Jazz pianists usually use their left hands for playing the accompaniments in the form of block chords and their right hands for the melody. What I asked is "omitting the accompaniment part" and "assigning the both hands to play the interconnected semi-independent melodies" like the polyphonic music.

 

Another way of understanding the connection between music theory, and actual playing

Say your underline structure is written G7altered.

And say you have 6 layers instruments
First what it means is that all the instruments add up to be the structure of G7altered.
Next getting into particulars for what the structure of G7alt means
Is that you can play any notes except C, E, F#

All your instruments layers can play any notes stacked or one at time in any combination
Except for the notes c, e , f#
That is what G7alt means
So when it comes to playing you literally have ten thousands of options if what you can play with that structure .

 

Sure, you can decide to turn this theory I present to you into anything you want with any sounds fx or tempos, any evolving soundscapes , it can be chords in every inversion , or 7 separate melodies which add up to be the structure ,anything your imsgination can make up .
It could be hip-hop with super low subs and background vocals with fat ass kicks and subs.
It could be symphonic soundtrack to the next feature film.
It could be country music with vocal harmonies, it could be funk music that you band plays and sings
It could be house music or edm where you mix albums blending to create the chords, you could make metal music with 6 guitarists playing different things that adds up to be chords etc.
What I show you for theory can be made into anything you have the capacity to dream up. It is the basement level of a house where the house sits on.

 

Chords are chords and notes are notes. 2 different things. By separating the notes from the block chords you can not make the meaningful melodies most of the time. It's the reason that block chords are called the accompaniment.

 

The music theory is like learning to Be an engineer because you want to build your dream house.
You learn the music theory portion is learning material strengths and weight support how different ways to build the beams distribute the weight differently even though you are looking forward to the cosmetics of your dream house ( like what color the walks, balcony design speakers mounted into walls etc.)
Just like with music the thing you eventually write is asthentics the way melodies sound and changing soundscapes and the way the beat hits you etc. What kind of vocal timbre you have on the most important line of the hook etc. Even though that is what you looking forward to make , all of that needs a foundation to sit upon a musical language .

 

The way that the music structure works which I describe on this thread is that
The only difference between chords and lines or harmony and Melody is time.
Chords are notes which hit same time .
Melody is notes after another one at a time .
But they both work the same way.
That is only difference between them is whether at samevl time or one after another.

For instance say we have key of C major
And structure is Cmaj7 CEGB

Here some examples of playing chords
Cega,. Egac, . Begc ,. Ace .,. Egc, . F#ace

Here are examples of melodies,

D down to b up to c down to g down to d down to b up to c up to e up to g


A up to c down to e down to d down to b down to g down to e


A down to e up to g long ring down to d down to b up to c long ring and vibrato

 

This is what makes up the jazz harmonies. Most of the Jazz is based on the chords and associated terminologies.

Composers like Beethoven, Mozart, etc were never thinking like this. For them music was all about the notes.

 

Now that we have covered the 3 minor scales
Natural, melodic and harmonic minor , we are going to look at when to use them .
We have talked a lot about the major ii V I ,
Now it's time to look at the minor ii V I.
Say we take C major Keys relative minor A natural minor .

The ii V I for minor is more sophisticated than major key
For C major key we have
ii dmin7 dfac
V G7 gbdf(or altered b5,#5,b9,#9
I c6 cega
And we use the c major scale from each of the modes.

The minor ii V I is different we have to use modes from natural minor, harmonic minor and melodic minor , in the ii V I for each chord.

Here is how it works in A minor key
ii Bminor7b5 bdfa( natural minor
V E7. Eg#bd . ( Harmonic minor
I amin6. Acef# .(melodic minor

ii bmin7b5 bcdefga
V e7. Efg#abcd
I amin6 abcdef#g#

Here we have the chord and the scale which goes with it shown for the minor ii V I chords

 

For every type of music and every time period of music it is true that the only difference between a chord and a line, in other words the only difference between harmony and Melody is whether the notes are stacked or one after another .
The WAY the notes work is the same in both instances .
Regardless of style or genre or time period this is true
Harmony and Melody are expressions of the same identical thing which is music structure .
The notes of harmony and notes of Melody share every other relationship EXCEPT harmony has notes same time , Melody has notes one after another yet both are describing the same thing . Both work the same way, they don't work differently besides whether they stacked or not.

 

Let's wait for the judge @23322332 to adduce adequate evidences from his historical knowledge record for this argument.

 

In the last couple comments I describe a minor key ii v I
A minor
ii bm8n7b5 bdfa. Bcdefgab
V E7 eg#bd. Efg#abcde
I Amin6 acef#. Abcdef#g#a

What I am describing here is NOT chords
What I am describing can be turned into
Melody or harmony ( harmony can be layering of several melodies or chords )
But the structure I am decsribide definitely is NOT
" Here play these exact chords"
That is not right because , that structure which I am describing is millions of playable things .

 

If they are your judge is no wonder why you are expressing what appears to me as a confused point of view , 23322332 has demonstrably shown on many occasions for all of us to see , we'll say a " less than full picture" of music.

 

I don't get what the issue is, have you looked at the responses I sent to you?
I demonstrate to you the way music works.
I have not shared any opionions related to music I only share that which is demonstrable .
I don't know how you can deny demonstrable information
I'm fine with whatever views you have that are true to your own however they may different, and I am also happy to give clarrification if requested.

 

Individual notes express less than chords can ,
Each time you add another note to chord you increase definition and clarity.
For example structure is Cmaj7

C note by itself vague as possible
CG adds tiny clarity
CEG adds another dimension
CEGB adds another dimension
CEGBD adds another dimension
CEGBDF# adds another dimension
CEGBDF#A adds another dimension

The different in dimension between a single note and 7 note chord , is indescribable .
You cannot even come close to dimension of having a 3 note chord compared to 5 or 6 let alone 7 note chord.
Each new note added to a chord creates an entire level higher of dimensionality .

 

cmon MMJ2017, dont you recognise your old stalker?

"its the single notes, you dont get it"?
"the single notes you know, you cant make the meaningful melodies with the chords, dont you get it?" lol. i admire your patience MMJ2017 and I really hoped you would get an answer, in vain. the answer is always mumbo jumbo


anyhow I was applying some of your "techniques"/tips the other day, didnt get that long into them. the nice part is that the distraction and reason for that is after reading your posts i always suddenly find a nice progression or melody and start making a track!

.

 

So what is the result of two different notes playing at the same time? Do these guys (or even you) never had two different notes playing at the same time? Do you know what a chord is?

 

Let's now take a look a combining the major ii V I a and the relative minor ii V I together as many jazz standards do.
Key of C major
C d e f g a b c
ii dmin7 dfac . Defgabcd
V gbdf G7 (or altered gabcdefg ) g# a# c# d#
I c6 cega. Cdefgabc
IV Fmaj7 face . Fgabcdef
ii Bmin7b5 .bdfa . Bcdefgab
V. E7 eg#bd . Efg#abcde
I Amin6 acef#. Abcdef#g#

Dmin7, G7, C6,Fmaj7,Bmin7b5,E7,Amin6

 

We have covered our first very important musical movement the ii V I , ( called Cadence)
We have seen the major ii V I and the relative minor ii V I ( cadence)
But in jazz we actually use a cadence for each chord in our key

This may seem a little confusing but hang in there

Think of it as you gave a center focus or I this is your landing zone , and the ii V which comes before is basically setting up the landing zone
In other words the only difference between playing
1. Cega
2 gbdf to cega
3 dfac to gbdf to cega
4 dfac to bdfa# to cegb
Is detail.
When we play just the cega it's straight to the point .
Adding the V7 before ( preceding dominant)
Is more detailed version of just the basic C6.
And adding the ii V before the I is adding more detail than the plain cega or the gbdf to cegb.

It is with this understanding we can now move forward to learn the cadence for each chord degree of C major key

 

C major KEY
C D E F G A B C

1.CEGB
2.DFAC
3.EGBD
4.FACE
5.GBDF.
6 ACEG
7 BDFA

Now to add the cadence to each chord of KEY
We simply follow the rules of the major ii v I or minor ii V I depending on the chord we are making a cadence to .
Next to do this we treat it as if the I chord is a major or minor key and pick the appropriate ii V for it .

Let's see some examples.

First up a Cadence to the 2nd degree .

That means Dmin7 dfac so

Emin7b5 EGA#D. From Fmaj efgAa#cde
A7 . Ac#eg. D harmonic ( Aa#c#defga
Dmin7 dfac . D melodic ( defgabc#d

So if we making. Cadence to a minor7 chord we follow the minor ii v I structure as layed out before.

How about G7?

Amin7. Aceg. From g Maj ( abcdef#ga)
D7 . Df#ac. From g major ( def#gabcd
G7 . Gbdf . From c major ( gabcdefg

So if we making a cadence to dom7 chord we treat it like making a cadence to a major key.

How about Bminor7b5? The 7th degree chord ?


C#minor7b5 . C#egb . From d Maj ( c#def#gabc#
F#7 . F#a#c#e . From b harmon ( f#ga#bc#def#
Bmin7b5 .Bdfa. From c Maj. ( Bcdefgab)

So if we making a cadence to 7th degree we follow the minor ii v I way.

 

We are now looking at how we actually create a cadence ( ii V I )
For each chord of our KEY.
And that this is NOT considered modulation or leaving the key at all.
( The reason is as discussed earlier when we make a V to I or a ii V to I we are actually expanding detail of the I chord . Making a cadence is making a landing point.)
We then looked at what type of cadence to make for each chord for the major Key.
Here we can see more.
KEY c major.
1. Cmaj7. (make major ii v I
2.Dmin7 . ( Make minor ii V I
3.Emin7. ( Make minor ii V I
4.Fmaj7. ( Make major ii V I
5.G7 . ..( make major ii V I
6.Amin7 . (Make minor ii V I
7.Bdfa . ( Make minor ii V I