the same flipping thing.... but here we are. This is the way I'd do a bop on it

    Fm11 - C7
    EM7 - F#7
    GbM7 - Ab7
    Bb7b13 - Db7 to the third of Bb7
    Db7 - Db7
    AbM#5 - F minor
    Cm7 - F7
    Db7 - Db7
    Cm7 - F7

    I've got really into playing bop language a step up on majors to get a Lydian sound with all my Barry Harris kerplunk.

    The trick of playing bop on it would be to link the chords together. We can see some tritone and dim relationships - for instance Bb7/Db7, but some unusual things as well. BTW, I learned bop scales from a Wayne Shorter solo...

    But you can do this sort of procedure with anything really. I'm curious to what the fellas actually played, cos I know the textbook CST choices. Often real music is a lot weirder,
    I appreciate the clear explanation of this approach.

    But, I'm finally going to ask a question about an aspect which bothers me.

    If somebody is really thinking like this ... do you mean that they know each sound (each chord/scale juxtaposition) and they've made a decision about which sounds they're going to use?

    Or are they actually thinking, things like "Db7 to the third of Bb7". Or, is this just advice for something for a student to try?

    Mostly, when I've asked great players what they were thinking about, they say, honestly, I think, that they don't know. One great player said, referring to the way he handled a part of a tune, "I was thinking darker".

    They never say I was thinking x scale against y chord. Although, there's a video where a great player talks about knowing, in advance, which sounds he wants, and that tells him which scales to play. When he does it, it sounds melodic.

    When lesser mortals play, , I often think I can hear them thinking about the theory.

    When we suggest, to a poster, 6 different scales over the first 6 chords of a tune, for example, how is the student supposed to use that information? How does the student get from that to making melody?

    Or, is there a kind of cut and paste approach?

    I know this sounds like a beginner question, but I really don't think I understand how many players do this.

    (My approach is to try to think of a melody that sounds like it will fit the chords and then play it. When I haven't internalized the changes well enough, I rely on knowing the chord tones and intervals.)

  5. #79

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    Quote Originally Posted by christianm77
    Sure - really in CST the chord symbols and scale names should be the same flipping thing.... but here we are. This is the way I'd do a bop on it

    Fm11 - C7
    EM7 - F#7
    GbM7 - Ab7
    Bb7b13 - Db7 to the third of Bb7
    Db7 - Db7
    AbM#5 - F minor
    Cm7 - F7
    Db7 - Db7
    Cm7 - F7

    I've got really into playing bop language a step up on majors to get a Lydian sound with all my Barry Harris kerplunk.

    The trick of playing bop on it would be to link the chords together. We can see some tritone and dim relationships - for instance Bb7/Db7, but some unusual things as well. BTW, I learned bop scales from a Wayne Shorter solo...

    But you can do this sort of procedure with anything really. I'm curious to what the fellas actually played, cos I know the textbook CST choices. Often real music is a lot weirder,
    It's not just laziness but I'd really like to hear that played (with a backing). Not that I don't get what you're saying.

  6. #80

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    Quote Originally Posted by rpjazzguitar
    If somebody is really thinking like this ... do you mean that they know each sound (each chord/scale juxtaposition) and they've made a decision about which sounds they're going to use?
    I'd say yes, because, if you don't, how will you play anything that makes sense at all? You may not be thinking consciously about it much but that knowledge is operating nevertheless.

    When you wrote your post did you parse each sentence? Or check the grammar details, etc etc? You don't need to, it just comes out. But it comes out from years of experience and familiarity. Don't forget many well-known players have done instruction books, vids, classes, etc, etc. They talk in very well known musical terms. This idea that playing is some sort of mythical, magical process is nonsense really, it's just the result of lots of experience.

    When lesser mortals play, , I often think I can hear them thinking about the theory.
    Exactly, the blasted theory! Like learning English from a book. Or learning anything from a book. OK, so first you read the book, but you have to make it real. The theoretical and the reality are two different things. When you tie your shoelace there's no theory involved, you just do it.

    When we suggest, to a poster, 6 different scales over the first 6 chords of a tune, for example, how is the student supposed to use that information? How does the student get from that to making melody?
    He's supposed to try it out. Otherwise what will he play, some nonsense? He tries it out, thinks 'That works nicely', absorbs it, and it comes out in his playing later.

    I really don't think I understand how many players do this.
    Perhaps because you don't do it! But you do it with plenty of other things, like speaking English, or tying your shoelace, and probably using a computer. Or driving a car, if you do.

    (My approach is to try to think of a melody that sounds like it will fit the chords and then play it. When I haven't internalized the changes well enough, I rely on knowing the chord tones and intervals.)
    All right, you try a tune out, think of a melody that fits... and then you're stuck in that melody, aren't you? You daren't deviate because you'll get lost. So you have to stick to that and keep repeating it. To use the simile again, you don't do that with language. You don't have only one phrase to describe a sunset, you can use whatever words you like at the time.

    I know all this is difficult but, as many players often say in different ways, we have to do the homework - then forget it and play.

  7. #81

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    Quote Originally Posted by ragman1
    I'd say yes, because, if you don't, how will you play anything that makes sense at all? You may not be


    He's supposed to try it out. Otherwise what will he play, some nonsense? He tries it out, thinks 'That works nicely', absorbs it, and it comes out in his playing later.

    All right, you try a tune out, think of a melody that fits... and then you're stuck in that melody, aren't you? You daren't deviate because you'll get lost. So you have to stick to that and keep repeating it. To use the simile again, you don't do that with language. You don't have only one phrase to describe a sunset, you can use whatever words you like at the time.

    I know all this is difficult but, as many players often say in different ways, we have to do the homework - then forget it and play.
    Some of the posts here sound like the player is soloing while thinking of one scale per chord -- and I know horn players who admit doing that -- to the exclusion of all else.

    I don't follow the comment about being stuck in a melody. When you scat sing, you make up a melody and you develop it. That's what I'm talking about, except that the line goes on the guitar.

  8. #82

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    Quote Originally Posted by rpjazzguitar
    Some of the posts here sound like the player is soloing while thinking of one scale per chord -- and I know horn players who admit doing that -- to the exclusion of all else.
    It's possible. Jazz is hard so we probably need some sort of map as to what to play. but the more you get into a tune the freer it gets.

    I don't follow the comment about being stuck in a melody. When you scat sing, you make up a melody and you develop it. That's what I'm talking about, except that the line goes on the guitar.
    Well, you said:

    'My approach is to try to think of a melody that sounds like it will fit the chords and then play it. When I haven't internalized the changes well enough, I rely on knowing the chord tones and intervals'
    That means you already have a melody before you begin. But is that improvisation? Improvisation means walking the tightrope without a net.

    There's nothing wrong with already having a melody but it means - if I've understood you rightly - that you're reliant on it. Whereas improvising means making it up as you go and therefore playing it differently every time.

    Sorry, I may have misunderstood you. I'm only talking about improv, not the actual melody of a tune.

    ************

    Incidentally, I saw something I wanted to show you re. what we were saying before. There's another thread at the moment:

    Orbits by Wayne Shorter - Harmonic Analysis?

    Consider these two statements:

    'I think I read an interview once where Herbie Hancock said on those tunes he would sometimes just let his fingers play ‘automatically’, i.e. just fire off any patterns or sequences that came out, without really thinking about it.'

    Then:

    'I will say he weaves lines almost exclusively from the melodic minor scale, the major scale, the whole tone scale, the chromatic scale and the diminished scale. He plays shapes. He’s either sequencing patterns, mostly built from seconds or thirds. Or, he’s creating non-pattern based melodic phrases by ear. He perhaps seems to be unconsciously biased towards F position on the piano, often a pianist’s favorite range.'

    It's what you were saying earlier. The player says 'Dunno, I just do it' but the analyst can see he's actually using standard scales, shapes, etc. There's the point, I think. What we play is dependent on what we've done before.

  9. #83

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    Quote Originally Posted by ragman1
    It's possible. Jazz is hard so we probably need some sort of map as to what to play. but the more you get into a tune the freer it gets.



    Well, you said:



    That means you already have a melody before you begin. But is that improvisation? Improvisation means walking the tightrope without a net.

    There's nothing wrong with already having a melody but it means - if I've understood you rightly - that you're reliant on it. Whereas improvising means making it up as you go and therefore playing it differently every time.

    Sorry, I may have misunderstood you. I'm only talking about improv, not the actual melody of a tune.

    ************

    Incidentally, I saw something I wanted to show you re. what we were saying before. There's another thread at the moment:

    Orbits by Wayne Shorter - Harmonic Analysis?

    Consider these two statements:

    'I think I read an interview once where Herbie Hancock said on those tunes he would sometimes just let his fingers play ‘automatically’, i.e. just fire off any patterns or sequences that came out, without really thinking about it.'

    Then:

    'I will say he weaves lines almost exclusively from the melodic minor scale, the major scale, the whole tone scale, the chromatic scale and the diminished scale. He plays shapes. He’s either sequencing patterns, mostly built from seconds or thirds. Or, he’s creating non-pattern based melodic phrases by ear. He perhaps seems to be unconsciously biased towards F position on the piano, often a pianist’s favorite range.'

    It's what you were saying earlier. The player says 'Dunno, I just do it' but the analyst can see he's actually using standard scales, shapes, etc. There's the point, I think. What we play is dependent on what we've done before.
    I appreciate the post. As the analysis of HH suggests, he hears a range of sounds and uses them. He doesn't have to think of the names.

    On the other point, just a misunderstanding. I was describing my approach to improvisation, which is basically to make up melodic lines as I solo. I talk about it as scat singing to myself and putting the line on the guitar instantly. It's easy for my fingers to get ahead of my singing and it happens regularly, but the goal is to make every note part of a scat sung line. By scatting, I find that my rhythmic vocabulary is more varied, the melody makes more sense and the harmony is more felt than manufactured. In fact, when I get to a point where I think of manufacturing something ("Oh, the next chord is 7#11, I'll play melmin a 5th up") invariably, it's not as good.

    I'm not recommending my approach, btw. There is a wide range of sounds that I don't get, which is why I read and post about this stuff. If I was a young player I think I'd devote some years to what I imagine is a more Berklee approach. But, nearing the end of playing life is different.

  10. #84

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    Yea... being aware of what's going on and what can be going on as well as what others are doing... and actually understanding it... just takes practice. I mean Rag... your using modes as though they're all versions of ionian guidlines. Understanding modes is more than just playing the notes... I've posted way to much on the subject... and I get it, most don't have the time or interest to develop the skills.

    WHO CARES.... Get your basic playing skills together.

    Shorter tunes are generally small blocks of music... a chord pattern with melodic patterns and use of characteristic pitches.....And then reharm of the Block while keeping the same melodic pattern or visa versa. If think of all chords as having subs that are always in play.... Like F-11 (dorian) and Abmaj9#11 (lydian). Which is just function sub.... but then you add other relationships... He used Tritone sub relationships... but generally also include Modal interchange.... or have somewhat common root motion with different chords above.
    When you into modal interchange and use it as just another tool for playing or composing along with all the other BS... You start to develop camouflaged functional harmony. Sometimes the basic chord pattern is the reharm... not the basic reference progression. And the melody or improv will be with reference to the original or melodic patterns or licks that are Pentatonic and Blues licks versions of standard lines. Generally the trick to playing Shorters tunes, (besides being a bad ass), is hearing the basic tonal references...

    Who Cares...

  11. #85

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    Quote Originally Posted by ragman1
    It's not just laziness but I'd really like to hear that played (with a backing). Not that I don't get what you're saying.
    This is me doing it on some other modal tunes, Impressions, Little Sunflower, Song for Bilbao and Inner Urge.



    It’s a certain sound: you may not want that sound. But the ultimate goal is to make everything available on everything.

  12. #86

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    Quote Originally Posted by rpjazzguitar
    I appreciate the clear explanation of this approach.

    But, I'm finally going to ask a question about an aspect which bothers me.

    If somebody is really thinking like this ... do you mean that they know each sound (each chord/scale juxtaposition) and they've made a decision about which sounds they're going to use?

    Or are they actually thinking, things like "Db7 to the third of Bb7". Or, is this just advice for something for a student to try?

    Mostly, when I've asked great players what they were thinking about, they say, honestly, I think, that they don't know. One great player said, referring to the way he handled a part of a tune, "I was thinking darker".

    They never say I was thinking x scale against y chord. Although, there's a video where a great player talks about knowing, in advance, which sounds he wants, and that tells him which scales to play. When he does it, it sounds melodic.

    When lesser mortals play, , I often think I can hear them thinking about the theory.

    When we suggest, to a poster, 6 different scales over the first 6 chords of a tune, for example, how is the student supposed to use that information? How does the student get from that to making melody?

    Or, is there a kind of cut and paste approach?

    I know this sounds like a beginner question, but I really don't think I understand how many players do this.

    (My approach is to try to think of a melody that sounds like it will fit the chords and then play it. When I haven't internalized the changes well enough, I rely on knowing the chord tones and intervals.)
    .

    Understand the difference between practice and playing - this is key and one thing most amateur players never get past it because they don’t make enough of a distinction and playing is an escape for them anyway. ‘Practice like a scientist, play like a drunk’ Bergonzi said - if you have to think about this stuff, you can’t yet play it.

    Language is a poor communicator of implicit knowledge of this kind.

    But however you label it, you need to methodically practice it to get in your playing. You also need to get it in your ears. If you can’t hear it, you won’t play it.

    It takes months mostly for something to show up in your actual playing.

    Does that make sense?

  13. #87

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    Quote Originally Posted by rpjazzguitar
    I was describing my approach to improvisation, which is basically to make up melodic lines as I solo. I talk about it as scat singing to myself and putting the line on the guitar instantly. It's easy for my fingers to get ahead of my singing and it happens regularly, but the goal is to make every note part of a scat sung line.
    Oh, now I get it! Well, that's quite advanced. I have to admit I've never tried it although I probably could if I wanted to - in a fairly simple way, probably. I have enough trouble following the sounds I'm making without trying to sing along with them too!

  14. #88

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    Christian -

    Terrific, thanks. You've certainly improved your vids (and the hair's looking luvly too). Pleasure to watch.

    Well, I knew what you were doing and it was good to hear it. I use minors generally but I think I'll give it a go with dominants. You never know.

    Thanks again!

  15. #89
    Quote Originally Posted by Reg
    If think of all chords as having subs that are always in play.... Like F-11 (dorian) and Abmaj9#11 (lydian). Which is just function sub.... but then you add other relationships...
    This is very much the kind of thing that is easily glossed over and missed in your posts I think. I think the thing I missed about this the MOST for a long time is that, at its root , it begins in more of a PHYSICAL understanding of the instrument than a theoretical understanding of music etc.

    [I've read a lot of opinions detracting the idea of naming positions based on modes for example, and I somewhat understand where they're coming from. but I think they're also largely missing the point. First of all, we mostly don't name them anything ELSE in PLACE of modal names for positions, other than , occasionally, arbitrary numbers developed by particular players, which are all different and unrelated to anything physical or quantifiable to the fretboard. At the very least, naming positions by the would-be mode gives you an understanding of the mode and its relationship to major, if you choose to see it that way, which isn't purely theoretical, verbal/symbolic and on paper only. It also really makes possible more of a piano-as-sliderule-type-benefit present on the guitar fretboard as well. ]

    Anyway, one of the most important unintended consequences of my study of your idea of extended diatonic relationships, like Dorian/Lydian as subs for each other , is just the filling in the cracks on the instrument positionally first , and then musical aspects , just targeting different chords or modes etc. It really helps fill in the cracks with lesser used or known chords or areas of the fretboard etc.

    The III chord/phrygian is an obvious one for major/minor diatonic. it's just never going to get the reps if you prioritize it by occurrence in the music. It's just less used , but if you're practicing it as upper/lower "extensions" of Ionian or mixolydian , you really get to know it much more quickly , and especially its dual function as tonic or dominant.

    The benefit of this is multiplied with modes of melodic minor , where there is much less of an even distribution of common usages among the different modes in actual music. (The fastest way to learn to hear and play Dorian b9 is to learn to play it as a sub for altered or Lydian dominant. The usefulness /lost-opportunity-cost argument kind of goes out the window at that point, because the other two modes are so common , easy to hear, and easily applied.)

    Anyway, thanks for this. I feel like this is very important, especially for this instrument, and I've never really seen anyone else explore it as much, at least not BOTH ways (up and down a third), for all chord types.

    I'd be curious to know how you came upon this or who you learned it from. Thanks.

  16. #90

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    Quote Originally Posted by christianm77
    .

    Understand the difference between practice and playing - this is key and one thing most amateur players never get past it because they don’t make enough of a distinction and playing is an escape for them anyway. ‘Practice like a scientist, play like a drunk’ Bergonzi said - if you have to think about this stuff, you can’t yet play it.
    This is so important to mention. You have to do a lot of thinking to get to the point to where you don't have to think

  17. #91

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    Quote Originally Posted by ragman1
    Christian -

    Terrific, thanks. You've certainly improved your vids (and the hair's looking luvly too). Pleasure to watch.

    Well, I knew what you were doing and it was good to hear it. I use minors generally but I think I'll give it a go with dominants. You never know.

    Thanks again!
    Cheers :-)

  18. #92

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    fwiw i liked christian's hair better when he looked like a baby bird

  19. #93

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    Yes... great hair. It's funny... I hear most of your, in red subs as Subdominant.... So your Bebop lines are somewhat sounding like a few targets with filler.... dare I say guitar noodle. But... your playing has improved... Your lookin much more comfortable. OK enough ass kissin.... So the modal thing.... is generally about modal functions, and modal functions are derived from use of characteristic Note(s).

    You can create any number of applications for creating... Harmonic movement... Modal harmonic movement.... but the whole point of modal is use of those characteristic note(s). I've posted many times... and if anyone really cares... we can get into it.... But generally most just use modal characteristics as another sound of feel, like we use blue notes or Blues feels. They're use in conjunction with all the other BS and to make what we play work... best we can. **** The better technique you have.... the better the results of what you use sounds*** . How many slow, beautiful and meaningful solos can one play?.... trick question.

  20. #94

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    Quote Originally Posted by christianm77
    Cheers :-)
    Very good vid but mind you, it must be said, we were discussing Iris at the time. Iris is s-l-o-w and melodic. How would you tackle that?

  21. #95

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    Quote Originally Posted by ragman1
    Very good vid but mind you, it must be said, we were discussing Iris at the time. Iris is s-l-o-w and melodic. How would you tackle that?
    Well I would certainly start with the melody.

  22. #96
    Quote Originally Posted by Reg
    You can create any number of applications for creating... Harmonic movement... Modal harmonic movement.... but the whole point of modal is use of those characteristic note(s). I've posted many times... and if anyone really cares... we can get into it.... But generally most just use modal characteristics as another sound of feel, like we use blue notes or Blues feels. They're use in conjunction with all the other BS and to make what we play work... best we can.
    I'm always equal parts fascinated and perplexed by this. I'd love to understand it a more concrete way. Anyway, I transcribed the following about a year ago incomplete... , and it sounds somewhat like what you're talking about maybe? Definitely not just outlining chord tones etc. I think you described it as basically " just bluesing it out" or something, but you always talk about using other references to "organize blue notes" etc.

    Days of Wine and Roses - Reg523 | Soundslice

    Could you maybe talk about how you hear this and think about it, maybe referencing specific bars etc. (Incidentally, I don't know what you think about this one. I think you talked about not really caring for the tune that much, but it sounded like something I could somewhat hear and transcribe. I hope it's mostly close. I'm pretty sure I just pasted in standard changes above for my own reference ).

  23. #97

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    !!!! wow... very cool Matt. You have some skills.
    So... The tune is the first reference, like Where I start from.... the form or space is obviously steady.

    I always have a functional analysis. Which reflects everything, right. The harmony with reference to the melody and within the Form... location is also part of an analysis. Physical locations, as well as rhythmic implication work with harmony/melody and then the style etc...

    So that is where I always start from... can't help it, years of arranging and composing.

    Modes, Modal relationships are just different guidelines for how and why music move forward... even static harmony functional music moves forward... Tonic function still moves forward. Time doesn't stop. Anyway all I do is add more Musical relationships... if it's blue notes... I generally like to use Melodic minor relationships, and I generally use through the dom.7th chords... altered and Lydian#11...
    I don't always use them using traditional Functional Harmony, (that is the basic reference most of the time, so those guidelines are always going on), I use there Modal like guidelines....Modal music uses characteristic notes to create movement... functional like control of movement. I use blue notes with modal applications. I also use Chord Pattern concepts.... Chord Patterns are just series of Chords that become One chord, They become One reference, right. The fun part is you can have many possible layers of Music Movement going on at the same time.

    So just like when your playing a Imaj7 / II-7 / V7 / Imaj7... you can use basic voice leading to spell out the movement, the functional movement... which is based on Ionian Functional harmony etc... I generally.... use Chord Patterns to take the place of the basic changes, Imaj7 II-7 V7 Imaj7..... From standard analysis.... Tonic / Subdominant / Dominant / Tonic.

    So the actual chords expand to .... Somewhat like Chord Licks... that I already have internalized, or choose to put together in the moment. Organization, musical organization of what chord patterns I use and how I use them also has layers of musical organization.

    I generally hear single notes or melodic figures... as being harmony. That is the reference, the harmony, the melodic figure or melody is the development of the harmony.

    Ex... so from the simple I II V I example.... the 1st I chord can become a I VI II V or any standard variation of that Pattern.... This is the part that begins to get complicated, right.... if you don't have all those variation already worked out, or you can't put them together in real time... Live. Your not going to be able to have multiple variations going on at same time.

    Anyway.... I use modal like functional guidelines to help expand possibilities of developing functional harmony. I think and hear music functionally. I make choices... or try and understand those of the music.

    The use of expanded functional movement.... the Diatonic root motion approach. Ex. Up and down a Diatonic 3rd root motion is pretty simple to work with, expand that approach with Borrowing or Modal interchange, add some Blue notes from possible chord patterns from the basic Diatonic functional root motion. As one gets better... your able to just use the have notes imply those chord patterns.... which helps with improve... how one developed the interaction of notes.

    yea way to much and not very organized.... I'll try and put into a tune simplify etc...

  24. #98

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  25. #99

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    LOL... it's like Groundhog Day.... it just keeps starting over and over.

  26. #100

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    I use modes a lot technically but I don't think 'this is a mode', I just use what I think is the right sound at the time. After all, the dorian sound is quite different to a melodic minor or phrygian sound and one has to be aware of that.

    But 'learn all the modes in all the keys' is like learning all the verbs, in every tense, of a new language... and you still can't ask for a cup of coffee :-)