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Originally Posted by Christian Miller
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01-26-2024 05:21 AM
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^ Or like that?
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everything sounds bad over everything if you suck
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Obviously, Db7 is the tritone sub of G7, so the GbMaj arp works as an altered sound over G7.
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Originally Posted by ragman1
Originally Posted by ragman1
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Originally Posted by James W
Heaven forfend.
This begs the question, what do you actually know about what Schoenberg wrote?
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Originally Posted by ragman1
Personally I'm not too fond of many of his serial works but earlier ones such as the second string quartet, the op.11 piano pieces, five orchestral pieces, Pierrot Lunaire and Erwartung are all wonderful (the latter being described as like a written-down improvisation) amongst a fair few others.
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Arnold Schönberg at his most powerful, in my humble opinion.
A Survivor from Warsaw.
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Originally Posted by James W
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Originally Posted by ragman1
Hopefully not Cecil Taylor's.
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Originally Posted by Christian Miller
John Coltrane plays F#s over his G7s and sounds good.
Nameless JGO Joe or whoever plays a G major Triad over a G7 and sounds like a goober.
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Originally Posted by ragman1
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Originally Posted by pamosmusic
Play that shit like you MEAN IT.
Hesitation and uncertainty in a line can make all the right notes sound like shit. Ask me how I know
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Originally Posted by mr. beaumont
My favorite story about this is that a buddy of mine got a lesson with Peter Bernstein and Bernstein told him that everyone listening to music—no matter who they are, whether they know it or not—wants to hear “intentionality.”
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Originally Posted by pamosmusic
I haven't posted one here because it insinuates that my time and conviction are so good, which they are certainly always not...but I do encourage people to try it for themselves.
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Originally Posted by mr. beaumont
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Originally Posted by StevenA
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Originally Posted by pamosmusic
basically, too much intentionality can result in rushing. Too much relaxation without intentionality results in formless noodling.
Needless to say I think Peter has this happy medium dialled in on a molecular level.
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Originally Posted by James W
I like pierrot quite a bit. Ewartung bangs on a bit. It’s no Wozzeck.
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Originally Posted by Christian Miller
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Originally Posted by mr. beaumont
I guess worth considering the messenger. It seems like "relaxed" is part of the equation because it's Peter Bernstein saying it. If I said it, then Christian would be obligated to split hairs accordingly.
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Since you can use D7 / F7 / Ab7 / B7 over D7,
Consider each of those chords as a 5 chord and then use the resulting I & V chords in each of those keys.
You then end up with
GMaj7 CMaj7
Bbmaj7 Ebmaj7
DbMaj7 GbMaj7
Emaj7 AMaj7
over the D7.
a lot of this is explained on my site. jack zucker - Dodecaphonics
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Originally Posted by mr. beaumont
I mean this exercise at 7:30 encapsulates it
by recording myself playing in the ‘relaxed intention’ stare compared to a more ‘heightened intention’ state I’ve noticed an improvement in my pocket and clarity in the former. So I have tried to build a good external/interior mapping based on knowing what it feels like when I’m doing it right.
Ah, it’s a work in progress .
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Originally Posted by pamosmusic
Last edited by Christian Miller; 01-26-2024 at 03:26 PM.
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Oh, I definitely get the over-excited bit. I do that A LOT.
The Galper quote that always sticks with me is play exciting, not excited.
I'm sure the part of trying to remove emotion rubs a lot of folks the wrong way, but I really do find my playing connects with people a lot more if I focus on sounding good rather than trying to make people feel a certain way.
I relate this back to country music (I know--where the hell is Jeff going with this NOW?)
Some years ago, a band called Rascal Flatts recorded a song called "Skin," which is about a young girl with cancer. It's one of the worst songs ever written. It is a suckerpunch, fully designed with the expressed purpose of making the listener emotional. It basically says "Here, listen to this and cry, or you're a heartless shit of a human."
Compare this to a song like Wichita Lineman, which is easily one of the most brilliant tunes ever written. Lineman tells a relatively simple story, with no gutpunch lines...any sadness in the song is rather vague...who does he miss? Is he really hearing her through the lines, or just imagining? It makes you think, and if it hits you in the right way in the right moment, it can be absolutely devastating. Glen Campbell sings it and he IS the Lineman, just telling the story, not some contrived made up BS just intended to get a reaction out of you.
So in short, play that Bmaj7 over G7 like Glen sang Jimmy's tune, not like the Rascals who sang a team of faceless writers' "Skin."
Chief Xian aTunde Adjuah (Christian Scott)
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