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Looking to get some succinct advise on crafting lines for a I VI ii V (2 beats per chord) in key of F for example. I've looked on the internet and while there is lots of info much of it is very long winded. There must be some simple rules to get going.
What I think I am understanding so far is this
Each chord has guide tones (3rds and 7ths)
Also the fifth can be used or perhaps less desirable the root; maybe the 6th, 9th? Trying to have the notes move a 1/2 step to next chord? Chromatics?
So for each chord I have these note options besides adding the 5th
F chord - E A
D7 chord - F# C
Gm chord - F A#
C7 chord - Bb E
What is a simple rule or two for outlining chords these in a musical way?
What's wrong this line I "wrote" trying to incorporate some of these concepts?
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10-14-2020 09:41 AM
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Trying to have the notes move a 1/2 step to next chord?
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Originally Posted by BigDaddyLoveHandles
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Yes! Now the weakest thing seems to be the G note against D7. I know it is part of an enclosure, but still.
How about F# D Eb C against D7 (or F# D C Eb) and replace the F note on Gm with D?Last edited by BigDaddyLoveHandles; 10-14-2020 at 02:13 PM.
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Thanks for the suggestions I am trying them....I think I like this...has a flat 9 on V chord.
There was a BigDaddyLoveHandles who posted on Mandolin Cafe....not you I suppose?
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Originally Posted by alltunes
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alltunes -
The F chord is the tonic. The D7 precedes the Gm ( it's its V) so play it as D7b9 or D7alt. The Gm precedes C7 (it's its ii) so play it that way. The C7 precedes the F so play it straight, or as a 7b9, or altered.
Can you do that?
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Originally Posted by ragman1
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Let me hear you play it in context and I'll tell you :-)
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Can't record right now...but it is easy enough to play what is written no?
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Originally Posted by christianm77
so F / D7 / Gm / C7 / F ///
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The D7-to-Gm isn't working for me. As I wrote before, the G E against D7 isn't great (play a G over a D7) and now they aren't even enclosing the next note (formerly F).
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Two beats for each chord
The point is each chord has a function in relation to the other and the whole sequence should flow as one. Don't work it out on paper, play it.
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Originally Posted by ragman1
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I don't know how fast you want it to go. Try just playing F - C7. Forget the D7 and the Gm. When you've got that alter the C7 a bit. Playing F over D7 makes a nice bluesy sound. No prob :-)
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Originally Posted by alltunes
Basic Barry Harris exercise F down to the third of D7, C7 scale.
So like
E D C Bb A G F# first bar
C D E F G A Bb the second
Last note is a quarter. Linking them up with an extra note
E D C Bb A G F# A | C D E F G A Bb
Descending better maybe, with added B note.
E D C Bb A G F# A | C B Bb A G F E D | C
So, you can then learn to run F# into a diminished arpeggio, or do a wrap around/enclosure.
I would play figures with the F# in, but it would be quick.
C Bb A G F# A C Eb | D
You don't have to play F# though. Think about targeting the Gm7 chord.
Hard to explain. Helps me if I view the Gm7 as an Bb6 or Bbmaj7 chord.
C Bb A G F Eb C C# | D F A F Ab F E D | C etc
Connect the chords THROUGH the barline
But there's a lot of figures. Text is crap for talking about this stuff frankly. Maybe I should do a video if I get a moment. The F#o7 is a very bop way of dealing with the D7, but you don't need to use all four notes. For example
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It's two chords per bar, no time to ponce about.
Text is crap for talking about this stuff frankly
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.I'm posting here to look for some assistance....
specifically the theory behind how to make a line flow through the changes
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By the way, watching other people do it isn't going to help you, except maybe end up copying stuff like a parrot. Even if it's brilliant. You don't want that, it's no fun.
Ask yourself how they got there.
Answer: blood, sweat and tears.
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It's not really that complicated. The main note to look out for is F# over the D7.
Go collecting. Ear learning is golden, but you don't need to do whole solos.
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Fair enough but surely there must be a few guidelines besides what I hinted at in my OP?
maj 7th to 3rd 1/2 step motion
guide tones
Duly noted though as this little self exploration exercise today has taught me more then my guitar instruction book collecting habit
As Pierre would say "time on the instrument"
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Barry Harris
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Originally Posted by rintincop
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Originally Posted by alltunes
* arpeggio up, scale down
* a jump of a sixth or more adds interest -- you usually jump on the "and" then head in the other direction (jump up head down, or, jump down head up).
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Time on the instrument, but also time with the music; listening carefully, puzzling out the lines.
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