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Functional Jazz is simply T/D. It changed everything.
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05-13-2017 06:11 AM
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I'm still getting my head (& fingers) around this one....
Realising that because any note in a diminished chord can function as its root the same note can function as the Flat 9 of a Dominant 7th chord, that these repeat every three frets & that I can already play Diminished chords on 5 different string sets without thinking...
Suddenly I'm never more than one fret away from at least five inversions of every 7th chord in every key not by learning any new 'grips', but by understanding the relationships between the intervals.
All I've got to do now is play 'em at the right time...
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I've had quite a lot over the last few years. Have to think....
One big one is the role of harmonic rhythm in outside harmony/patterns. Altered on the "weak side" etc. Suddenly things I couldn't make work a lot of times, were much easier to hear and play. Opened to a lot more harmonic possibilities.
The idea of targeting pitches with specific harmony/chords/arpeggios, as opposed to just "chromatics" has been huge and very liberating for this hobbyist in finding things which work , more than just randomly experimenting or only copying specific lines here and there.
The use of extended diatonic relationships (e.g. thirds) to work on chord extensions/alterations. (Gmaj9 is really Bm7. so I can work off of B minor and all of its harmonic implications/chord patterns as a way of playing G major.)
The last one isn't really theoretical, I guess, but... The real magic happens when you start to subdivide at lower levels. I can't explain it . You really have to just do the work and do it. There's nothing more important in the music in my opinion. I believe it has the greatest potential implications for music in every other style you might play as well. Jazz isn't my main gig, but I enjoy EVERYTHING I play much more now than I did before I did a lot of this work on rhythm.Last edited by matt.guitarteacher; 05-13-2017 at 09:41 AM.
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Incorporating intervals and string skipping when building solos - along with-training my ear to hear this. Tommy tedesco spoke about this in an article I read 25 years ago and I was hooked
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Originally Posted by PrestonHall
in the key of F as the VI
and in the key of Bb as III
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I got one about reading rhythms
That sometimes its best to feel
the note before the barline as belonging
To the phrase after the barline ...
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Chord Namer
I don't know how many times I have looked for the names of chords that I play that aren't in books. I have to figure them out and am never quite sure that they actually exist. For the most part I trust my ears, but I don't want to fool myself if I am doing something wrong and I can't tell from listening. This thing helps.
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Tried one chord on that site, not even close to right.
Chord naming is easy. Figure out what you hear as the root (might not actually be in the notes you're playing) and then everything's relative.
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Hmm. Maybe it is trash then. Are you sure that you are using it correctly? The ones that I have crossed referenced to books seem to be correct.
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Oh, the names are correct, but not necessarily "correct," or practical, and it doesn't seem to give rootless options.
I typed in x x 4 5 6 6, one of my favorite multi purpose shapes, an Ab13 or D7#5#9, rootless.
Chordfinder suggested an F#maj7b5 (correct) and a C#7sus#11 whatever, completely correct, but completely impractical.
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I understand what you are saying. I think that it is beyond its capabilities to judge what is practical and what isn't. I just want very basic info anyway. Rootless would also help for sure.
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Only 36 "aha-ha" experiences? Someone is holding out.
How about...we share music with the piano player.
His instrument is symmetrical; ours is asymmetrical.
When he hovers his hands over the keys there is nothing.
When we pick up ours, it is already saying E min 7 add 11.
He starts a chord, we stop one.
Sent from my iPad using Tapatalk
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Let's see...I've had a lot of physical break throughs the past few years...playing and chewing gum at the same etc...But a very early one was the stacked thirds thing in Walter Piston..
1-3-5-7-9 / 2-4-6-8-10 / 3-5-7-9-11 / 4-6-8-10-12 etc . I ............... ii ................ iii ........ IV
etc
So I could see the ' extensions' if I superimposed Diatonic Arpeggios over the I chord.
So - is there an easy way to do this using a Minor as the i for Dorian and Aolean and Phrygian ?
Obviously I stack relative Major Arps and ii and v over minor chords but the whole * graph isn't as clear as with Major.
Graph is looking at Diatonic Arpeggios superimposed over the I chord.
Any simple graphs for superimposing over a Minor i ?
Also there are amazingly simple Relationships between Major Scales and Modes and the way each one generates 3 Major and 3 Minor Pentatonics which are all enharmonic and can substitute for each other.
So I saw a Video with two Advanced and well known Jazzers talking about Major ii-V- Is and THEN improvising using a Major Scale INSTEAD of using parent key and all the Diatonic Arpeggios - they were playing like 1st year Students with a C Major Scale - weird .
...Well with C Major you have the I, IV ,V, Major Pentas AND their Relative Minor Pentas so that is 6 Pentatonic Scales that are enharmonic or subsets to Riff On in addition to the lonely squiggly stiff C Major Scale ! For 1 Example AHA?Last edited by Robertkoa; 11-29-2017 at 10:50 PM.
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Another Aha! moment was the realization that when soloing, rhythmic ideas and phrasing are more important than what notes are played. (Perhaps that claim will be controversial in this crowd?)
Last edited by KirkP; 05-26-2017 at 01:29 AM.
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Originally Posted by KirkP
Yeah that's crazy. Everyone knows that phrasing doesn't matter. All anyone talks about here in "this crowd".
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Originally Posted by matt.guitarteacher
Last edited by KirkP; 05-26-2017 at 10:43 AM.
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Originally Posted by KirkP
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Originally Posted by KirkP
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Originally Posted by KirkP
So I can do a lot of Rhythmic Lines and if they don't fit the changes at Cadence Points it will sound bad as in not good .
Now I can get away with murder IF I ' Frame' the Rhythmic Motif and it starts on a Chord Tone then wanders off into' lala land self justifying Rhythmic Motif Melodic Sequence '
THEN ends up on a chord tone or two at Phrase End.
So the ' Pattern' is' Framed' at Start and End by chord Tones.
But I can Play cool Rhythms ( lines ) over Giant Steps and it will sound like crap...lol
So having chops and good Time and Rhythm will only get you so far ..and my Music has stronger Harmonic Rhythms than most Jazz[ let's say Standards ]..so I *WISH what you are saying is 100% true..but any Statement like this assumes the Player has a rough idea and can outline the Changes by ear or by math or both -right ?
* meaning If I come up with some cool Rhythmic Groove Chord Progression - I still have to ' learn' it to Solo over it and it will generally take ME longer than a Jazz Veteran to learn it...Last edited by Robertkoa; 05-26-2017 at 11:10 AM.
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Originally Posted by lammie200
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Originally Posted by KirkP
http://cf.hum.uva.nl/mmm/mmm-2003/papers/mmm-TvM.pdf
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Originally Posted by WilliamScott
I like Conceptual Tools but this one is over my head..
I think a way to conceive Intervallic Density ( or openness= wider intervals )
And Rhythmic Density ( or Space )
openness = fewer notes - half time -sparseness
So plot those two over time...maybe coloring lines over the sheet music with one color for intervals one color for Rhythms - you might get some visual cues...
But Aural is the Real Thing and even rudimentary Notation with People like me who can barely read music gives visual cues....right ?Last edited by Robertkoa; 05-26-2017 at 11:26 AM.
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Originally Posted by Robertkoa
My statement that rhythm is more important than note choices was obviously way too broad, but there's still some truth in it. I'd much rather hear someone tap an interesting rhythm with the strings muted than play the "right" notes with bad rhythm.
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Originally Posted by KirkP
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Originally Posted by KirkP
I have to remember that Jazz Veterans presuppose a certain Level of expertise ....
And 'Time ' Players are so much more fun and sometimes dramatic to listen to for sure .Last edited by Robertkoa; 05-15-2018 at 08:21 PM.
KA PAF info please
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