Let's look at some simple triplet building blocks which you can attach to each chord in the key to get used to .( Start on the OFF beat)
Dmin7 DFAC
C#DFACAFDAFAF

G7 GBDF
F#GBDFDBGDBDB

Cmaj7 CEGB
BCEGBGECGEGE

.........

Bmin7b5. BDFA
A#BDFAFDBFDFD

E7 . EG#BD
D#EG#BDBG#EBG#BG#

Amin7 ACEG
G#ACEGECAECEC

 

Next we are going to take the triplet pattern from before and add in enclosures.
To start take from before ( Dmin7 DFAC
C#DFA
Now see how we start on the off beat and the leading tone brings us to the D on the down beat?
What we do now is to add a full enclosure before our triplet .
D#CC#DFA
So you see here we are fusing to things the enclosure highlighting the D , and then the D expanding into a triplet .
Let's see this for each chord in C major .
But first make it a finished lick.
D#CC#DFACAF
Now it is a seemless loop
Play it on a loop now try it before we continue.

Now we will adapt it for each chord.

1.C maj7 CEG

BDC#CEGBGE

We did 2.

3.Emin7 .EGBD

FDD#EGBDBG

4.Fmaj7 . FACE

EGF#FACECA

5.G7 GBDF

G#FF#GBDFGB

6.Amin7 .ACEG

G#BA#ACEGEC

7.Bmin7b5 .BDFA

CAA#BDFAFD


Take your time go slow make sure timing is impeccable , then speed it up more and more .

 

Next we can look at some enclosures which connect well together in key Of C major.

1. FDD#E
2.DCAB
3.G#FF#G

Watch when we connect like Legos...

FDD#EDCABG#FF#G
Then Add GC long ring vibrato etc.

Start with 1.
E note.
Then leading tone D#E
Then DD#E
Then FDD#E
We really want to package this in our mind as one block
E. Equals
FDD#E long ring

 

Progressions and Harmony


We have looked at Melody and it's tools and devices we can use to last us more than our lifetime
Next it is time to look at Harmony and chord progressions.
To understand it we first have to look at the deepest level of what a KEY is.
A KEY is the fusion of a Major and relative minor cadence .
Let's look closer at this in the KEY of C major.
KEY of C Major. CDEFGABC
1. CEGB
2.DFAC
3.EGBD
4.FACE
5.GBDF
6.ACEG
7.BDFA

So there are 7 chords in this key
We have the cadence of c major
ii VI . Dminor7DFAC V GBDF I CEGB
We have the cadence of A minor
iiBDGA VEG#BD I .ACEG

That is 6 chords .one is left over and it sits with 3 chords before it and 3 chords after it the 4.FACE
This is because it is the unity chord
The major and relative minor cadence (6 chords)
Are all consonant over top of it on bottom.
Play low FAC
While that rings out play in higher register
Ii V I of Cmajor, then ii V I of A minor .
This is a larger picture view .
All the chords in the key are harmonious with FACE
The chord changes are happening inside of FACE.

However since we actually want to emphasize consonance and dissonance in our changes , we are going to use it as subdominant like our ii chord DFAC .
Ii VI, or IV V to I
Next commonly it is used to bridge the major cadence to the minor cadence connecting all 7 chords in the key

Ex.

DFAC, GBDF, CEGB, FACE,BDFA,EG#BD, ACEG

In the KEY of C major and relative minor.
We actually combine the A minor with A major
To get A harmonic minor and A melodic minor .
We also combine C natural minor with C major to get C harmonic minor and C melodic minor .
On a larger scale these combinations are what lead us to chord progression.

KEY of C major , A min

C major
C natural minor
C harmonic minor
C melodic minor ,
A major
A natural minor
A harmonic minor
A melodic minor

This is what the KEY of C major , or the KEY of A minor means. ( All this this transposes to all 12 KEYS)

Now in terms of Harmony and progressions
( For example how jazz standards are built)
Come from this described structure .
We have constantly used the obvious example of ii V I for a long time for examples ( cadence)
But there are other types of progressions .
These other progressions come from drawing from
C major
C minor
A major
A minor
( Leading to c Harmon and melodic, And A harmonic and melodic minors)

 

The thing that makes a KEY unique is that connection between the C major cadence and the A minor Cadence.
Even though we have cadences to dmin,emin,Fmaj,Gdom,bmin7b5

Cmaj cadence and Amin cadence have a special link . That link is 4.FACEGBD
They are linked in a unique way in which
Say for example Emin cadence and Cmaj cadence are not linked .
This link , this connection is what the word KEY refers to .
Because even though we have a cadence to each degree or chord.
We have a link between only 2 c major and a min cadences exist inside of the framework of FACE tonality .
So
Making it now to explaining progressions
The first is the obvious one our major and minor cadence we have them for each chord in the key
1CEGB. Major ii V I
2.DFAC . Minor ii V I
3.EGBD . Minor ii V I
4.FACE . Major ii V I
5.GBDF . Major ii V I
6.ACEG . Min ii V I
7.BDFA . Min ii V I

So first set of chord progressions INSIDE key of C major ( or Amin)
Is these 7 cadences .

 

i assume this ii spelling is a typo? and not Bmin 7 #5

So there are 7 chords in this key
We have the cadence of c major
ii VI . Dminor7DFAC V GBDF I CEGB
We have the cadence of A minor
iiBDGA VEG#BD I .ACEG

thanks again greAT STUFF

 

mmj can u expand on these 7 progressions please......are you saying that these 2 3 chord progressions cover all 7 cadences?? ii v I in min and major

 

Now that we have looked at what a KEY really is we can expand our understanding to something larger than a KEY, after all we seen how a KEY is a specific link between a major and minor cadence
( This is why Aminor7 ACEG and C6 CEGA are same, and why BDFG# Bdim7 is G7 and E7)

The step larger than a KEY is called .
KEY collection.
Just in the same way as we go from note , up to note collection (means scale).
A KEY collection is a zoomed out reference point which contains inside of it multiple keys. we
Symmetrical scales and chords are key collections
This is what a key collection is ( where to find them)
Now let's look at what a key collection actually is and what it accomplishes.

Going back to our most zoomed out view is the chromatic scale .
( Our most zoomed in view would be a single note)
The chromatic scale is the first KEY Collection.
Because it contains a key for each note it contains all 12)
CC#DD#EFF#GG#AA#BC
The next KEY collection is the whole tone scale
We select every other note to create 2 symmetrical scales
1.CDEF#G#A#
2.C#D#FGAB
This is the first usable KEY collection
If you take any note from the 2nd whole tone scale
Build a dominant chord from it say G7 GBDFA
And take any note from the first while tone scale and build a Maj chord or min chord on it say Cmaj CEG

This works for any you pick , and it also works flipping in the opposite direction . Pick any note from first whole tone scale say C build a dominant on it C7 and take any note from the second whole tone scale and build a maj or min on it say F then F maj.

This larger view of our first usable KEY collection the whole tones scales works this way with any combinations following that rule.

 

So the KEY of c major(a minor) is the link of dmin7 G7 Cmaj,
Connected to bmin7b5 to E7 to Amin
And they are connected by Fmaj7

This means the key of c Maj a min
Does not mean there are no other ii v i's
That there are only ii v is to c Maj and to a min
That is not what is happening .
Because in key of c Maj and a min we DO
Have ii v i's to
Each chord in the key.
Instead the reason it is called the KEY or in other words

What that word KEY is referring to
Is there is a unique connection between C Maj ii v I
And A min ii v I
That unique connection is FMaj7
I knows it confusing and hardly ever talked about because most only look at the surface of what a key seems to be . Not what it is.

 

I'm making second comment so it's easier to digest.
So when we first started learning music we see a layout with the name KEY of C given here is this layout
CDEFGABC
1.CEGB
2.DFAC
3.EGBD
4.FACE.
5.GBDF
6ACEG
7BDFA
And in the beginning we think that this is what a KEY is , but that is showing us the surface level.
Which is the chords contained inside of this key happen to be the ii v I of C major and the ii V I of A minor , now that left over center chord FACE is actually what the rest of the chords are inside of.
In other words it is what links this collection, it is what makes it a KEY.
Let's say if you asked is there a connection between c major ii v I and f#min ii v I, no there isn't only a min ii v I. Because the cadences of c major and a min are actually what's inside this box we call a KEY
Now if you asked
" What else can we say about this box ? "( Labeled c Maj , a min)

We can zoom out all the way and say all the chords in it are a flavor of the unity chord FACE
Also and even more important
The structure layed out in these chord collection
Ii v I can be applied to each chord in it while still staying in the key.
For instance

If I play dmin7 DFAC to G7 GBDF to Cmaj CEGB
( Cadence)
It is a more detailed version of the C make chord byitself.
Exactly the same just more detailed view which expresses dissonance resolving .
And same goes with a minor ii v I.

Now the same goes for all the chords in the key
Take say
3.EGBD Emin

Make minor cadence to E minor .

F#minor7b5 . F#ACE
B7. BD#F#A
Eminor EGBD

Ii v I to e minor

This is same as just playing e minor chord
It's just a more detailed version which expresses dissonance to consonance
Because of this fact a cadence to eminor is still within the key of Cmajor A minor
Because Emin is the 3rd chord.
And the same goes for each chord
They all have cadences and it's not leaving the KEY of Cmajor Aminor.
Because what KEY means
Is not that there is only 7 chords and no others
, A KEY means that there is a connection between those 7 chords .

 

Now that we have looked at what a KEY is , and what a KEY collection is
We can look at chords progressions which exist in the key of c major
To help you along I found 2 videos to show you then we will break it down even more the contents if what he says in the videos please take your time .
This is the deepest levels of music theory now so take your time , this will take some time to fully vested comfortable with.

 

MMJ2017, have you ever actually written a song? When do you find the time?

 

the penny drops my friend....................thank you so much

 

Hello friend , for a while now I been practicing all these things I been talking about in this thread attempting to put a full understanding of it all into my subconscious to the point where I can sit down just have music come out , to be fluent like my spoken language . I am pretty close to where I have been wanting to be where I will soon be making music to share with everyone but it will probably be through cinematic or film type of medium , that is like the other half what I been working towards , I am going to create a youtube channel eventually .
Itv
It will have this educational type stuff through to my own musical creations , but with the whole visual aspect included as well .
I believe we have hit a point in society where sound and visual are merging into 1 thing , so I been focusing on getting my ducks in a row to make the best content I possibly can

 

Let's now take a look at a chord progression by Charlie Parker with the song Cherokee ,which was a jazz standard back home in Indiana in Charlie's day .
We are just going to look at this video and write down the chords in the song and then we will take a look at them afterwards .

 

High level edu thread @MMJ2017 - respect

 

So we going to look at the chords in the video above . It is in the KEY of Bb major / Gmin so I am going to transpose the chord progression a step higher into the KEY of Cmajor /Amin so we can start off more easily understanding the chord progression.

Cmaj _____ Gmin7 .C7 ....Fmaj7_____

A#7______Cmaj_____D7.....

Dmin7_A7____Dmin7..G7_____Cmaj_____

Gmin7___C7_________Fmaj7___________

A#7________________Cmaj_________

D7__________Dmin7______G7______

Cmaj____________D#7__G#7___Cmaj7_____

_____C#min7____F#7____Bmaj7_______

______Bmin7____E7_______Amaj7_________

___________Amin7____D7____Dmin7_____

G7___________Cmaj_________Gmin7______

C7__________Fmaj7______A#7_______________

___________Cmaj_____________D7______________

Dmin7____G7____Cmaj_________Cmaj__________

__________Gmin7_______C7_______Fmaj7_______

A#7______________________Cmaj___________

D7___________Dmin7________A7_______

Dmin7___________G7________Cmaj______________

Gmin7_______C7___________Fmaj7__________A#7__

________________Cmaj__________D7_________

___________Dmin7_______G7_______Cmaj______

D#min7_____G#7_________C#maj7___________

C#min7_________F#7___________Bmaj7_______

Bmin7_____E7_________Amaj7____________

Amin7________D7_______Dmin7____G7_______

Cmaj_______Gmin7______C7_____Fmaj7_______

__________A#7_________Cmaj_________________

___________D7___________Dmin7__________

G7___________Cmaj___________________Cmaj___

Gmin7________C7_______Fmaj7_____________

A#7___________Cmaj__________________D7_____

_______Dmin______A7_______Dmin7_____G7______

Cmaj____________Gmin7______C7______Fmaj7____

A#7________________Cmaj_________________

D7_____________Dmin7______G7_______Cmaj_____

D#min7___________G#7_______C#maj7________

C#min7______F#7_______Bmaj7_________Bmin7__

E7________Amaj7_______________Amin7_______

D7___________Dmin7_________G7_______Cmaj_____

Gmin7_______C7_______Fmaj7______________

A#7__________Cmaj_______________________

D7_____Dmin7_____G7______Cmaj____________

 

Let's take the first progression.
KEY c major

C major. Gmin7 C7 Fmaj7 A#7 C major

The first portion is a Cadence to Fourth degree.

C major { Gmin C7 Fmaj7}

So we play ii V I of F major Key in that portion and we think of it grouped like that in our mind while playing chord tones on the beat.

It is a more detailed version of this.
C major F major7____________

Next we have the A#7 chord going into C major
This is called the backdoor dominant.
This is the same as playing Fmin6 to C maj7
Here we play F melodic minor over A#7 and we play C lydian over C major.

 

Let's look at our B diminished 7th chord that Is connected to C major KEY.
B .D F .G#

Imagine that you are looking at a bike lock with four symmetrical digits.

A#....C#...E....G
____________________
..B....D.....F.....G#......
____________________
C.......D#...F#......A

Our middle row is the Bdim7,
You can spin each note either up or down one note to modify it.

To begin with if we look at the inversions of it.

G# BDF
You lower the first note by a half step to make a dominant chord.
GBDF . .....G7. ( V of c major

BDFG#

A#DFG#. ........A#7. ( Backdoor dominant, also
Tritone sub of E7)

DFG#B

C#FG#B. ........C#7 ( tritone of G7
( used for altered dominant)


FG#BD.

EG#BD . ......E7. ( V chord of relative minor

So going back to original Bdim7

BDFG#

We have the G7,and E7 ( V of Maj and relative minor
Then we have A#7, and C#7 ( the tritone sub of Both V chords , also the backdoor dominant of C major.

So we can see how the backdoor dominant has a firm place here.
Going back to our progression
C Maj , {Gmin7,C7,Fmaj7} A#7 ( connected through Bdim7) Cmaj7.

 

Make sure that you take C major, { Gmin7,C7,Fmaj7}
And spend time on it byitself using the rights scales and upper chord tones to create melodies over it using the melodic concepts discussed in this thread . Take your time until you feel comfortable when dealing with a chord progression that is new to you. When you are comfortable then follow along with us yo the next progression .

Next progression we have this.

C maj7 , D7,...Dmin7,...A7...Dmin7,G7,Cmajor7


The first 2 chords are the IV to V of the V in c major

In the key of C major we often shorten the cadence to the V chord to a ii V ,instead of a ii V I because our I is dominant. Next we can swap out the ii ( amin7 ) with the IV (Cmaj7 ) , this fits well with C major Key.

So we have this

{Cmaj7,D7}
IV to V (of 5th degree)

Next in the progression we have Dmin7 A7
This is a I to V (of Dmin )
And then we have Dmin7 G7 Cmaj
Which is just a Cadence to tonic.

So here is whole thing.

{Cmaj7,D7} { Dmin7,A7} {Dmin7,G7,Cmaj}
We can see a smoother tonality in the groups.
Gmaj tonality, Dmin tonality, Cmaj tonality.

Now as before practice using this particular progression creating melodies using techniques discussed in this thread to get comfortable with it.