B diminished 7th
B. D . F# . G#


Bdfg. G7
Bdfg#. Bdim7
Bdfa. Bmin7flat5

All resolve to Cmajor Cega

G#bde . E7
G#bdf . Bdim7
G#bdf# . G#min5flat5 (bmin6

All resolve to Amin7. Aceg ( C6
The relative minor of Cmajor


Fg#bC#. C#7
Fg#bd . Fdim7
Fg#bd# . Fmin7flat5. (g#min6

The tritone substitution of G7 in c major
All resolve to C6 Cega . (Aminor7 aceg


Dfg#a# . A#7
Dfg#b. Ddim7
Dfg#c . Dmin7flat5 .( Fminor6

The backdoor dominant of C major
A.k.a. the tritione substitution of E7 in relative A minor

All resolve to C6 Cega Or Aminor7 Aceg

 

How the Chromatic scale resolves to C major...
(Or indeed, any other major or minor chord)


Now we have seen how the Bdim7 branches outward.

-------g
Bdfg#
------a

--------e
G#bdf
---------f#


---------c#
Fg#bd
----------d#

--------a#
Dfg#b
---------c

Now let's combine it.


A#.c#.e..g..
B..d..f..g#
C..d#.f#.a

What can we see it's the chromatic scale.

In the last comment box we seen how the 4 sets of dominants, dim7s,and min7flat5 all resolved to c6 cega (A min7 aceg

Well when you account for all the individual notes in those sets of chords you get the chromatic scale

This means now that you have a framework , a skeleton for which any note you pick out of the 12 notes belongs to a chord which resolves to Cmajor6 ( a minor7

 

Let's now see some examples of how the chromatic scale resolves to cmaj6 cega ( Amin aceg

We have

Bdfg G7 .
Bdfg#. Bdim7
Bdfa . Bmin7flat5
---------
Bdeg# . E7
Bdfg# . Bdim7
Bdf#g# . G#min7flat5
-----------
Bc#fg# . C#7
Bdfg# . Ddim7
Bd#fg# . Fmin7flat5
--------------
A#dfg# . A#7
Bdfg#. Fdim7
Cdfg#. Dmin7flat5
--------


Now practice resolving each one of them to C6 ( cega. ( Also A min7 aceg

 

We see now that we can resolve any note in the chromatic scale to cmaj6 cega ( a minor aceg

But,....... What if there was a way to resolve any note in the chromatic scale to min6 ( min7flat5) chord, dom7 chord , major, minor, chord?

----------
To understand this take a look at the C6 cega chord closer.

Cef#a . Amin6. (f#min7flat5
Cega c6 ( Amin7
Cega#. Cdom7


Now we must take the Bdim7 bdfg# and resolve to each one of these chords.

Bdfg. G7
Bdfg#. Bdim7
Bdfa. Bmin7flat5

Resolves to

Acef#. F#min7flat5. ( Amin6
Aceg. Amin7 . ( C6
A#ceg. C dominant7

And like before

A#dfg# . A#7
Bdfg# . Bdim7
Cdfg#. Dmin7flat5 ( fminor6
-----------
Bc#fg# . C#7
Bdfg# . Ddim7
Bd#fg#. Fmin7flat5 ( g#min6
--------------
Bdfg . G7
Bdfg#. Bdim7
Bdfa . Dmin6 ( bmin7flat5
---------------
Bdeg# . E7
Bdfg#. Fdim7
Bdf#g#. G#min7flat5. ( B min6
------------+

Now resolve each one of those chords to

Cef#a . Amin6. ( F#min7flat5
Cega. C6. ( A minor7
Cega# . C7 ( dominant


We have now seen a game changer in motion.
A life changing in musical expression .

You have a system for which you can resolve any note from the chromatic scale to any chord type
Maj6, minor, minutes,min7flat5,dominant

This same system shows you every chord alteration substitutions .

I will answer any questions you have on such issues please take your time go through carefully , and play each section for your ears ,then carefully write a passage for each section to put it into use .

 

Say we have ii V I in Cmajor

We can view this as

F6 . Dmin7 . Dfac

G7 .Gbdf

C6 Amin7 .Cegb


Now let's expand them


Fabd. Dmin6. Bmin7flat5
Facd .F6. Dmin7 dfac
Facd# . F7 dominant
Face. Fmaj7
-------------------------
Bdfg . G7
Bdfg# . Ddim7
Bdfa . Bmin7flat5

-----------------
Acef# . Amin6 .f#min7flat5
Aceg . Amin7. C6 cega
A#ceg . C7
Bceg . Cmaj7
---------------

 

Let's now look at what makes our modes in a key unique from the perspective of how much they deviate from the major scale. This way we can see how chromatic movement , like that of our diminished 7th branching out.

IV...Lydian...C...E...G...B...D...F#..A......G.major.Key...
I......Ionian...C...E...G...B...D...F....A......C.major.key...
V......Mixo....C...E...G...A#.D...F....A......F.major.key...
ii.....Dorian...C..D#.G..A#..D...F....A......A#.major.key
IminAeolian.C..D#.G..A#..D...F...G#....D#.major.key
V.Phrygian...C..D#.G..A#..C#.F...G#....G#.major.key
ii..Locrian....C..D#.F#.A#..C#.F...G#....C#.major.key
.....................................................................................
IV...Lydian....B..D#.F#.A#..C#.F...G#....F#.major.key
I.Ionian........B..D#.F#.A#..C#.E...G#....B...major.key
V..Mixo........B..D#.F#.A....C#.E...G#.....E..major.key
ii..Dorian.....B..D....F#.A...C#..E...G#.....A..major.key
Imin.Aeoli...B...D..F#..A..C#...E...G.......D..major.key
V.Phrygian..B...D...F#...A...C...E...G.......G..major.key
ii.Locrian.....B...D...F....A....C....E....G......C.major.key

 

take for instance, the Lydian mode. We're you aware that the difference between Lydian and Locrian is only one note? Even though Lydian is the brightest and Locrian is the darkest mode?
Let's see this in the context compared to C major.
ii....Locrian...C#..E...G...B...D...F#...A.....D..major.key
IV...Lydian.....C....E...G...B...D...F#...A.....G..major.key
I..Ionian........C....E...G...B...D....F....A.......C..major.key

 

This helps to show us what all the chords in a key do. Let's look at the key of C major and see the role of every chord and mode .

IV(of Cmaj),ii V I ( of Amin) ,ii V I ( of Cmaj)

Fmaj7,Bmin7flat5, E7, Amin7, Dmin7,G7,Cmaj

Also
Dmin7,GO,Cmaj7,Fmaj7,Bmin7b5,E7,Amin7

T

 

In a KEY we have 3 functions , and they always follow a particular order.
Subdominant ,to dominant to tonic .

If this is do, why do we have 7 chords you might ask?
This is because we have 2 options .
Option 1
ii V I ( of Amin), to ii V I ( of C Maj)
Option 2
IV V'I ( of Amin) to IV V I ( of Cmaj)

Let's see the chords we get in C major Key
ii,V,I (of rel min)..........ii,V,I (of rel Maj).
Bmin7b5, E7,Amin,. ..Dmin7,G7,Cmaj7..

IV,V,I..(rel min)..............IV,V,I..(rel Maj)..
Dmin7,E7,Amin7..........Fmaj7,GO,Cmaj7

 

The 3 Minor scales
______________________



In Jazz the major scale is crucial but only one if the important ones we need to create music .

We have 3 indepensable Minor scales needed to play jazz.

We know the natural minor a b c d e f g Aeolian

We need the harmonic minor and the melodic minor also .

A harmonic minor
A b c d e f g# a
A melodic minor
A b c d e f# g# a

Let's look at the chords of A harmonic minor

Aceg#
Bdfa
Ceg#b
Dfac
Eg#bd
Face
G#bdf

Next the A melodic minor chords

Aceg#
Bdf#a
Ceg#b
Df#ac
Eg#bd
F#ace
G#bdf#
Aceg#

Let's look at C melodic minor
C d d# f g a b c

Cd#gb
Dfac
D#gbd
Facd#
Gbdf
Acd#g
Bdfa

 

Let's dive into the Melodic minor scale in detail and see how it is important.

For simplicity we will take A melodic minor.
A b c d e f# g#

Let's compare A natural minor
A b c d e f g

We can see the 6th and 7th degree are raised
But where does this come from?
Well let's compare A natural minor to A major .
A natural minor
A b c d e f g
A major
A b c# d e f# g#
Now here we can see that as we go from A natural minor to A harmonic minor we borrow the g# from 7th degree.
Next we can see that A melodic minor is A major with flattened 3rd degree.
This means that our important 3 Minor scales
Are all borrowing from the major key.

A natural minor is the 6th mode of c major key .
A b c d e f g
A harmonic minor
A b c d e f g#
A melodic minor
A b c d e f# g#
A major key
A b c# d e f# g#

 

Now that we have seen how A melodic minor is made, let's look at the chords of it.
A melodic minor
A b c d e f# g#

1. Aceg# A minor/ major
2. Bdf#a. B minor7
3. Ceg#b . C maj7 #5
4. Df#ac . D7
5. Eg#bd. E7
6. F#ace . F# minor7flat5 ( a min6)
7. G#bdf# G# minor7flat5 ( b min6)

 

Next we are going to compare A melodic minor to G# melodic minor by flattening each note .

A melodic minor
A b c d e f# g#

G# melodic minor
G# a# b c# d# f g

A melodic minor . G# melodic minir
Aceg# A min/ Maj . G#bd#g G# min/maj
Bdf#a . Bmin7 . A#c#fg#. A#min7
Ceg#b . C maj7#5. Bd#ga#. Bmaj7#5
Df#ac . D7. C#fg#b. C#7
Eg#bd. E7 . D#ga#c# . D#7
F#ace . F#min7b5 .Fg#bd#. Fmin7b5 (g#min6
G#bdf#. G#min7b5..Ga#c#f. Gmin7b5(a#min6

Now look closely at G# melodic minor
G# a# b c# d# f g

Think of G7 in key c major
Gbdf g# flat 9 .a# sharp 9 c# flat 5 d# sharp 5

Our g# melodic minor scale spells out G7 altered chord.
This gives us a way to think about altered dominant chords.

 

So let's take the key C major ii Valtered I
Dmin7 dfac
G7alt (b5,#5,b9,#9) gbdf g# a# c# d#
C6 Cega

Now looking back at the g# melodic minor chord structure we have interesting choices .

G# melodic minor
G# a# b c# d# f g

1.G#bd#g. g#min/maj
2. A#c#fg# . A#min7
3. Bd#ga#. B maj7 #5
4. C#fg#b. C#7
5. D#ga#c# . D#7
6. Fg#bd#. Fmin7b5 . (G#min6
7. Ga#c#f . Gmin7b5. (A# min6

Practice playing dmin7 dfac ,then these chords for the G7alt, and finally resolving to C6 ,Cmaj7, or Amin6 (acef#)

 

@MMJ2017 is there any method other than relying on the Block Chords? Jumbling the notes up inside the block chords makes the music topsy-turvy. Any method based on the Single Notes.

 

Let's now look at the A harmonic minor
A b c d e f g#

1. Aceg#. A min/Maj
2. Bdfa. Bmin7b5
3. Ceg#b .Cmaj7#5
4. Dfac . Dmin7
5. Eg#bd. E7
6. Face . Fmaj7
7. G#bdf. G#dim7 (bdim7,ddim7,fdim7)

Here we can see some similarity's with melodic minor , however uniquly we can see the dim7 chord on the 7th degree.

 

I am not sure what you are asking can you elaborate please?

 

I don't want to make music with chords. Chords impose severe limitations on the music. I want to think in terms of the individual notes.

 

Edit: Sorry, misunderstanded something.

 

Okay, so don't think of what I have been describing in this thread as examples of what to play.
To understand what I mean by that imagine your reading a thread describing how the English language works and in one sentence you read a description if what a verb is and then a description of what a noun is.
Those sentences where not giving you examples of using verbs and nouns in real life using your vocal chords.
So in the same way what I am describing to you in this thread on music theory are not playing examples but the underline structure from which playing will come from.
Let's say for example you have a structure key of C major
ii dfac dmin7
V gbdf G7
I cega C6

This is the underlining structure, not showing what to play .
For example say you have 8 counts for dmin7 then 8 counts of G7 then 16 counts of C6.

SO here is an example of turning into something to play
First is bass line .

D e f a c d f a g a b f d b g f e d c b a c e g f# e d c b a g d