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  1. #61
    Quote Originally Posted by jsaras View Post
    What you’re looking for, based on your description, is found in the Equal Interval System. As it is a composers course, it isn’t guitar-centric, but that’s a good thing IMO. At the very outset, traditional key-centers are out the window, although the voiceleading system works perfectly in that scheme of things as well.



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    Quote Originally Posted by jsaras View Post
    You’re misunderstanding what the Equal Interval System is all about. It is not comparable to 12-tone serialism schemes, although there is a little bit of that sort of thing in Book 11 of the course. The term “equal intervals” has several meanings in the course, both vertical and horizontal. The most fundamental would apply to root movements. The key-centered approach is based on the gravity of the Perfect Fifth root movement, and the treble voices move in familiar/predictable ways. But when other root cycles come into play, things get more challenging, or more revealing, once you understand that the all root cycles are equal. This can be mathematically proven when one looks at the horizontal distance that each voice travels to complete the cycle, i.e., the perfect fifth cycle is “equal” to all the other root cycles. When you understand that, it immediately becomes apparent that you can use the same horizontal voiceleading technique to go FROM any chord, TO any chord (or any collection of vertical intervals).


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    Thanks. I appreciate your patience Jsaras- you are correct - that does sound like something I should learn !

    Which volume is that in and is it available in a paid PDF ?

    It sounds like a guided intervallic voice leading system -I use my ear for that but I am curious about the Intervals.

    Also -voice leading is a specific case so I wonder why the 'Theory Books ' don't discuss secondary tritone resolutions to the destination chord where the tritone resolves to other tones than the root . These are less dependent upon voice leading because they are 'Functional Expanded Harmony ' (lol) my term .

    I have a term for this and the type of cadences it produces but I don't have an extreme amount of time for 'student mode' lol because it took me a long time to be able to play well enough to 'contribute' let's say .

    I noticed a page that discusses this which is isolated meaning it's part of a 'Course' but it might be Cheryl Bailey because it talks about 'cosmic ' ....it may be a page from her 'Course' that leaked from my Google Search.

    So voice leading and step wise motion is good but these resolutions are actually workable without much voice leading - almost like a ii-V-I being so strong that even voiced terribly it will still function...
    They are weaker Cadences which is cool - for new flavors .

    So I want to use them as I write and play but at least get a 'Concept '.
    These are more for composing - but great for linear substitution because in linear you don't even have to 'catalog' them as long as they resolve to any chord tone or extension ...

    Funny because I am learning shorthand Theory that I missed-but these are a logical extension of Secondary Dominant Theory...and when Professor X writes a Theory Book they copy other Theory Books and cover the same ground over and over .
    This is probably not in the Books.
    Last edited by Robertkoa; 10-20-2018 at 09:39 AM.

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