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Originally Posted by Reg
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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12-23-2019 08:05 PM
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Originally Posted by WILSON 1
how does all all this relate to using a maj7#5 in a Dominant function ?
sorry I'm not getting it
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Originally Posted by pingu
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.
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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
There's a reason why Eric Alexander is such a...
Today, 01:02 AM in Improvisation