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Modern jazz composition often involves the juxtaposition of modes from different keys. This approach allows composers and improvisers to create unique and colorful harmonic landscapes, often pushing the boundaries of traditional tonality.
Students are encouraged to explore each mode extensively. This can involve experimenting with different melodic patterns, intervals, and rhythmic ideas within each mode. This helps internalize the sound and shape of each mode while also developing improvisational skills. Students can start with simple melodies and gradually add complexity as they become more comfortable with each mode.
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Harry Likas was the technical editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book."Last edited by rintincop; 04-09-2024 at 11:48 AM.
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04-08-2024 08:57 PM
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Modes of C melodic minor shown in an unmusical order:
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What do the triangle and the plus indicate?
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triangle = major
Originally Posted by pauln
+ = augmented
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I don't understand how one is musical, it's a bunch of F chords...
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Not sure what makes one musical and the other unmusical either. Originally Posted by AllanAllen
It’s just one parallel and the other relative.
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triangle = major seventh; e.g. C to B, as opposed to m7 C to Bb Originally Posted by jazzshrink
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Thanks for the save! Originally Posted by starjasmine
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Chords shown have:
triangle
triangle before a #4
triangle before a #5
triangle before a +5
triangle before a 7
Maj before a 7
minus sign before a triangle
minus sign before a Maj 7
Those two pages are from the same book?
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Perhaps but..it is addressed to a piano framework--and Chick Corea at that.. Originally Posted by AllanAllen
It didn't do anything for me..again.the chord names of the modes vs the scales to play over them..I think a recent 400+post thread dealt with some of this stuff.
I think Levin has said..and I agree..all the chords are the same in MM..and of course it can be confusing
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It did something for me. I can't say I'd know immediately what to play over, say, a M7#5, 7sus4b9 or a mb6 if I came to it. So I'd say they were useful, personally. Originally Posted by wolflen
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Has anyone untangled the symbology? Originally Posted by pauln
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C-Triangle/F
Is a C minor chord with major 7 under F
F C Eb G B
The /F means play an F note for bass.
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These are standard Jamey Aebersold chord symbols. Take a look at this: Originally Posted by pauln
https://www.jazzbooks.com/mm5/download/FREE-nomenclature.pdf
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Thanks, Originally Posted by starjasmine
He's chord scaling so his chord symbols are really chord/scale symbols (extra stuff enough to identify the scale), but he writes he's for removing thoughts from the written page and expressing what is being heard in the mind.
I totally agree with that; I've never used a lead sheet in my life.
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You probably meant "over F" Originally Posted by AllanAllen
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Yeah, that’s right Originally Posted by Bop Head
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It's hard to believe on a jazz forum that no one knows what a triangle means or what a slash chord is.
They even provide the notes. The notes spell out the minor/maj7 chords over various variations of F chords, major, minor and dominant.
It tells you what to do in the blub above the notation: 'Linger in each measure and improvise'.
So that first one is F7#11 and you're playing C melodic minor over it. Linger, inhale, taste the lovely flavor... and then incorporate it into your playing.
The second bunch is using major scales instead of melodic minor. So the first one is Bb major played over F7sus. And so on.
Simple, see?
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Say, for example, you were playing Iris by Wayne Shorter. There are some of those chords in that one:
The Bb+7 is another way of writing Bb7b13. So, according to the chart, you could play Eb mel m over it.
Likewise you have an AbM7#5. You could use F mel m over it.
You also have a Dbmb6. There's a mb6 chord in the second section of the chart. You could play A Aeolian (E major) over it.
Disclaimer: I'm not necessarily advocating these scales. They work fine but there are also other ways to play over those chords.
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Well, the harmonic function of slash chords can be hard to decipher. For example, I wrote an intro to a song that had these two chords resolving to the opening tonic chord (Gmaj.7) Originally Posted by ragman1
(1) x-x-8-6-5-5 ->> (2) x-x-6-5-3-3 (Abmaj.7b5) ->> x-x-5-4-3-2 (Gmaj.7)
I'd normally think of chord #1 as a F#7#9 (no root, 3rd in bass), because I normally use it as one, but writing it as A/Bb makes more sense because it sounds to me like it's functioning as a V7 to the AbM7b5 that follows it, which resolves to the Gmaj7.
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You're talking about the function of a slash chord, not what a slash chord is. Two different things.
But I agree absolutely, A/Bb is much easier than a whole lot of chord salad.
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The triangle does two things. Originally Posted by ragman1
- indicates the three is major unless otherwise specified with a preceding "-", "m", "mi", or "min".
- locally and temporarily contravenes the unique symbol convention applied to the "7" element of a chord symbol which by default mislabels the sounded flat seventh as "7" instead of "b7" unless otherwise specified by an additional mark (triangle, "maj", "ma", or "M") which acts to locally suspend the mislabeling convention by indicating the symbol element "7" is temporarily corresponding to its sounded pitch (natural seven).Last edited by pauln; Today at 02:50 PM.
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I think a capital letter is major. The triangle is explicitly telling us major 7th. You won’t see a triangle b7.
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