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Originally Posted by Reg
There are always countless ways to look at whatever aspect.
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06-24-2020 11:40 AM
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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
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Originally Posted by alez
SULKS
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LOL... you win a free set of cheap strings, just cover the expenses...
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Originally Posted by christianm77
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Originally Posted by christianm77
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.
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Originally Posted by Reg
Originally Posted by Reg
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?
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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.
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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.
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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...
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Originally Posted by Reg
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Originally Posted by christianm77
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Originally Posted by pauln
RIP Nick Gravenites
Yesterday, 05:48 PM in The Players