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Ok. Top note, c, is assumed root Or 1 in the key to the left? I'm assuming it's voiced with the c as high note? But on left it's 125 on left. Trying to understand the key on left. No idea on the thingy art the bottom left. :-)
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05-06-2015 01:46 PM
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Ok. Second sheet somewhat answered my question. Thanks for sharing.
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Originally Posted by matt.guitarteacher
The cycle 6 goes up by 6ths, C Major, A minor, F Maj, etc... that's the cycle assignment. The actual voicings will be in 4ths, so that's where these voicings (from volume 2 by the way) are different from volume 1 (which are in triadic and 7th -tertian- harmony).
Are you referring to the diagrams on the left? That shows for each voice, which direction you have to go in and how far, to reach the next note in the series. The arrow tells you which direction, the number tells you how many notes. Here, they're pretty much step wise.
Functional shows you the inversion of the next chord in that series.
A little cryptic but once you get the hang, they actually tell you a lot; much more than notes on the staff.
Have fun!
David
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1st observation on the cycle 2 example- maybe obvious to y'all, but not to me at first:
It's just 125 taken up the scale.
Voiced with voice leading explained.Last edited by yotsn; 05-07-2015 at 03:26 PM.
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Is there an msrp on the cycle 2?
Also, what is ct?
And can someone help with the 125 triangle diagram on the cycle 6 exercise, as well as the 5 with the circular arrow around it on the cycle 2 exercise and the 12 with the arrows/ct/up on the cycle 2?
I'm loving this.Last edited by yotsn; 05-07-2015 at 03:36 PM.
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On these 4th exercises, how cognizant is everyone of the function of each tone while cycling through? In the the triad exercises, it's easy to see the chord inversion, where the root 3rd and 5th are, on these from book 2, it's easier to get lost and not know which is the 1,2 or 5. Wondering if it is a goal to keep those in mind for you?
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Originally Posted by yotsn
Originally Posted by yotsn
CT is a common tone that doesn't move yet takes on a different role in the next chord. Other voices will move up or down as determined by the arrows.
The triangle indicates the relationships between individual voices, how they move to one another from one chord to the next. Each voice will move consistently to another in a consistent way. That's indicated at a glance with that graphic.
Originally Posted by yotsn
They're really nice to take as entire chordal entities in themselves, and I imagine some use them as just progressions. That's what this thread is for, see what anyone thinks. That's why Mick didn't put explanations, to let you think.
I've found that working with these pages does make me aware of individual notes aurally AND cognitively as I'm playing. My ears have gotten a lot better for time spent with the Almanacs.
Mick has been using these voice led chords in his playing Sundays. It's beautiful to hear them played, and as a listener, I'm not at all aware of what's going on chord wise.
David
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Like Mick didn't provide enough material right on the surface.......
Ted Dunbar, a guitarist I took classes with at Jazzmobile was a big fan of books.
At the same time he felt it was not just a one way info exchange, one had to engage their own thinking.
He used to say for every page that you read, you should write ten of your own.
In that spirit:
Alternate between the close and spread quartal chords.
Cycle Two
alternating one chord each:
D G C ..... A E D ..... B E F ..... F C G ..... G A D ..... B A E ..... C F B .... G D C etc.
alternating two chords each:
D G C ..... D E A ..... F E B ..... F C G ..... G A D ..... E A B ..... B F C .... G D C etc.Last edited by bako; 05-08-2015 at 05:16 PM.
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If anyone is interested, I just wrote an online tool based on the chord cycles.
You can leave me a PM and I'll be happy to share the link... and wait for comments/suggestions...
I think I need some beta-testing before releasing it officially to the community
Enrico
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you can just name the chords by the simplest function (lowest number) of the notes compared to each note (as if it was the root), so CGD can be: 1 5 9 of C, 1 5 11 of G, 1 7 11 of D. In that example 1 5 9 will be chosen for that family. You can check every family of "nameless" chords that way.
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WOW - Volume 3 just went for $368.00 on eBay. That's just insane. Considering that all volumes are out of print and not coming back anytime soon - does anyone here that has volume 3 be willing to share? I have volumes 1 and 2 and would be willing to help someone that can share volume 3. PM if interested.
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Originally Posted by TruthHertz
Many thanks, they're fun.
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Originally Posted by kevykevy
I'll only do this because it seems any republication seems unlikely now. If and when it becomes available legally, I will no longer be sharing any of these.
e_del seems to have a good thing going for working with material from the earlier volumes.
PM me privately.
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I struggled at first with the symbols on the pages, so for anyone who needs to know, here's an explanation of Mr GoodChord's Universal Notation System:
(What each symbol on the page represent.)
http://musicbookshop.co.il/l-image/U...tionSystem.pdf
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Anyone who has had the time to experiment with the previous posts is probably having a lot of fun with the challenge. Anyone that has been intimidated by it, be comforted by knowing it doesn't get any easier and there's no easy way around the intimate time you spend with your instrument.
Here's more for the adventurous. Cycle four. These are chord movements that move in root movements by fourths. You know these, right? like ATTYA. Anyway the fourths have a neat relationship with the sixths, you'll see/hear it when you work with them.
I've included triads and fourths so you can get an idea of the worlds of overlap that working with these families can uncover. I hope this is opening up the guitar for you.
David
And in Fourths
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Just curious... "Cycle 4"... because the root movement is in 4ths?
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Originally Posted by matt.guitarteacher
If you look at the Triad Close, it is diatonics 4ths in the key of C in terms of root movement.
The order of inversions move as such:
0 - 2 - 1 :||
And the voicings move up the neck.
I hope this helps.
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Sometimes people seem incredulous about whether Bach type lines can be assimilated into one's vocabulary, and if so, how that might be done. That was never a goal, specifically, with the Almanacs, but it turns out that when you work with harmonic minor, in this case cycle six with a drop 3 voicing set, this is one of the things that turns up. This is one page out of the first volume. Here it's from a chapter on 7th chords. These voice lead DOWNWARDS so start high.
Have fun.
David
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Thanks, David.
This thread is so long, I'm sure someone else has talked about this before: lately, I've been enjoying randomly opening up a page of Vol I, and playing through the cycles as arpeggios. You definitely hear the "Bach-type" sounds, and it tickles my ears/brain!
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Truthhertz, love your threads on harmony. Hope you don't mind me chiming in with a video I did a while back.
This is a go on pg13 of Vol.2. Spread triads moving in cycle 2 with passing tones. Some Bach up in this stuff for sure!
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Originally Posted by TruthHertz
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Wondering if anyone can give me some pointers. I don't have the almanacs but am trying to figure all this out. Just from the snippets here in this thread for voice leading 7th chords through cycles 2 and 7:
The voice leading for cycle 2 seems to be:
Chord 1 -Chord 2
R -----------7
3------\/----1
5------\/----3
7------\/----5
And for cycle 7:
Chord 1 -Chord 2
R -----/\----3
3------/\----5
5------/\----7
7------------1
So for cycle 2 for example, Cmaj7 - Dmin7:
C -----------C
E------\/----D
G------\/----F
B------\/----A
So with voices moving parallel like this you can end up with parallel 5ths between the B-E and A-D. Is this right? Or does the voice leading pattern change depending on how you voice the chords D2, D3, D2D4 etc? Thanks if anyone can answer it.
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My Observations are, the direction of the movement of inversions (ie up or down) is cycle based for the diatonic 7th chords, not voicing specific.
7th Chords.
Cycle 2: Down the neck - The order of inversions move down for each chord, R, 3, 2, 1 inversions :||
Cycle 3: Up the neck - Order of inversions move move down for each chord, R, 3, 2, 1 inversions :||
Cycle 4: Down the neck - The Order of inversions move R - 2 :|| or 1 - 3 :||
Cycle 5: Up the neck - The Order of inversions move R - 2 :|| or 1 - 3 :||
Cycle 6: Down the neck - Order of inversions move up for each chord, R, 1, 2, 3 inversions :||
Cycle 7: Up the neck - Order of inversions move up for each chord, R, 1, 2, 3 inversions :||
Triads will move differently.
I hope this helps.
Originally Posted by Playdough
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There is a study extract from Volume 1. If you'd like to get a copy through Google Drive, PM me and include your Email address, gmail addresses are the easiest if you have one.
Examples are based on only selected diatonic voice leading cycles. Similar to the above posted examples.
Before you take this on, please be willing to work on this material, and work hard enough to try to make music from it. There's nothing "Plug and play" about these cycles; you can't just play them and paste them into the solo space right from the start; you figure out what it means.
If you have an inquiring mind and you truly want a new approach to harmony, then by all means PM me and I'll give you something to get you started.
Share your questions and results with us all please.
DavidLast edited by TH; 06-10-2015 at 12:56 PM.
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I'd love a copy!
My e-mail address is pncoutts@gmail.com
Thanks, David
Paul
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