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  1. #801

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    Hey Group,
    Someone here emailed me the other day with a question about Mick's etude book, and I lost the message! Whoever wrote, please re-send and I'll reply! Thanks!
    Marc

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #802

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    One of the things I like doing (with Vol 1) is: playing two- or three-voice versions of the 7th chord cycles, and then applying them to a tune. For fun, I wrote out two choruses of "All the things .." using two different, two-voice cycles. In real-life, especially when playing with a pianist or other guitarist, this may be all you need to play when comping! [Of course, I just wrote this in whole- and half-notes, and not actual "comping rhythms," so please do your own variations!] See what you think!

    ATTYA - Goodrick 2-voice.pdf

  4. #803

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    And a three-voice version:

    ATTYA - Goodrick 3-voice.pdf

  5. #804

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    I would like to work with the dominant diminished scale, half step/whole step diminished, in a systematic way, similar to Goodricks cycles, but I haven't been able to work out how to do it.

    Does anyone have any advice? How do you harmonize the dominant diminished scale?

    bengt

  6. #805

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    Quote Originally Posted by thule View Post
    I would like to work with the dominant diminished scale, half step/whole step diminished, in a systematic way, similar to Goodricks cycles, but I haven't been able to work out how to do it.

    Does anyone have any advice? How do you harmonize the dominant diminished scale?

    bengt
    Because the 7 note scales become easy to work with after a while, and the logic Mick lays out is using 7 note scales, I've worked a bit with 7 note variations of the diminished scale. But I haven't sat down to figure out the voice leading systems with an 8 note scale.

    Anybody use the Goodchord Voice Leading Books?-untitled-jpg

    Just curious, for what purpose?

    Edit: excuse the "6" vs double flatted seventh in the chart; this is part of a larger scale list with some automatic enharmonics.

  7. #806

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    Oh woops, thanks Mick for pointing out - these are for the 'other' version - one can just swap the chart up to actually be for a dominant as was specified (Eg , 1 2 b3 becomes b9 #9 (major)3) just a little 'find and replace'



    wouldn't be shocked if there's a typo or two in this one: Anybody use the Goodchord Voice Leading Books?-untitled-2-jpg
    Last edited by JakeAcci; 10-27-2020 at 07:52 PM.

  8. #807

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    While I'm taking up space, I'm going to mention that I made a tool that basically produces all notes and possible guitar voicings for cycle material, with a fairly exhaustive set of options, and the user just has to click through a few drop-down menus to select the options they like. Quick demo video here



    Aside from the center area where the user selects options, the vertical columns are for each chord, and there are many guitar voicings options for each chord present by scrolling down beyond what's visible in the video. A lot of time and energy was put into making the voicing rows connect in a player-friendly logic. Meaning, you can select a key, cycle, voicing structure, chord type, scale type, and then the tool produces some options of the most practical ways to play the chords of that cycle on guitar, and you can sit and play them through instantly. Alternate tuning options are there and they are easy, no 7 string options at this time.

    I'll admit that's nowhere near a complete description of the organization and the purpose of the damn thing, and it may be confusing to look at at first. But with a little walk through it's easy to use.

    Posting it here because I'm curious if this is interesting to anybody - I'd think for those working on cycles that it would be appealing and practical to be able to save the administrative steps of writing down the notes and finding voicings when working with the the activities that require maximum brainpower (for example, a more complex combination of parameters like scale type, chord type, etc. The tricky first step is just writing down the damn notes.) This was an obsessive project back in July or so, I think I posted it then and to be honest was surprised that it sparked absolutely zero discussion except for one PM from a user here that I've known for a long time. Not that I'm sensitive, hah!

    I've been pondering plans for polishing it up and sharing it.

  9. #808

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    Symmetrical scales yield symmetrical results. Not as varied as the standard 7 note scale harmonizations but does offer some interesting chord pairs that articulate diminished scale harmonic function in a perhaps less obvious presentation.

    C Db Eb E F# G A Bb

    Alternating minor chords and 1st inversion majors

    C Eb G
    C# E A
    Eb Gb Bb
    E G C
    F# A C#
    G Bb Eb
    A C E
    Bb Db Gb

    Alternating major chords with 2nd inversion minor chords

    C E G
    C# F# A
    Eb G Bb
    E A C
    Gb Bb Db
    G C Eb
    A C# E
    Bb Eb Gb

    etc.

    Non-symmetrical 8 note scales provide a richer palette, especially when engaging with structures that Barry Harris describes as containing "borrowed notes".


    C D E F G Ab A B C

    C E G B
    D F Ab C
    E G A D
    F Ab B E
    G A C F
    Ab B D G
    A C E G#
    B D F A

    C E G# B
    D F A C
    E G B D
    F Ab C E
    G A D F
    Ab B E G
    A C F G#
    B D G A

    etc.

    Jake,

    I suspect you know this, but for anyone who hasn't checked out 7 of 8 extracts of diminished scales. Although each variation on your list has slightly different notes, there are only two unique intervallic structures to be found.

  10. #809

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    I've been curious for a while about six note 'gapped modes' where a note is omitted and the creative palette is slightly reduced – it's great to see a discussion of this idea applied to the diminished scale. The diminished whole-tone scale is already shown in the Almanacs as mode seven of the Melodic Minor sections, but Jake's idea about dropping a note started to sound good quite quickly - naming notes and chords takes a bit of thought, with the augmented second interval causing similar convolutions to what it does in the Harmonic Minor scale. I came up with this last night from Jake's 'Dominant Diminished (1) omit b9' (C D# E F# G A Bb C):

    Anybody use the Goodchord Voice Leading Books?-7-note-gapped-jpg

    All the best
    Mick W
    Last edited by Mick Wright; 11-12-2020 at 07:00 AM.

  11. #810

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    Cool Mick

    since I input these as variants of the WH dim scale, i input that example as the G WH excluding the b5, that way cycle 4 looks basically the same as if it were starting on C HW omit b9 . (but adding a scale is easy, and there's a 'custom scale' option anyway)

    Some misc results...interesting sounds (and let's see if these images format properly)

    Anybody use the Goodchord Voice Leading Books?-1-jpg
    Anybody use the Goodchord Voice Leading Books?-2-jpg

  12. #811
    I've been working on some fun things involving chromatic movement in voice led cycles.
    The cycles in the almanacs all involve diatonic smooth movement from chord tone to chord tone. I was thinking of just how much I like the "wrongness" and "edge" that chromatic approach notes can impart and how they really highlight the quality of the target chord when it arrives.
    My practice time now includes inner voice movement at the time. If one of the inner voices (alto or tenor in SATB talk) is a 5th, and the tendency of the cycle is descending, I'll sharp the 5th and it becomes a chromatic approach note in contrary motion. Likewise if the tendency of the voice movement is ascending, the 5th is flatted and yes, it's wrong at that moment, but in the voice movement of the voice flow, it's like a little white water that makes the flow exciting.
    The 5th is nice to work with because aside from the -7b5, it's a stable voice that is not a guide tone and it's got a chromatic note above and below it.
    I have been working on some aspect of the Almanacs during this entire pandemic and I'll say at this point the greatest changes in my playing are not the patterns within the pages of the books, but the expansion of perception they have allowed me to achieve. Hearing any voice within the tonal area and within the chord at the same time. That's a big one that leads to chord movement that's melodic and freshly functional.
    For those who've been using the cycles, check out chromatic altering. If the cycle descends, raising the root in an inner voice also makes one of those "What's THAT?" chords that resolves or evaporates into the next chord.
    Let me know if you find this to be true.

  13. #812
    Here's another "Of course!" approach that now seems obvious.
    Four part 7ths can be led through cycles, that's obvious. But a more dramatic accentuation of voice movement, particularly in the middle voices can be achieved through playing a four part chord as a triad, only voicing BTS or BAS alternatively.
    When you do this, the voice travels from voice to voice, and it's not diffused through the movement of each 4 part chord. In other words, the melodic line travels from voice to voice, like a melody being passed from one instrument to another in a string quartet or symphonic work.
    The B and S voice still outline the chordal movement but the inner voices can act either in concert or counter to those voices by changing the voicing of the triad. You still use the chords of your fretting hand as you would, but you only pick out one of the inner voices. This, of course is easier when you play finger style, and if you're playing finger or classical style, you can bring out the inner voices through dynamics to give a greater clarity to the moving inner voice. Add to that the chromatic alteration in the above posting and your chordal work takes on a sophistication that was only thought a piano could achieve.
    Have fun.