The Jazz Guitar Chord Dictionary
Reply to Thread Bookmark Thread
Page 2 of 2 FirstFirst 12
Posts 26 to 39 of 39
  1. #26

    User Info Menu

    Quote Originally Posted by rintincop
    Hmm, such a simple question triggers so many rants.
    There are no simple questions!!!! :-)

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #27

    User Info Menu

    As far as I can see, the way you express things never implies you have the one absolute truth about whatever, totally the opposite.

    That being the case, I don't really see how you could probably upset anyone.

    If you think something is rubbish, it may help other people to read so from you, so expressing it is valuable.

    BTW, I'm not criticizing whoever may have disliked your posts either.

  4. #28

    User Info Menu

    Yeah, ye gods I get so bored with this 'yeah cool man chill out it's all good' mentality.

    Express an opinion from time to time, and back it up. I love it when someone expresses an opinion about this music which isn't simply - "oh, you are bad for expressing an opinion"*. Jonah and I argue like crazy, but my god I respect him. He knows his shit, thinks deep.

    *which is actually a stealth way of trying to shut down something that disagrees with your opinion.

  5. #29

    User Info Menu

    I too think that makes being here a more enjoyable overall experience.

    People who prefer a colder, more factual approach may like Stack Exchange question-answer concept better. I don't.

    That said, Stack Exchange has this one thing I really like, and it's the fact that the OP needn't choose one category (sub-forum) for your Q-A thread. Instead, you assign category tags to it. That saves you from having to ponder whether your question is more to do with "theory" than it is to do with "improv", "chords", "comping" or "tunes". My ones at least are nearly always about all those.

    But that aside, I don't really like it at all for THIS particular kind of knowledge (inherently subjective).

  6. #30

    User Info Menu

    Obviously, I will derail your thread. That’s a given. But then I derail my own threads.

    Sometimes I derail my own posts.

  7. #31

    User Info Menu

    Side thinking is paramount in music. I think that's why I'd rather chat than go question-answer. Derailing should be appreciated and encouraged.

  8. #32

    User Info Menu

    Quote Originally Posted by Lark
    Another thing you sometimes see is I biiidim7 ii V which is used as a sub for I VI7 ii V. However biiidim7 cannot be considered a VI7 its a II7? How do you think about this? What is a II7 in your opinion? How does it function? As a V/V? Or are there other ways to think about it?
    Another very common use is as a dominant resolving to IIm, isn't it? I mean, a Am7-D7-Dm7-G7-C can be seen as

    • A sophisticated D7-G7 where the duration of the D7 is shared between the Am7 and the D7 and the duration of the G7 is shared between the Dm7 and G7 (D7 and G7 are V and you turn them into II-V)

    or

    • A Am7-D7-Dm7 cadence followed by a G7-C cadence.

    I think?

  9. #33

    User Info Menu

    Quote Originally Posted by alez
    Another very common use is as a dominant resolving to IIm, isn't it? I mean, a Am7-D7-Dm7-G7-C can be seen as

    • A sophisticated D7-G7 where the duration of the D7 is shared between the Am7 and the D7 and the duration of the G7 is shared between the Dm7 and G7 (D7 and G7 are V and you turn them into II-V)

    or

    • A Am7-D7-Dm7 cadence followed by a G7-C cadence.

    I think?
    its dominant of the dominant. It was sophisticated maybe 300 years ago

    D7 G7 C

    the m7’s come in as a decoration of the basic dominant sound.

    D7sus4 D7 G7sus4 G7 C

    With a different bassline...

    Am7 D7 Dm7 G7 C

    So that’s like the ii v’d McJazz Edu version you see in the Real Book

  10. #34

    User Info Menu

    Here’s two nice 18th century harmonisations of the minor scale. Notice chromatic harmony as standard:

    dim here means diminished triad

    Cm Bdim/D Cm/Eb Fm6 G F/A Bdim Cm

    descending

    Cm Gm/Bb Abmaj7-Ab7 G G/F Cm/Eb Bdim/D Cm

    Gorgeous, no?

  11. #35

    User Info Menu

    So I did wonder if you could do a straightahead jazz version of this, and I came up with this:

    Cm6 Do7 Eb6 Fm6 Cm/G Am7b5 Bo7 Cm6

    Cm6 Bb7 Abmaj7/Ab7#11 G7 Fo7 Eb6 Dm7b5 G7b9 Cm6

    You could have fun coming up with all sorts variations. I like how the scale thing breaks up the ii V thing a bit.

    Of course you have the Barry Harris and Mick Goodrick type formulae, but I like the way this isn’t always the same pattern.

  12. #36

    User Info Menu

    "My suggestion (based on the work I've been doing on jazz education) would be - aim to get people making good jazz noises and talk about the other stuff later on. Jazz is often so front loaded with theory that it can seem to the casual student that that's all it is." Christian

    Hi, C,
    This is how the Masters learned the idiom--trial and error, gigging, feedback from fellow musicians and much later,for some, academic theory. Today, Jazz has become academic and it is readily identified by their "music' which in many cases is cold, lifeless, and predictable. About a month ago I listened to some music on Studio Jams where a young, female alto sax player was playing robotic Bird solos lick for lick in a jam. Improvisation? Yes, for Parker. Good playing . . . Marinero

  13. #37

    User Info Menu

    I do think this approach helped them form a personality. The players who today have their own sound all followed that process.

  14. #38

    User Info Menu

    Quote Originally Posted by christianm77
    its dominant of the dominant. It was sophisticated maybe 300 years ago

    D7 G7 C

    the m7’s come in as a decoration of the basic dominant sound.

    D7sus4 D7 G7sus4 G7 C

    With a different bassline...

    Am7 D7 Dm7 G7 C

    So that’s like the ii v’d McJazz Edu version you see in the Real Book
    This description is what I meant in my first bullet point. Is the one on my second bullet point flawed and doesn't really hold? I kind of considered it one of the ways to establish Dm as tonal centre, along with A7. Like Bye Bye Blackbird measure 6 use of D#dim7.

  15. #39

    User Info Menu

    Quote Originally Posted by alez
    This description is what I meant in my first bullet point. Is the one on my second bullet point flawed and doesn't really hold? I kind of considered it one of the ways to establish Dm as tonal centre, along with A7. Like Bye Bye Blackbird measure 6 use of D#dim7.
    It’s fine. Super common chord progression. You can think (like Billy Strayhorn) Am(maj7) G7 Cmaj7

    its all about boiling things down and building them up again.