The Jazz Guitar Chord Dictionary
Reply to Thread Bookmark Thread
Page 2 of 2 FirstFirst 12
Posts 26 to 38 of 38
  1. #26

    User Info Menu

    Quote Originally Posted by Reg
    Personally I've always related the ...
    I ...bIII ....bVI ... bII turnaround just a relative or Chord Pattern from Minor. Meaning Cmaj becomes C- through standard Borrowing .... Relative and Parallel BS theory...
    Wow, it didn't occur to me that those chords become much more diatonic if considered from the parallel minor key signature.

    There are always countless ways to look at whatever aspect.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #27

    User Info Menu

    Sorry I didn't answer your question... so If your really playing in "C" and the changes are C ? whatever Eb7 Ab7 and Db7. Usually that would just be all lydian b7 so Eb7#11 , Ab7#11 and Db7#11
    The reasoning is the turnaround is derive from a I VI II V And there are three harmonic organizational paths...

    Rather than just spell it out.... you sound like you understand Function etc... take a shot.
    hints, one is borrowing derived, an other is extended dominants and the last is function within chord patterns

  4. #28

    User Info Menu

    Quote Originally Posted by alez
    Wow, it didn't occur to me that those chords become much more diatonic if considered from the parallel minor key signature.

    There are always countless ways to look at whatever aspect.
    Hey I said that like post #3

    SULKS

  5. #29

    User Info Menu

    LOL... you win a free set of cheap strings, just cover the expenses...

  6. #30

    User Info Menu

    Quote Originally Posted by christianm77
    Hey I said that like post #3

    SULKS
    Bebop turnaround-mibtm-jpg

  7. #31

    User Info Menu

    Quote Originally Posted by christianm77
    Hey I said that like post #3

    SULKS
    Uh, sorry if you did.

    From the post I think you're mentioning, I got the bit where you explained the harmonized G and the bit where you give the Eb chord a passing chord consideration as "weak side chord". Awesome stuff.

  8. #32

    User Info Menu

    Quote Originally Posted by Reg
    Sorry I didn't answer your question... so If your really playing in "C" and the changes are C ? whatever Eb7 Ab7 and Db7. Usually that would just be all lydian b7 so Eb7#11 , Ab7#11 and Db7#11
    OK, this is useful, thanks

    Quote Originally Posted by Reg
    The reasoning is the turnaround is derive from a I VI II V And there are three harmonic organizational paths...

    Rather than just spell it out.... you sound like you understand Function etc... take a shot.
    hints, one is borrowing derived, an other is extended dominants and the last is function within chord patterns
    I have enough functional harmony knowledge to understand a few cadential constructs, but that's it.

    Unfortunately I'm hopelessly lost with regards to the 3 paths you mention, except perhaps the extended dominants one... which I guess is the way I was looking at this in the first place.

    My first question would be "there are three harmonic organizational paths" to what specifically, reharmonization, chord substitution, something else?

    Then, where would you go in order to learn about them?

  9. #33

    User Info Menu

    Just using Functional Subs... very vanilla. Basic Maj/Min Functional Diatonic subs.
    There are more doors that require you to expand what is printed in mainstream music texts and on the internet. You actually need to get past trying to figure or find out info and get into the creating thing. Generally on this forum most just quote from printed info. The vanilla school of music... nothing wrong with it. Can't compare $ I made composing and arranging in the vanilla tradition as compared to what I liked. It's still all good...
    I'll check in later.

  10. #34

    User Info Menu

    Thanks

    Exciting stuff.

    The thing is I really need to learn these vanilla sounds (aurally) before moving on. I need to learn how they sound, how I sound when I imply them with my phrasing, etc.

    I'm sure you remember what happens when you don't really have that... you are on stage soloing, you play a phrase, the result is unexpected (to you), and you find yourself desperately trying to recover from that and not get lost, etc.

  11. #35

    User Info Menu

    LOL... not really, I was gigging when I was a kid.... had chops and lots of BS confidence. Never really got lost... just might be faking it, using ears etc...

  12. #36

    User Info Menu

    Quote Originally Posted by Reg
    LOL... not really, I was gigging when I was a kid.... had chops and lots of BS confidence. Never really got lost... just might be faking it, using ears etc...
    theres a lot to be said for faking it

  13. #37

    User Info Menu

    Quote Originally Posted by christianm77
    theres a lot to be said for faking it
    ...and not enough said about using ears!

  14. #38

    User Info Menu

    Quote Originally Posted by pauln
    ...and not enough said about using ears!
    There's a good chapter in Hal Galper's Forward Motion where he talks about it. This was a skill that used to be taken for granted, but over the years, players are more and more reliant on charts etc. iReal has taken this to the nth degree.