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Originally Posted by sungjy1231
BigDaddyLoveHandles has a great insight for soloing, heed his advice!
Eddie
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10-09-2009 05:08 AM
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Originally Posted by timscarey
Is he the guy with the hexatonic scale concept? Combine two triads to make a scale?
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Originally Posted by timscarey
And accept that you will get some not so nice sounds sometimes.
another thing to try,
take a four or five note chord formation could be a triad, play first two notes, move 1/2 down or up, play the the next 2 notes, move up or down, play two more.
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Originally Posted by BigDaddyLoveHandles
However, John Cage apparently referred to "quatrads (four-note aggregates) and quintads (five-note aggregates)" in his "Etudes Australes". But then he produced silence and called it music, even when it wasn't a rest. I'm inclined to distrust such a man.Last edited by mangotango; 10-09-2009 at 12:03 PM.
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Originally Posted by mangotango
"Some Combinational Resources of Equal-Tempered Systems" -- there's some late night reading
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Originally Posted by JohnW400
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You listed 4 types of triads:
Major = C E G
Minor = C Eb G
Diminished = C Eb Gb
Augmented = C E G#
There's a 5th type of triad you can use:
Major (b5) = C E Gb
I think that exhausts the possibilities.
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Originally Posted by SwingSwangSwung
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anyone willing to post a video on youtube playing these triads over a backing track????
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Originally Posted by timscarey
A-Bb A Bb C# D E F join it with a G or G# for the next octave
A-B A B C# D# E F# (same deal - G)
A-Eb A Bb C# Eb E G
A-G A B C# D E G
A-G# A B# C# D# E G#
These are also good as poly chords, linear wise (ex. A C# E G B D g a to fill it out)
Harmonically there is an excercise where you try to move these through their inversions
E over F using strings 6432 would be:
F E G# B/ G# F A C / A G# B E/ B A C F/C B E G#/ E C F A
Of course you could split it and do two notes from each triad and do
F C B E/ G# E C F etc
But I think thats a bit much, though some of them are useful like E over F# (F# C# B E G#)
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Originally Posted by sungjy1231
*play piano, or
*have a friend comping, or
*use some recording software, or
*use a looper pedal like the Boss RC-2 ($189)
This is a shout out for a looper pedal (the Boss is just the cheapest one). They're easy to use, more patient that a friend, and smaller than a piano! If you don't have one, Christmas is coming!
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Originally Posted by timscarey
The real usefulness doesn't come into play until you add a 7th of some sort. (Ami7#5, ex)
The C b5 exists in the Whole tone scale. It sounds good when you stack 2 or three together
C E Gb Bb D Fb Ab C D (E double flat) or C E Gb Bb D F# Ab C ( C7b5 TO D7b5)
Just really things to build the ear up.
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I use 6 structures in this triadic context.
Major------------1 3 5
Minor----------- 1 b3 5
Augmented------1 3 #5
Diminished------1 b3 b5
Those are the formal triads.
The other two I call prefixes. (just a name I made up)
Major b5----------1 3 b5
Suspended--------1 4 5
The 3 note prefix structure of m7#5 is an inverted major triad and redundant.
C Eb G# = Ab C Eb
Cm7#5 = Abadd9
Another one I haven't decided whether to include in the prefix club yet is for lack of a better name
sus#4--------------1 #4 5
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Originally Posted by timscarey
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Or Cma7b5 (CEGbB)
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Some great ideas here! Thanks so much!
Eddie
PS calling for someone to lay down a solo for Autumn Leaves on my jam site, www.jazzsession.org Any takers? Would be nice to get a group of cyber mates together!
Boulou Ferre solo performance
Today, 04:16 AM in The Players