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Hm...Just wanted to chime in briefly to offer a slightly different perspective.
Jordan, ths triadic thing you describe seems to be close to what I wrote about...
I saw your post about it before but I did not dig much into it because I did some other thing for the momnet.. and you write here and it struck that probably it is almost the same thing... and maybe even chosen because the same reasons
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04-20-2017 04:22 PM
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Yeah, my bad... I must have missed that. I just went back and re-read that post. Sounds mightily similar. I can't speak to the starting point of where you develop the triads and the extra notes from, or where and how you then apply the concept... but the meat appears to be cut from the same beast. Word! I love this stuff. Glad to see others checking it out too.
Originally Posted by Jonah
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What's the "Reg pentatonic"? Is that referring to our man, Reg? Or short for the 'regular'? Or maybe something else I'm missing.
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You see... it's not that I want everything to be analyzed... But I like to have the feeling of integrality that everything is connected with everything... Originally Posted by christianm77
So when I am said here's minor penratonic you can harmonize it and it will fit fine this and that... I get it ... but i cannot really use it before i internally intehrate it in hearing universe... not that there should be clear ecplanation but it.'s on the level of hearing... I can try it for while and then somehow it gets incorporated in my musical world...
That's why l like this triadic I and as I see now Jordan described... in quite complex universe of musical knowledge I already have it gives me a sort of free navigation system... in general I am like a dog who smells something and follows the instinct... But since I am still a human I must arrange this instinctive move into integral expression, piece, narration.
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Sure it's a lot easier to hear and contextualise three notes.... Originally Posted by Jonah
For me it's all about hearing what I'm playing, but there's more than one way of hearing everything, which is fun.
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@Christian.... I would not say easier.. three notes have more contextual options.. two is not individual enough.. four on the contrary may be too specific and pre defined... I like the idea of three notes plus. Or three notes minus.
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@fuzz
All good man. That's what I assumed you were getting at... I just wanted to ask. Thanks for the clear up.
@Jonah
Many years ago, long before I fell desperately in love with triads and decided to build everything around them, I actually experimented with a two note project... figuring that two notes was the fundamental breakdown for all of music since one note gives no harmonic information, but as soon as a 2nd note is added, there is harmonic context... even if incomplete.
I thought it would be fun to chart that world out. It was pretty chaotic. If I remember correctly, I think I wrote out every possible grouping of notes where the first note was always 1 and the 2nd note was somewhere between 2 and 12 (from the chromatic scale). I think there's only like 11 variations of this. Then I took each grouping of notes (1/2, 1/3, 1/4, etc) and applied it over all 12 notes again like slash chords, where the root note underneath these previously selected dyads could be altered... and then for each "dyad-over-a-root" I charted out every possible chord type it could yield (for instance C and G over a C root could be used for C major, C minor, etc etc). It was a fun game, and ended up yielding me with countless pages of what essentially looked like computer code. Perhaps another go-around with it might bring about more practical applications, but it was mainly a philosophical, intellectual exercise for me.
The triad thing on the other hand has proven to be far more effective for me. There are fewer options than the dyads (while still maintaining an unbelievably large library of sounds to explore - more than is obvious on the surface when approaching with scales or arpeggios)... but they are far easier to discover and apply immediately into unbelievably music approaches.
Recently I've actually been using the triad approach to explore the world of dyads again with absolutely gorgeous results. First thing I noticed was that it break apart the intervallic approach, so it's not longer moving diatonically with all m3/M3 or m6/M6 type stuff (which is all beautiful and should definitely be checked out and worked on for its own benefits). The next thing I noticed was that there were a few different ways I could think of to organize the approach to pulling the dyads out, and depending on which way I did it there were different benefits. One of the approaches tens to contain relatively small intervals, though they do change and is great for quick "harmonized scale run" type sounds. One creates bigger intervals and is great for implying the quality of a chord with only 2 notes. My current favorite way has to do with seeing the triad and then seeing the chosen tension notes and sort of dancing back and forth, and the cool things about this way is that not only does it mix together the tighter and wider intervals, but it actually sometimes creates contrary motion between the higher and lower voice... so it really accentuates the individuality and life of each line, at times almost coming across as a type of counterpoint.
Applied to the harmonic/melodic movement of Misty and sort of tying this back in with the OP, we might get something like...
Db7
XXXX67
XXXX46
XXX3X3
XXX46X
XX5X4X
XX34XX resolving back to Eb... so maybe XX53XX
Or trying this out with the "reg pentatonic" that fuzz brought up it might look like...
XXXX69
XXXX46
XXX3X3
XXX66X
XX5X4X
XX36XX => X6X7XX
Anyway, sorry for the book. I can geek out about this stuff all day. Thanks for indulging me
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