-
So you missed my conversations with DB about my love of philosophy and rhetoric, John A?
I was saying that we take it as an opportunity to quell the CST for a moment and get into more examples of musicality form all of these musical events from our own playing--audio or video.
Less talk, more actual music--I need to hear and follow that too (to the nth degree, I might add)
On a different note, why is this thread starting to feel like "who's with Irez87 and who wants to get on the bandwagon and attack him"
John A., I'm definitely not saying you--as you addressed both sides. But why do I sniff a hint of it on this thread?
-
07-15-2019 02:03 PM
-
Forget it, I'm not gonna lose sleep over worrying about someone disagreeing with me, personally, instead of my ideas.
Great form--again John A., I'm not talking about you or anyone else who directly participated on this thread.
If I want change, I'll participate in threads that promote the change I want to be part of, and leave the rest alone.
That, and I'm beginning to realize that all the back and forth is useless. It's like arguing politics.
I think I'll record and post more videos--in the spirit of Lawson-Stone--and give short explanations there after. These posts are eating into my practice time and my baby time (that's no one's fault, but my own)
-
Originally Posted by Irez87
All the best.
Matt
-
one person does, and quite frankly, I don't understand why...
But I'll let bygones be bygones. At this point, it's not worth it. That's why they have the block option, right? I'm not a politician, so I don't have to worry about the implications of blocking anyone
-
Originally Posted by Irez87
Anyway ... I don't think it's possible to direct conversation the way you seem to want to. The only thing that works is to pick your spots.
Regarding talking vs. posting examples of playing what one is talking about, that's too much work for most of us. I did post examples on the chord melody study group threads, and on a couple of those I talked about what I was doing (without mentioning a single scale or much theory at all). I'm not sure anyone found that interesting.
TL;DR: the internet, it is what it is.
John
ps - not getting any attacking vibe on this thread, but in general it works better to assume no malice intended absent something really blatant.
-
[QUOTE=John A.;966622]
I did post examples on the chord melody study group threads, and on a couple of those I talked about what I was doing (without mentioning a single scale or much theory at all). I'm not sure anyone found that interesting.
/QUOTE]
same
-
Servers been down... what did I miss?
No bad vibes intended from this end.
Btw a really nice tune that uses melodic minor harmony very musically is Kurt’s the Dream of the Old.
-
Originally Posted by John A.Originally Posted by joe2758
-
Originally Posted by christianm77
-
Originally Posted by matt.guitarteacher
-
Originally Posted by matt.guitarteacher
You can certainly put that on the tune if you like, but it's not intrinsic to the way it's written.
But the altered on half dim thing - you mean as in putting D7alt on Dm7b5? Well that relates to the French Sixth... Ab7#11.
-
For OP, I got an idea. Take a tune that you'd like to play and improvise that has altered dominants. Or even just a minor tune. Sing the impro, use more "scaly" approach but don't bother forcing or overthinking anything. Avoid passing chromatism for more clear results. When it becomes smooth and natural - record it, transcribe and analyze. See if you're did some solid MM in your scats. If it makes more sense to treat them as MM and not as altering the diatonic, then it probably is better to hold on to MM?
Just an idea..
-
Originally Posted by joe2758
JohnLast edited by John A.; 07-17-2019 at 05:01 PM.
-
Originally Posted by joe2758
-
Originally Posted by emanresu
Any tune can be a melodic minor vehicle if you choose it to be. The colours are there for you to play with and you can take them or leave them as per your tastes.
In terms of accessing that sound - well you could do worse than to start by singing each scale to the 7th and back, Barry style. Barry doesn’t actually do this - but it’s in the Howard Rees book (Barry uses 1 2 b3 4 5 b6 6.)
The advantage of that is that the 7th is rhythmically quite prominent, and that’s the most melodic minor note.
Obviously you have the choice of whether you singing the MM scale (so D mm on G7#11) or the mode (G Lydian Dominant)
Another very good way of doing this is to use Stephon Harris’s quadrads idea. He doesn’t talk about MM much at all - the scale is just a complicating concept really... so,
G7#11 - A triad with a note from the G7 shell normally B
Dm9(maj7) - A triad with an F note
G7b13 - Eb with a B note
G7b5 - Db with a G note
Bm9b5 - A with an F
Notice that a lot of these are based on the V of the MM related to the chord.
This I think gets to the core of the sound much faster than using a whole scale. Of course you can conceptualise these as MM upper structure triads, but that’s not really necessary.
-
Originally Posted by emanresu
-
Originally Posted by John A.
-
isnt this a moot question?
i mean who doesn't alter the 9ths and 5ths of Dominant chords ?
nobody right ?
someone can come along later a say that was
mm from a half step up ...
doesnt matter does it ?
we all play those sounds don't we ?
-
Originally Posted by pingu
Yeah I agree completely, but for me it’s very much a not a moot question.
It is vis a vis my own playing - but the question from my point of view has always been pedagogical. Is it helpful to the student to theorise in this way?
-
Originally Posted by christianm77
ok to answer in terms of learning
from my own experience I was taught mm and its modes
but the sound didn't sink in to my ears .....
what helped me was
Playing around with the various sound individually
eg in C
over the G7 trying out lines
that lent on the Ab note individually
ive even heard Ab mm described as. Edit edit
"a Gbmaj scale with a raised tonic"
Hmm , not much use .....to me
-
Originally Posted by princeplanet
-
If one is going to organize their thinking around note content and possible harmonic implications as opposed to say emotions or spiritual vision, there are multiple angles
to approach this. Generally I have found that each angle will have certain advantages
as well as limitations. None of them automatically hand us the keys to the land of
musical mastery on their own. There remains many other issues still to be addressed.
I absolutely hear 11 possible tones against any Dominant chord
outside of the collection are unavailable for use. Thinking from a chord function
perspective allows for a freer mixing and matching of intervals as we see fit.
but the question from my point of view has always been pedagogical.
in your teaching practice?
-
Originally Posted by joe2758
John
-
John Stowell, all melodic minor, yikes...
30 years ago when I studied for 2 years privately with Mark Levine he would have me play standards like Take The A Train and apply a melodic minor mode to every single chord in the form. He was especially good at block chording in MM. It became easy after a while to effortlessly play a MM mode on any chord. I drilled with flash cards at home, 7 cards for each of the 12 keys. Would mix them up randomly and then sight read them, also had all the wholetone scale and diminished/V7b9 chords as cards too. It worked. I never have to think about it now days, it’s automatic.
-
Originally Posted by bako
The main thing I teach is to link a dominant/mixo scale device (scale, arp etc) to a target chord (major or minor usually) via some sort of chromaticism.
So idiomatically, the common ways to do that are
- to play a chromatic line possibly with other notes/ghost notes to make it more interesting rhythmically, so E Eb D say on G7 C but maybe change it to E G Eb D or something
- to use a diminished arpeggio to connect. There’s to main connections. In C - Bo7 to C and Co7 to C.
- to use a tritone sub to connect. So this could be a scale (we’ll keep it mix) or an arp. Abm or Abm6 on C is a common choice. But you could use any of the arps from the scale of course - such as Bmaj7 on G7 which might be ‘outside’ from a CST perspective, but from a dynamic point of view makes for a powerful resolution and is actually quite an obvious choice. Obviously super guitaristic too.*
So at no point am I taking about vertical harmony when dealing with altered dominants. It’s all about connection into the target. Voiceleading. So the altered scale, while it’s an effective way of making a connection in a target chord is actually less ‘pregnant’ with possibilities than Db mix.
Between them Dbmix and C6/9 contain the whole chromatic gamut. So it’s the most efficient type of cadence. But altered also works well.
But this can all be done perfectly well with just the dominant/mix scale. This is I think a good thing because we can spend some time learning how to construct really good sounding lines in that scale. Dom scale is brilliant. It also works well for modal and funky stuff.
In terms of more static dominant chords, we can make the conversion to minor and play minor language on Dom chords (once we develop minor playing). Dm on G7, say. As attractive minor key lines use the major seventh, and you might end up playing a lot of, say, the A triad in Dm on G7, some of these lines can be said to access the Lydian dominant sound, but that’s really not how I teach it.
Well then link them into the next chord around the second half of the last bar.
(In the bridge of rhythm tunes, say, the dominants stick around long enough to be thought their own thing. There’s evidence jazz musicians have always thought of progressions like these as being a series of key centres rather than related to a central key.)
The aim is to work on melody that expresses chordal movement within a tonal region and create dynamic resolutions to target chords (that helps with swing) not relate everything to underlying chord symbols.
* players have been using ‘outside’ ideas since before modern jazz theory decided they were outside.
palm muting techique
Today, 07:05 AM in Guitar Technique