The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by Reg
    Hey Rick... I like low theory, nice term, anyway, harmony is all about root motion. The melodic resolutions, voiceleading details are just what we want to use, hear or what feels right in the moment.

    Root motion is about Function, all chords (root motion with filling on top, below etc...) fall into a type of Function. The function is derived form context.... you decide, or someone else decides, what the Tonal, (or modal tonal) Reference is, Cmaj or Amin... whatever.

    From that Reference there are different types of root motion.... 1/2 steps, whole etc... the notes with that root can be standard from different common practice... or whatever we choose etc... so your Low Theory approach is what Analysis is all about. Some of us just have way too much BS in our heads.
    Reg..yes "low theory".."theory-Lite"..work for me also...these days I teach more to those new to music in general..so I put theory on the back burner until they at least know how to move thier fingers...

    but for those that like to solve "puzzles" theory fills the bill in many ways...Jordans YouTubes on triads and how to make them more "pianoistic" are very good ways to open melodic and harmonic static forms into moving dynamics..and all that that implies..the thread info on the MA7#5..has many ways to see it in theory and in practice..I see it as extensions of the augmented scale and its six embedded chords that can be expanded into limitless possible ways..for theory lovers and haters alike..

    good holidays to you Reg...I glad your on this forum

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  3. #27

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    Quote Originally Posted by WILSON 1
    Invert G7 once, G7/B

    See that B up against that F. They are a tritone away from each other and the reason the chord wants to resolve.

    Play B-7b5 x2323x see those same tritones, it's why the VII chord functions as a V chord.
    yeah ok .... But

    how does all all this relate to using a maj7#5 in a Dominant function ?
    sorry I'm not getting it

  4. #28

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    Quote Originally Posted by pingu
    yeah ok .... But

    how does all all this relate to using a maj7#5 in a Dominant function ?
    sorry I'm not getting it
    Long answer: IMHO I think Jonah is correct. There is too much attempt at "reinventing the wheel" in this discussion. Dominant chords sound a unique voicing which contains a tritone involving the third of the triad and the minor seventh.

    This composer removed that by moving the minor seventh up a half step but reintroduce it by augmenting the fifth up against the root of the triad. That along with the strength of the leading tone, in this case the F# to G, is enough to move the listener to the tonic.

    Short answer: the major seventh has nothing to do with this. It's an interesting REHARMONIZATION given the entire composition but x5857x to x7778 is enough.

  5. #29

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    Hi folks, I just can´t believe it.

    Yesterday I was noodling and played the attached lick. It comes from my ears, not from my poor theory knowledge (probably heard it from Barney Kessel). Later I tried to explain but I can't. So why not ask you all? Just entered to start a thread and voilá, found this!

    My last theory before find this was think as Amaj to Bbmaj instead of FMaj7#5 to Bmaj
    Attached Images Attached Images Using a maj7(#5) chord as dominant (V) works surprisingly well....why?-lick-png