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Originally Posted by AllanAllen
I am firmly in the camp of You Do You on this one.
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04-20-2024 02:33 PM
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Originally Posted by pamosmusic
It’s been baked into the very sense of key for ever - the idea of key being a scale being quite a modern idea really - very modern. What we think of as tonal music really saw those sort of mild chromaticisms (Bb and F#) as part of the key rather than modulations per se. And of course it shows up in jazz. Later theory bangs on about secondary dominant chords and so on, but really it comes out of the melody, and the standard basses people would write. Tonicising the II in something called ‘a Fonte’ was very typical. This is preserved in jazz language. If you’ve noticed bebop turnarounds in Bach, this is why.
The middle 8s of Alone Together or Night in Tunisia are classical fontes. Tonicise IIm, tonicise I in modern terms
Barry was ALL about this stuff. Classical music was very important to him.
Modern guitar players I think have very limited exposure to trad western tonality generally compared to pianists. It can be a bit confusing if you are used to the tonality of pop/rock music.
I know it was true for me - I don’t feel I grew up with it. My early background was more in modal and rock/pop based music. The Beatles, Zeppelin, and so on (boomer parents) rather than Mozart or GASB. Vamps, V7sus chords, bVII7s ….
Trane made sense to me right away, Bird less so.
Took me years!
Sent from my iPhone using TapatalkLast edited by Christian Miller; 04-20-2024 at 07:08 PM.
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I mean if I had to pinpoint birds harmonic style apart from say Prez, I’d say it was in that tonicisation of the ii chord. With a VI7b9
Sent from my iPhone using Tapatalk
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Originally Posted by pamosmusic
Odd reverb L5
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