Part II
We just seen how Bdim7 is 4 dominant 7th chord.
Bdim7 (BDFG#)
Identical with 4 dominant chords ( dom7b9 rootless

E7b9 ( EG#BDF
A#7b9 ( A#DFG#B
G7b9. ( GBDFG#
C#7b9. ( C#FG#BD

Now who cares?
What is the point?
Is this like some type of game show trivia ?

No .
This is not a fun fact .
This information is critical in understanding the music language itself it connects how things work in music let me show you.

In the Key of C major ,A relative minor
G7 is Cmajor V7 chord .
E7. Is Amin V7 chord .
C#7 is G7 tritone substitute
( Dmin7,C#7,Cmaj
A#7 is E7 tritone substitution
( Bmin7b5,A#7,Aminor

So these 4 dominant chords contained inside of Bdim7 BDFG#

Are the 4 dominant 7 chords compatible with Cmaj and A relative minor key.

Is that it are we done?
No .

C major ,Arelative minor is just 1 key that Bdim7 is connected to .
There are 3 more Maj rel minor keys with identical connections like I just showed you .

Cmaj A relative minor
D#maj Creative minor
F# Maj D# relative minor
A Maj F# relative minor

All have the exact same relationship to Bdim7 BDFG#

The dominant 7 chord to make and rel minor, along with the tritone substitutes for each one of those dom7th chords .

Let's look at this in more detail .
A major is ABC#DEF#G#A
E7b9 (EG#BDF) is the V7 of Amaj7 ( AC#EG#)
A#7b9( A#DFG#B) is tritone sub of E7
C#7b9(C#FG#BD)is V7 of F#min
G7b9 ( GBDFG#) is tritone sub of C#7

How about the Key of F#maj D#min rel min?

F#major key is F#G#A#BC#D#FF#

C#7b9 ( C#FG#BD) is V7 of F#major
G7b9 ( GBDFG#) is tritone of C#7b9
A#7b9(A#DFG#B) is V7 of D#minor
E7b9(EG#BDF) is tritone sub of A#7b9

How about Eb Major C relative min?
Eb major is Eb F G Ab Bb C D Eb

Bb7b9 ( A#DFG#B) is V7 of Eb major
E7b9 ( EG#BDF) is tritone sub of Bb7 (A#7)
G7b9 (GBDFG#) is V7 of C minor
C#7b9 ( C#FG#BD) is tritone sub of G7b9 for Cmin

Now do this for the other 3 dim7 chords to create
All 12 keys cadences for the Maj and relative min
( Then the tritone sub. For the Maj and rel min)

This is not a trivial thing or fun fact.
This is critical
Information about the language of music itself .
It shows you which keys are connected and how .
It shows you how to be in one area of an instrument and play all 12 keys Maj and min cadences with their tritone substitutions as well .
This information is critical to harmony and melody which extends out of the language of music

 

@MMJ2017-1-
Hi
The 10th of july i was posting a message , please can you fulfill my request ?
Request was :

Hi ,
Could you please post a short example that you made , about things that you write about .
The links you give are made by people who know their stuff and illustrate it with musical examples that they make .
You would get more credit by letting us hear how do you use elements that you write .
(because your example http://jamen.do/t/186921 does not reflect the theory you present here

Just takes some minutes to record or write some bars on musical staff .
Thank you in advance

Last edited: Jul 10, 2019

 

Part III
We looked at the dim7 chord literally being 4 dominant7b9 rootless chords and how that connects to 4 separate keys and the 4 dom7 chords in each of those 4 keys
V7 to Imaj
Tritone to Imaj
V7 to Imin
Tritone to Imin

Now we want to be able to expand this to be a full cadence ( subdominant, dominant ,tonic)

Starting with C major Arelative minor

G7 Cmaj
C#7 Cmaj
E7 Amin
A#7 Amin

We need to be able to alter the diminished 7 chord
Slightly to turn it into the iimin7 chord which comes before it
Dmin7 G7 Cmaj
G#min7 C#7 Cmaj
Bmin7b5 E7 Amin
Fmin7 Bb7 Amin

Let's take Bdim7 again
BDFG# think of it as G7
If we slide B up to C and G# up to A we get
CDFA ( DFAC Dmin7)
Now we have
Dmin7 G7b9 Cmaj
CDFA,. BDFG# , CEGA

Look at Bdim7 again BDFG#
We want G#min7 to C#7 ( tritone ii V)
D to D# , F to F#,

BD#F#G# ( G#BD#F#) G#min7

BD#F#G#, BDFG#, CEGA

We have completed the cadence to C Maj
Along with it's tritone sub cadence ( ii V)

Next take a look at cadence to Amin

Bmin7b5 , E7, Amin

BDFA ( Bmin7b5
BDFG# ( E7b9 rootless from A harmonic min
F#CEA. ( Amin6 from A melodic min

Now let's see the tritone cadence for Amin.

Fmin7b5 ( FG#BD#) A#7b9 ( A#DFG#B)
Amin6 ( AEF#AC ....or ACEF#)

So take Bdim7 BDFG# and we need Fmin7b5 before

BD#FG# ( Fmin7b5 )
BDFG#. ( Bb7b9 no root A#DFG#B
CEF#A. ( Amin6 from A melodic minor


Take your time .
Once you have completed this do the same thing for the 3 other major keys
( Full cadence to Maj and min along with tritone
.ii V ) for Maj and min.

 

@MMJ2017-2-
then i wrote :
Hi again ,
You wrote :
"I'm going to try to make it the best music I can
Even setting the impossible task of writing the best song I have ever heard °°
That's damn difficult do it take some time."

No , don't worry or bother my friend , I am not asking for anything great , or great song or anything like that .
Just some short music examples (a few bars will do fine) demonstrating what you do with the material you present here .
Thx in advance ...

 

If you are just asking for an example of it being used
Just read the information and do what I'm describing .
Or look at million example clips all over the net.

You sound like you are missing the point.
I am sharing this information and describing things step by step so you can create things with it .

It's one thing for me to take the concepts and make a real musical example to see things in real world from my perspective how I use it in one moment of time for that song in that situation .
But telling me no, you just want a small example
Of it being done
An example is an example no matter where it comes from.
If you are just reading the thread but not following along using the information making examples yourself while reading , you have missed the point and the information is not going to do you my good .this is not the kind of information to just read and that's it you have to be using examples yourself while reading to fully fathom .what is going on
this is not a one sided education.
You have to participate in what you are reading .
You have to make examples while you are reading it to have it accomplish anything at all .
It is your responsibility to participate with the information to transform it to your own knowledge and application .
Getting an example from me
Is nothing compared to making an example yourself when it comes to how helpful and how much of this advances you.
(
If anyone is reading the information , as some type of intellectual excersise, but not following along and using it creating examples as they cover the topic ( not just one but 50 or 500 different examples of the topic)
They are wasting their time .
It does no good for you to hear 1 example from me .
You need to hear every possiblity of examples made by yourself
( Many times this means you need to play a few hundred different examples to come up with every variation of the concept within a context )

However like I mentioned before .
I will be posting things that I make
Eventually .
And I will have YouTube channel eventually
You will be notified right away as soon as I have something for you
Never get hung up on a small example by someone else .
You need to not only create an example yourself ( for the information to become knowledge)
Not only that, you actually need to play every possibility in that context .
( Sometimes that means 50 variations sometimes 500)
I say Again this information does anyone no good
Unless they read it and use it themselves and do every possibility every variation .
A clip of some other person's momentary single choice ( out of a million)
Does you no good , ( when it comes to your ability to fathom the topic, have the potential to select the best match for you out of 500 possible choices )
The point is not to copy a clip off someone else.
The point is for you to have the knowledge in a useable way to become fluent in music )
Your ability to select from any possibility
Does not increase because you heard some other person make one series of choices each second.

This is why I am describing to you how the language of music works and not listing out 50 mini sound clips and saying " just play these"
A language is about understanding the meaning to create yourself .
If you studying English language
And trying to understand the concept " store"
Just hearing me making one example
" I am going to the store "
Has no impact in your ability to create every possible sentence about the concept of " store".

1." Hey, wanna get go get some groceries?"
2. " Oh, need to to grab some produce later"
3. " You wanna walk with me to the butchers?"
4." I'd like to go buy some things for dinner later"
There millions examples of the concept " store"

Hearing me say one sentence , which was one series of choices out of millions does you no good 8n understanding every possibility you could choose from to describe the concept .
The point is to become fluent.

 

Last edited: Jul 23, 2019

OK MMJ , i did not ask you to take all this time to answer , the point is not at all about myself , please do not bother to worry about me , (points i miss and so) , i am doing fine , anyhow thank you for showing that you are willing to take care about my music education

MMJ , that is precisely what i ask you for :
Please , demonstrate what you teach , but not by copying links or teachings from others on YT !

One more thing :
What would you like me to demonstrate , which topic ? 4 or 8 bars maxi , (same as i ask you for)
(just to illustrate that you do not need to worry about me missing some points , because now it is me that is worried that i cause you trouble thinking about myself , got it ? (this was a joke !)

I am a little busy preparing gigs with a singer , you know 20 tunes , 10 i don't know and the other ones i have to transpose ,I guess you know what i mean , like playing "body and soul" in a different key , nothing "out of this world" regarding skills , but definitely some things
to check out , specially avoid b9 or minor seconds in conflict with the melody , very basic concept but so important ...
Real life , when theory is definitely coupled with reality , you know what i mean off course .
CU later , all....

 

You wrote a comment to me on my thread.
I looked at the meaning of the comment and spoke about the context related you your question or request .
Yes , once you take this entire category I describe on this thread ( music as a topic and how it works as language)
Then start combining with other categories
Such as you , your particular life , any specific instance and context of using the knowledge of music ( say playing a particular song in a moment and then selecting from every possibility one choice you want to make in one instance .)
Yes now it is true that there are more varibles to take into consideration .
In that case you are taking several categories
And combining them to accomplish something.
Let's say playing body and soul on a night out

So you have the category of yourself
The category of music language
The category of society ( playing front people)
There are certain expectations in all those areas .
Certain things yourself can do in instrument .
Certain things audience wants to hear
(
If in the context of a jazz standard
It's true there are several forms .
The song structure layout, melody and harmony
You want it to sound like what people are familiar with .
Do you want me to talk about body and sould and how the things I describe can be applicable to playing body and soul on a gig?

 

George31
If you are a gigging player , and playing standards and everything.
Yes ,
Please talk about things here you would like to say about music language .
Things you feel are important that have to do with it
Related to what your doing playing out and working with songs .
Thanks for coming by I would like to hear from you .
Anything you think Is good to add I'd love to hear it .
I appreciate it thank you.
Love to hear your experiences and how you approach things from your perspective in your life using music language .

Do you usually approach say body and soul, playing it live by breaking it down to main form then melody
Adding guide tones , then filling in things using upper extensions , grace notes, enclosures,leading tones, button hooks, changing tones?
If you go about it differently I would like to hear about how you do it .( One my fav all time standards , along with Louis Armstrong's version of stardust , I cover the waterfront )

 

Last edited: Jul 23, 2019

OK , about "body and soul" , i took it as an example to illustrate concrete things to do when backing up a singer , and i also mentioned
something very important about backing up a melody : avoid chords that might produce minor seconds or b9 intervals with the mélody :
example :
Playing a nice voicing of a minor 7th with a ninth on the top when the melody is a minor third ,reverse is the same off course .
That very simple stuff to get on a theoretical point , but it demands attention .You know in situations the best voicings can do the opposite effect , and the clash with the melody is one of these situations .
About Body and soul :
Good example of a beautiful song of the great american songbook .Tonal song that waves through 3 different keys with typical harmonic moves , melody is simple and pretty , harmony is rich the song modulates and within it is full of gems and concrete examples of alms anything used in this kind of what is being referred as "functional harmony" .
From a player point of view , transposing this song requires some concentration , specially if you have been playing it in a standard key
for years .( even if like in my case i think and hear in terms of degrees and so when dealing with this kind of tune)
So nothing big to understand with all of this , but definitely requires some skill , otherwise it can easily sound bad , and then the singer will
not call you again , and will spread the word that you are not great as an accompanist even if you are a good soloist , reverse also true .

I can later record one or two ex but not before next week , but that is what i can say today about those two points : transposition of standards , and avoiding min 2nd's and b9's between top note of voicing and melody .
I did not mention rhythmic placement , not the topic really .
CU

 

Can't wait - I'm sure these will be high quality like all your posts

 

Baddass, I love it .
I love to hear from you on here whenever you get the chance , thank you.
Anything you wanna share is always welcome here.
And different experiences you had etc. Ways you like to approach tunes.
Do you like stellab starlight?
How do you like to approach that one?
Thanks .
Anything you want to share on your experiences would be great for us to hear about.

 

Last edited: Jul 23, 2019

Secrets of the chord .
( Min7b5 chord)
The minor 7b5 ( ex. Bmin7b5 BDFA
Is typically seen as the 7.BDFA of a major key .
And also seen on other common scale like
The melodic minor .( Which has two of them

Many times people don't know what to really do with these chords or are intimidated and ignore them.
These chords ( min7b5 ( are actually
Useable for
Subdominant, dominant,and tonic functions !

To show you
Amin cadence is
Bmin7b5,E7b9,Amin6
This is seeing the min7b5 as a subdominant .

You can see Bmin7b5 also as. G9 no root( GBDFA

So a cadence to C major

Dmin7,G9,C6

This is the Min7b5 used as a dominant function.

How about the Min7b5 used as a Tonic function?

We'll look at these two chords

Amin6...... ACEF#
And
F#min7b5 .....F#ACE


You see a they are inversions of each other .

So A cadence to A min
Bmin7b5,E7b5,Amin6
Is the same as
Bmin7b5,E7b9,F#min7b5

So since this chord can be used for the 3 functions,
What is a example of a cadence with 3 of them?

Bmin7b5,G#min7b5 ( an E7), to F#min7b5( Amin6

You just use the scale you would with the normal function .
Used with
C major ( represents all instruments though)

Bmin7b5,Fmin7b5 to Gmin7b5,F#min7b5
Dmin6...............G7alt.................. Cmaj 7#11

Never feel uncomfortable again with the Min7b5 chord it is very versatile .

Min7b5 scale of chords

Looking at F#min7b5 from Amin6 ACEF#
We add
Bdim7 ( as E7,A#7 tritone sub ,G7 backdoor

BDFG#
CEF#A
DFG#B
EF#AC
FG#BD
F#ACE......F#min7b5
G#BDF
ACEF#......Amin6

And the scales.

In cadence to Amin6
Bmin7b5 E7b9 Amin6

The Bmin7b5 you use Locrian or Locrian #9
BCDEFGAB. ( Avoid C note
Or
BC#DEFGAB ( upper extension all 7 notes good

The Amin6 ACEF# use use A melodic minor
ABCDEF#G#A

If you using a min7b5 as a dominant function like
Dmin7,Bmin7b5,Cmaj

You take the Melodic minor scale a minor 3rd below the root
So Bmin7b5 ( BDFA
Over
G# melodic minor
G#A#BC#D#FG

 

Last edited: Jul 23, 2019

Thank you , I will try to make it high quality as possible .
I try to make it amazing when I record .
I'm working on a new genre and it's taking a while.
Where it takes the best aspects of the history of music.
But I been working on my weakest link which is my singing voice .
I haven't gotten to where I'm incredible singer , and still trying to figure out how to get my specific voice where I want it to end up .
( We all have a signature voice like finger print )
Mine sounds like horseshit
Don't get me wrong I work on every single aspect of practice and vocal development
It's just when I listen to what I think as the very best singers in history , my voice is a fukking joke compared to that .
I been working towards taking the best of modern production and clarity of recent genres and recent engineering techniques.
Combine that with the qualites of best selling music in history ( powerful melody east listen to
And combine that with best qualites of music history
( More sophistication than goo goo gah gah level of music language) taking best if chamber music orchestra, jazz , the best of funk dance , power of metal, beats of hip-hop edm etc.
Just building up the highest quality music as a whole imaginable .

If course the drawback is single person doing all that is the time it takes to do all that lol but I think the pursuit is worth it .

 

Last edited: Jul 23, 2019

A musical giant. A legend. A man who had an impact on every musician on Earth during his life.

 

Last edited: Jul 24, 2019

Secrets of the melody.

There are many ways to take a structure and move through it as a Melody .
Let's look at taking C major KEY
Just the tonic .

C Maj 6/9

CEGAD

Let's look at making melodies which outline this , but spaced notes in different way to make it more interesting .


Start on E note up minor 3rd to G note
Down a fourth to D note up a tone tone E note
Up a fourth to A note up minor 3rd to C note
Down a fourth to G note up a tone to A note up a fourth to D note .

Let's try another one.

D down fourth to A down tone to G up fourth to C up third to E down to A down tone G down to E down third to C down to A up fourth to D

Let's modify our tonic a bit
Cmajor7 Cmaj6/9
CEGB......CEGAD.....

This gives us more options

E up B slide to C up fifth G down fourth D down C
Down fourth G down third to E down third C up Fifth G slide up A up fifth E back down fifth A slide down G down fourth D down third B slide up C

Let's now look at a type of pattern
Which goes up and down by fourths and tones.
Start on A down fourth E slide down tone to D up fourth G down fourth D again down tone C down tone B up fourth E down tone D down fourth to A


Now we going to look at two enclosures .
Based on the third of Cmajor
DD#EF.
This enclosure is
CFDD#E
Let's think of this as one building block when we get near this area .

Second one around the fifth
FF#GG#
This enclosure is
DG#FF#G
And like before think of this as a building block to use when coming up near this area.

So we are going to use as before the up and down by fourths and up down by tones then add these 2 enclosures when approaching those areas ( use the 2 building blocks )

Let's start our melody with.

A down fourth to E down tone DG#FF#G down Fourth D slide down CFDD#E down tone D down fourth A
Down tone G up fourth C.

Now that we can see a type of movement in our enclosure of starting from above then below then landing in middle as with those enclosures .
We can take that principle to the regular chord tones as well .
For instance this pattern.

C down A up B down fourth G down forth D up to E
Down to C slide to D down forth A up to C

 

Last edited: Jul 24, 2019

Secrets of the melody part ii
-------

Let's now take our subdominant in C major
The Dmin7 chord .DFAC
We can add the E 9th also
DFACE

This gives us a place three notes in row
DEF
We can make cool patterns and melodic motions out of it.

F to D up to E

Again this pattern up starting from above going below then landing in middle .

Let's take this building block and use one we looked at before of moving in fourths and steps.

F down to D down to A back up D up to E down C down fifth F slide down E up forth A

We can add in other movements D down F up A up C up E up F down D down A up C

If we look at Dmin7 DFAC and add our upper extension scale we get DEFGABC
Or DFACEGB

Let's try this
D up F up A down C up E down D down fourth A
Down G up A up C up E up G down fourth D up F down E down B down A up fourth D down to C up F down D up E up A up D down A up C


Let's try some more.

C up to D up F down D again up fifth A down fourth E

Up F down D up E

Another one

C up D up F up A down F down down D up E up fourth A slide down G down fourth D up E down C down A

Now look at DFA
Arpeggio
Make it a triplet
Now add leading tone C#
Now a rest on beat 1
RC#DFA
Now add a reg C at end
RC#DFAC
Then up to F slide down to E
RC#DFACFE

Then down to A up to C down A

Now if we add triplets on the arppegios

We can add more options in.


ADFAC.ED#DC#CA#GG#AGFDEA

Plat this melody until you can get it fast and clean

Then alternate it with a Dmin7 chord DFAC

Let your ears notice how the melody represents the chord

Here is another.

CAA#CBAFDC

 

Last edited: Jul 24, 2019

Part ii

Once we add in our 7 note scale " upper extensions"
For Dmin7
DEFGABCD and DFACEGB

Now we can add in principles we had looked at earlier with navigating the scale with TRIADS.
Because all these 7 notes fit well ( B is debatable
We can
Use this.
1.CEG
2.DFA
3.EGB
4.FAC
5.GBD
6.ACE
7.BDF

Now with a Dmin7 DFAC chord sounding try these

CEGAFDEGBCAFGBDECABDFGEC

Then try

GECDFABGEFACDBGACEFDBCEG

Then try descending

CEGFDBACEDBGFACBGEDFAGEC

Then
GECBDFECAGBDCAFEGBAFDCEG

Spend some time with these , then when you are comfortable come up with some melodies which combine these several types of motions we discussed . It's important to explore every possiblity in order to see how much freedom you actually have in a situation to select the thing which best expresses what is inside of you emotionally in that moment .

 

Secrets of the "scale of chords".

The scale of chords can be applied to any song, chord progression or part of music.

To understand how we have to look at the forms and how and where to use them.
Then you will be able to apply the scale of chords in Any context .
Let's first look at the major and minor scale of chords.
It's one form applicable over any major portion or minor portion of music structure language.

The reason this is possible is because we use the maj6 chord .
So, Cmaj7 CEGB we use instead C6 CEGA
We want to use the most versatile forms let me show you why and how.


So C6 is CEGA ( used over Cmajor

We pair the Bdim7 BDFG# to get the major scale of chords .

This adds the V7 dominant which belongs to the major chord.

BDFG#...G7b9
CEGA....C6
DFG#B
EGAC
FG#BD
GACE
G#BDF....Look it's E7b9
ACEG......look it's Aminor7
BDFG#

Take a look now at the scale of chords

We have the C6 also being the Amin7
And the Bdim7 being the G7, and also the E7 to the Amin.

It's one form that fits over major or minor functions

Now say we had a cadence to Gmajor
That's
Amin7,D7,Gmaj

See our Amin7
We can use this first form here.

C6..CEGA = Amin7 ACEG

We get the V7 of Amin7 built in the scale if chords

Now that's the first part .
What about the Gmaj?

Well G6 GBDE = Emin7 EGBD

So we add the dim7 half step below G6

F#dim7
F#ACD#


Now let's create the scale of chords

F#ACD#......it's D7b9
GBDE.....it's Gmaj6
ACD#F#
BDEG
CD#F#A
DEGB
D#F#AC........look it's B7b9
EGBD.......look it's Emin7
F#ACD#

Now we have our Amin7 scale of chords (C6
And we have our G6 scale of chords ( Emin7

This contains our full cadence.

Let's go back to the key of C major now .

Cadence is Dmin7,G7,Cmaj

We see we can use our Dmin7 scale of chords

So Dmin7 DFAC = F6 FACD

Edim7 EGA#C#

Scale of chords ( F6 = Dmin7

EGA#C#....look it's C7b9
FACD...look it's Fmaj6
GA#C#E
ACDF
A#C#EG
CDFA
C#EGA#.....look it's A7b9
DFAC......look it's Dmin7
EGA#C#
FACD


There is the scale of chords for the subdominant of our Cmajor Cadence.

Let's look at the 7 chords in C major key.
1.CEGB Cmaj7
2.DFAC Dmin7
3.EGBD Emin7
4.FACE Fmaj7
5.GBDF G7
6.ACEG Amin7
7.BDFA Bmin7b5


If we create a scale of chords for each chord in the key look what happens.

1. C6 CEGA = Amin7 ACEG
2. Dmin7 DFAC = F6 FACD
3.Emin7 EGBD = G6 GBDE
4.F6 FACD = Dmin7 DFAC
5.G7b9 no root G#BDF = Bdim7 BDFG#
6.Amin7 ACEG = C6 CEGA
7. Bmin7b5 BDFA = Dmin6 DFAB


Now we can see the equivalent forms.
Maj6 =min7
Min6= min7b5

 

Part ii

What about instances with altered dominants?
Say key of C major cadence
Dmin7,G7alt,C6

We have the scale of chords for Dmin7{ =F6

And for C6 ( =Amin7

But the G7 altered is
GG#A#BC#D#FG
This means
G7 GBDFA..C..E
......135791113
Altered has b9 G# , and #9 A#,b5 C#,and#5 D#

So we build a min6 scale of chords from the b9
In this case G#min6 = G#BD#F ( =Fmin7b5 FG#BD#
And also a tone up
A#min6 = A#C#FG( =Gmin7b5 GA#C#F
These 2 forms give us the V7alt G7altered

Let's look at them

G#min6 G#BD#F
We add the dim7 semitone below
Gdim7 GA#C#E ( =V7 of G#min6

Now we can create the scale if chords for the first form .

GA#C#E....D#7b9 V7 of G#min
G#BD#F.....G#min6
A#C#EG
BD#FG#
C#EGA#
D#FG#B
EGA#C#....C7b7...V7 of Fmin7b5
FG#BD#.....Fmin7b5
GA#C#E
G#BD#F

Now we just move that form up a wholetone

A#min6 A#C#FG

We place it's dim7 semitone below

Adim7 ACD#F#

Now the scale of chords.

ACD#F#....Adim7 is V7 of A#min (F7b9
A#C#FG...A#min6 ( =Gmin7b5 GA#C#F
CD#F#A
C#FGA#
D#F#AC
FGA#C#
F#ACD#....F#Dim7= (V7 D7b9
GA#C#F.....Gmin7b5(= A#min6 A#C#FG
ACD#F#
A#C#FG


Now we have seen that G7 altered can be represented with these 2 forms let's look at something closer .

In the key if C Maj
Cmaj and A relative min are connected.
Amin6 is ACEF#

Now glancing back at our last 2 scale of chords which represent G7 altered in Cmaj
It was G#min6 and A#min6.

But look here Amin6 is tonic of rel minor of Cmaj
Then a semitone slid down then up is the G7 altered scale .
G#min6,Amin6,A#min6

It's a chromatic set of shapes.
Which represent the V7 altered of the
Relative major.
Now if we remember back to what a dim7 really is.

Take Bdim7 BDFG# ( since it fits with Amin6

We have A#7, C#7,E7,G7
( Tritone substitutes )
This shows us that in the scale of chords
Bdim7 rep all our V7 chords.
G7 altered can be represented by the Bdim7
BDFG# by adding in the semitones below
A#B, C#D, EF, GG#
Now we can take out rel min as a min6 shape
So Amin6 then slide it down or up semitone .
G#min6,Amin6,A#min6
And those represent the G7 of C6 relative major
With those also fitting on top of the Bdim7 BDFG#
Portion of the scale of chords .

But what about E7 altered ? That goes with Amin6 tonic relative minor?

We use the Fmin6 FG#CD ( Dmin7b5 DFG#C
And the Gmin6 GA#DE (Emin7b5 EGA#D

Scale of chords.

So you see when starting with any music structure or chord progression we can break that down to
A few scale of chords to represent that structure.

1.Major6th and Min7 scale of chords
2.Min6th and min7b5 scale of chords.

( More soon.......

 

Part III

Let's take a look at our C Maj cadence.

Dmin7,G7,Cmaj

Let's say we want to create a specific scale of chords for the G7 dominant .
( So we can have it's D7 V7 of V included)
G7 is GBDF

F#dim7 is
F#ACD#


Let's create a scale of chords now.

F#ACD#....D7b9 is V7 secondary dominant
GBDF........G7 is the tonic of D7b9
ACD#F#
BDFG
CD#F#A
DFGB
D#F#AC
FGBD
F#ACD#
GBDF

Now we have a scale of chords just for our G7
Where it has the D7 secondary dominant integrated.

This specific scale of chords is useful for times where the progression is resolving dominants around the cycle of fourths .

Example .

B7,E7,A7,D7,G7,C7,F7

Now to navigate this we zero in on our E7 to start .
B7,E7,A7,D7.......

If we use our dominant scale of chords
For E7 the dim7 semitone below E is
D#dim7 D#F#AC. ( B7b9 no root

We simply use our E7 scale of chords on the B7,E7
Portion of the progression .

No see what happens next
E7,A7,D7,G7.....

We just used the E7 scale of chords
But now if we shift everything down a wholetone .
To a D7 scale of chords.
C#dim7 C#EGA# ( A7b9 no root

And if we continue on again.

B7,E7,A7,D7,G7,C7,F7

We can slide down a whole step to a C7 scale of chords to continue on the progression.
Bdim7,BDFG# = G7b9 no root
So
This dominant scale of chords gives us a easy way to navigate cycle of fourth dominant resolutions
( Secondary dominants (
And of course regular instances of V7 of V
Say you have
Cmaj, D7, G7, Cmaj

You use the dominant scale of chords just on this portion ( you start with F#dim7 going to G7
Cmaj,D7,G7,Cmaj
Then you simply switch over to Cmaj6 scale of chords.( Halfway in the measure )
( Bdim7 going to Cmaj6



Now we have seen that with these few forms.
We can navigate any music structure .
1.Maj6th and Min7 scale of chords
2.Min6 and Min7b5 scale of chords
3.dominant scale of chords.

3 forms which give us a way to make melody, harmony in any location of an instrument
Whether bunched up close together in tight voices
Or spread out intervals making wide and deep sound.

We can use the scale of chords in any situation
You can create melodies which transform into harmony. Or anytime you want instance of quick harmony that represents the structure correctly

 

Last edited: Jul 25, 2019