Here are two accurate quotes from Jack DeJohnette in Lloyd Petersens' "Music and the Creative Spirit".

'You can’t put jazz in a box and label it. Johnny Griffin once said “Jazz is a lifestyle, you live it.” You cannot go to a university and get it. I think the music changed from the time that musicians listened to the music on records and travelled to all of a sudden going to universities. It got codified. It’s great to have all this information written down, but a lot of what happens there in music is there for listening with your heart as well as your head.' (DeJohnette in Petersen, p.69):


AND

“Students need to develop their own voices, though I think that is changing rapidly. The biggest problem that young students face today is that there are more practitioners than there is work. Think about that.’ – Jack DeJohnette (DeJohnette in Petersen, p.71)

 

Let's now take a look at a easy way to get used to our main functions in a key, then add in substitutions in a natural way to get used to them.

Key of C major .
Subdominant/ Tonic/
Dominant/ Tonic/
Subdominant/ Dominant/ Tonic/

The 3 progressions from which all are built.

First we will take. A standard cadence .
Subdominant/ Dominant/ Tonic/

Dmin7/ G7/ Cmaj6/
DFAC....GBDF....CEGA

I will create a simple melody for it

CAFDFA....BGFDFG...EGAGCG

Next We are going to transform the progression to
To
Subdominant/ {subdom IVmin sub} Tonic/

Fmaj7/ Fmin7/. Cmaj6/
FACE.......FAbCEb....CEGA


CAFDFA....CG#FD#G#F...EGAGCG


See we took our melody and minimally changed it to the new form .
This is a way to help you understand the scope of substitutions .

In the key of C major
The Subdominant substitution IVminor
Consists of these chords

Fminor7
Fmin6
Dmin7b5
Bb7
Abmajor7
Dbmaj7


Now with what we just made a moment ago we are going to swap out these different IVmin chords
Yet keep the melody identical .
Listen to what changes and what sounds the same.

Fmaj7/ Dmin7b5/. Cmaj6/
FACE.......DFAbC....CEGA


CAFDFA....CG#FD#G#F...EGAGCG


Fmaj7/ Bb7/. Cmaj6/
FACE.......BbDFAb....CEGA


CAFDFA....CG#FD#G#F...EGAGCG

Fmaj7/ Abmaj7/. Cmaj6/
FACE.......AbCEbG....CEGA


CAFDFA....CG#FD#G#F...EGAGCG


You see the IVmin category any those Group of chords can be used to express it.
You can play same melody over any IV min chords
Or you can play the chord tones of them different chords over a Fminor chord. Viseversa
You are grouping chords by function giving you a way to play many more options by understanding what things are the same as each other .
Just like how in c major key
1.Cmaj7
3.Emin7
6 Amin7
These 3 chords the tonic can always be swapped for each other .



Here is the KEY Cmajor .
CDEFGABC
1.CEGB.....Cmaj6....Tonic
2.DFAC......Dmin7....Subdominant
3.EGBD......Emin7.....Tonic
4.FACE.......Fmaj7.....Subdominant
5.GBDF........Gdominant7..Dominant
6.ACEG........Amin7.....Tonic
7.BDFA....... Bmin7b5.. Dominant

You group the chords together in function
( Based on the center focus C Maj CEGC)

Tonic..... Relaxed
1.CEGA..C6
3.EGBD....Emin7
6.ACEG....Amin7

Subdominant...a bit tension
2.DFAC......Dmin7
4.FACE......Fmajor7

Dominant...very tense ...far from home
V7. GBDF G7
iiv BDFA Bmin7b5.Bhalfdiminished


These are our 7 chords classified by function .

Here is the main structure of progression ( changing chords )

Subdominant/ Tonic/
Dominant/ Tonic/
Subdominant/ Dominant/ Tonic/

Ex
Fmaj7/ to Cmaj6/
FACE/ to CEGA/

It's some tension to relaxation .

Next is tension to relaxation .

G7/ to C6/
GBDF..CEGA

We can swap out the chords or substitution for other chords that the same function .
So
Subdominant/ Tonic/

Can be
Fmaj7/ Emin7/
Dmin7/ Amin7/
F6/ to C6/

We can also turn around the progression
So Subdominant/ to Tonic/ becomes

Tonic/ Subdominant/ Tonic

Cmaj/ Fmaj7/ Cmaj/
Or
Emin7/ Dmin7/ Amin7/
Or
Amin7/ Fmaj7/ Emin7

Next we have

Dominant/ Tonic/

Can be turned around

Tonic/ Dominant/ tonic/
(Note when we turn around we put a tonic at end for resolution )

C6/ G7/ C6
Amin7/ Bmin7b5/ Emin7/

Emin7/ G7/ Cmaj6/

Now that we seen the Diatonic functions

We also have non Diatonic substitutions in the key of C major .


Tonic..... Relaxed
1.CEGA..C6
3.EGBD....Emin7
6.ACEG....Amin7
Sub
Amin6 ACEF# ( melodic minor
F#min7b5 F#ACE ( inversion of Amin6





Subdominant...a bit tension
2.DFAC......Dmin7
4.FACE......Fmajor7
Sub

IVminor category
....
Fmin7
Fmin6
Bb7
AbMaj7
Dmin7b5
Dbmaj7

#IV diminished 7th

F#dim7
F#ACD#

The #IV Subdominant substitution
Is 4 dominant chords
F7 FACEb
G#7 G#CD#F#
B7 BD#F#A#
D7 DF#AC








Dominant...very tense ...far from home
V7. GBDF G7
iiv BDFA Bmin7b5.Bhalfdiminished

Sub

Tritone sub for G7 GBDF is C#7 C#FG#B
Next is

Bdim7
BDFG#
Contains 4 dominant chords
A#7, A#DFG#
C#7,C#FG#B
E7,EG#BF
G7 GBDF

These all Substitution for dominant in C major

G wholetone scale
GABC#D#F
G half whole diminished
GG# A#B C#D EF G
G augmented scale
G, A#, B, D, Eb, F#, G



......


Note.

In the key of C major

You have a cadence to each chord in the key.

1.Cmaj.....Dmin7,G7,Cmaj
2.Dmin7...Emin7b5,A7b9, Dmin6
3.Emin7..F#min7b5,B7b9, Emin6
4.Fmaj7...Gmin7,C7,Fmaj6
5.G7.......Amin7,D7,G6
6.Amin7...Bmin7b5,E7b9, Amin6
7.Bmin7b5..C#min7b5,F#7b9,Bmin7b5

 

Last edited: Oct 22, 2019

Never mind just saw you covered Am too. Ignore the hate, thank you for your FREE knowledge man!

 

Last edited: Oct 22, 2019

.

 

Last edited: Oct 22, 2019

Hello Donald thanks for joining us my friend, let me know if there is anything you would like me to dig into more or if your wondering anything .

 

Thank you for all this information, i promise i will read the pdf im compiling of all this the second im out of class today.

 

I was thinking the same thing but as a txt! Could you maybe post a link for downloading? I don't have acrobat so i can't write pdf's

 

I’ll turn it into a rich text file when I get home, todays Been a bit rough but I promise I’ll compile these

 

Chord Voicings
-------------------------

Starting with the KEY of C major
We are now going to take a look at
Chord voicings for a ii V I in C major.

We will use closed Voicings such that you get
4 usable inversions of the chord.

The chord will be connected to the cadence
Next the chord will display the melodic fragment attached .

First we will use a maj6 - min7 voicing for ii
Then a dim7 voicing for V7
Then a maj6 - min7 voicing for I

This structure will also contain voice leading.

Dmin7/ G7/ Cmaj6/

The chord is displayed from lowest note to highest note. Then the melody and voice leading.
Chord first then melody

1. ADFC ( CAFD) G#DFB ( BG#FD) GCEA (AGEC)

Chord then melody in caption

2. FCDA ( AFDC) FDBG# (G#FDB) EACG (GECA)

3.DACF (FDCA) DG#BF (FDBG#) CGAE (ECAG)

4. CFAD ( DCAF) BFG#D (DBG#F) AEGC (CAGE)


Follow this pattern of 4 descending Voicings in ii V I of C major in 4 octaves.

 

Chord Voicings II
----------------------------

Now we will take a look at

The same thing for Cadence to Amin.

We will use Min6- Min7b5 voicing for ii
We will use dim7 voicing for V7
We will use Min6- Min7b5 voicing for I

I will display the C major ii V I
Then underneath display the Amin ii V I

Just as before Chord voicing then melody .

C Maj ( Dmin7/ G7/ Cmaj6/
Amin ( Bmin7b5/ E7/ Amin6/

1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)


Play these in 4 octaves.

 

The Cadence spans all octaves descending with
Ascending chord, descending melody .
There are 4 Voicings for each cadence.
Once you finish the last voicing you descend to begin the pattern once more .
By doing this you will span the entire range of the instrument with Voice leading, contrapuntal shapes of chord Voicings assembled into Abstract universalCadence for every type of chord by learning the main two forms.

Major ii V I
Minor ii V I


Begin in the highest octave then work your way down to the lowest octave.



Just as before Chord voicing then melody .

Chord goes low to high, melody in bracket goes high to low then start over with next chord voicing

Chord goes acsending melody is descending

C Maj ( Dmin7/ G7/ Cmaj6/
Amin ( Bmin7b5/ E7/ Amin6/

1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)

1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)

1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)

1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)

1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)
1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)

1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)

1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)

 

I agree, but in order to play jazz and improvise this is basically the only way to do it. If you love jazz you obviously need to have some knowledge on this.

 

You are about to embark on a journey through all octaves in the KEY of C major.
With the progression

Cmaj6/ F#dim/ Dmin7/ G7
I...........#IV....... ii......... v

As before start in high octave .
Descending to low octaves .

Chord ascending melody in bracket descending.

Systems check engine online 3..2..1... Launch rockets.

1. AEGC(CAGE)AD#F#C(CAF#D#)ADFC(CAFD)

G#DFB(BG#FD)

2.GCEA(AGEC)F#CD#A(AF#D#C)FCDA(AFDC)

FBDG#(G#FDB)

3.EACG(GECA)D#ACF#(F#D#CA)DACF(FDCA)

DG#BF(FDBG#)

4.CGAE(ECAG)CF#AD#(D#CAF#)CFAD(DCAF)

BFG#D(DBG#F)


1. AEGC(CAGE)AD#F#C(CAF#D#)ADFC(CAFD)

G#DFB(BG#FD)

2.GCEA(AGEC)F#CD#A(AF#D#C)FCDA(AFDC)

FBDG#(G#FDB)

3.EACG(GECA)D#ACF#(F#D#CA)DACF(FDCA)

DG#BF(FDBG#)

4.CGAE(ECAG)CF#AD#(D#CAF#)CFAD(DCAF)

BFG#D(DBG#F)

1. AEGC(CAGE)AD#F#C(CAF#D#)ADFC(CAFD)

G#DFB(BG#FD)

2.GCEA(AGEC)F#CD#A(AF#D#C)FCDA(AFDC)

FBDG#(G#FDB)

3.EACG(GECA)D#ACF#(F#D#CA)DACF(FDCA)

DG#BF(FDBG#)

4.CGAE(ECAG)CF#AD#(D#CAF#)CFAD(DCAF)

BFG#D(DBG#F)

1. AEGC(CAGE)AD#F#C(CAF#D#)ADFC(CAFD)

G#DFB(BG#FD)

2.GCEA(AGEC)F#CD#A(AF#D#C)FCDA(AFDC)

FBDG#(G#FDB)

3.EACG(GECA)D#ACF#(F#D#CA)DACF(FDCA)

DG#BF(FDBG#)

4.CGAE(ECAG)CF#AD#(D#CAF#)CFAD(DCAF)

BFG#D(DBG#F)

1. AEGC(CAGE)AD#F#C(CAF#D#)ADFC(CAFD)

G#DFB(BG#FD)

2.GCEA(AGEC)F#CD#A(AF#D#C)FCDA(AFDC)

FBDG#(G#FDB)

3.EACG(GECA)D#ACF#(F#D#CA)DACF(FDCA)

DG#BF(FDBG#)

4.CGAE(ECAG)CF#AD#(D#CAF#)CFAD(DCAF)

BFG#D(DBG#F)

1. AEGC(CAGE)AD#F#C(CAF#D#)ADFC(CAFD)

G#DFB(BG#FD)

2.GCEA(AGEC)F#CD#A(AF#D#C)FCDA(AFDC)

FBDG#(G#FDB)

3.EACG(GECA)D#ACF#(F#D#CA)DACF(FDCA)

DG#BF(FDBG#)

4.CGAE(ECAG)CF#AD#(D#CAF#)CFAD(DCAF)

BFG#D(DBG#F)

 

We are starting to get into the advanced aspects of the structure of music.
It is intimidating ( but you get it over time don't give up! Go slow , it's going to take time just stick with it)

I want to invite people to ask questions now, before I continue to explain more and more advanced aspects .

The is one thing it is very important for you to understand.

Any melodic motion can be made on any part of a instrument in any particular form.

To help you understand what I mean,
Take the last comment box before this one .
We have the key of C major ,
The particular progression .

Cmaj6/ F#dim7/ Dmin7/ G7/ Cmaj6

I showed you a motion of traveling every octave in
4 Voicings which follow voice leading .

This is demonstrating that any type of motion with harmony or melody can be made .

Imagine for a moment that a person is on say piano. This person in the example, has zero knowledge of how music works.
What they are doing is hitting notes listening to the sound deciding what types of motion they want ,
High to low , low to high , high to low to middle, low to high to middle, they are building things just based on an idea for the motion of the sound .
Think of the melody shape for " happy birthday"

Middle ,same ,higher, back down, higher , lower
Etc.

You may think this person has a type of freedom to create music this way.
The only process or structure to follow they have is
Think of a Melody and try to pick it out and match it. That's the only rules to their method .
They have no form or structure it's just intuitive.

Now , even before explaining any negative aspects about the method they are using .

This process they are using, that stays the exact same for us studying music theory, using a form and being in a key with functions and 7 Diatonic chords , non Diatonic substitutions , scale for each chord, grace notes , passing tones , enclosures etc.

We have every single postive aspect that the ignorant person has , it's just that we are using a ground floor level .
We have this structure everything we do fits inside of .we have a way to understand options how to group similar things together etc.
We still follow the process of thinking of melodic or harmonic motions rhythms etc.
The only different between being ignorant of music structure , and hAve knowledge of music works is that when you learn how music works you learn what things are connected. What is happening,
But most importantly
You learn
Every single possibility .

In the last comment box we took key of c major
1 progression
Tonic/ substitution SubDom/ Subdominant/ Domin
Cmaj6/. F#dim7/. Dmin7/. . G7. /

I showed you a way to travel all octaves through all inversions with the chords and melody .

This form demonstrates whatever instrument you are using , any area your at is every chord and chord progression for all keys .

This extra step we have of having a foundation that we build the music out of, in no way places restrictions on us for how we can make harmonic or melodic motions.
In fact it's the opposite, we can take any progression or chord or anything, and travel any motion any octave .
This is the most important thing to understand about what I am sharing here.
This is not some restriction, that you doing the same things to create songs as people only doing it by selecting a sound and building up from Imagination. Except you are doing that also , but in with a form underneath .
You have everything you need to study and become what anyone you know would call a " musical genius "
This is because while a musically ignorant person
Might hear a chord with the notes
CEG then they play a high A note on top that came from their mind but now they don't know what else can be done with it.
You , the person who has deeply studied this music theory .
Will understand that you can span the entire instrument in all octaves with Rich harmony and as many instrument layers you want
Everytime you come up with the first idea in your imagination.
You recognize that what you heard in minds eye was C6 chord.that you can make thousands independent melodies out of it and all of them fit with each other yet unique you never run out of ideas or hot a place where you don't know what to do next.
You always know what to do next .
How can this be though?

It's because in any given song, not even 10% of the total structure of music itself is contained in it.

When you build this knowledge I am sharing on this thread . " The way music works "

A specific song is such a tiny thing compared to music as a whole .

When you, the informed fluent musician sits down to make a song .
You are coming from a place where you are not going to even fit 3% of your total musically knowledge in this specific song.
It's a tiny task .
Even the whole album this the song goes with
It's such a tiny task to write an album compared to
Your awareness of the whole of music .
You by studying a learning more all the time, are building up an understanding of every possibility.
Every chord change that exists, every type of movement or motion.
What's the big deal coming up with 1 melody for a 15 second snippet of a recording?
( When the contents of your mind contain millions ,
And how thosemillions of melodies are related to each other and which ones are variations of other ones)
I want to tell you, if you work hard you will exceed any level or Ability you ever dreAmed of that initially got you started to work hard to begin with
Whether it's a player you heard and impacted you so much that you wanted to be as good as that, what ever got you started in the path expanding your knowledge of how music works.
If you stick with it now ( yes it's hard)
If you put in the time and effort ( yes it seems impossible at first )
You will reach the point eventually ,
Where you have put in the work and effort to the point you have exceeded your dreams of how good you wanted to be.
You will advance to the point of beyond your dreams.
Now that I have told you the real truth.
It's going to get hard up on this bitch ( joke mofo relax) I want to build you up to the point where you have the ability to not only fathom the most advanced things in music , but use them fluently.
You will eventually be able to play music invented in realtime as you play it, that exceeds the quality and quantity of the music that took you 6 months just to compose 1 song of.
Music is sufficiently advanced subject and inner workings that you can spend 80 straight years learning all day every day and still have more there beyond your own lifetime .
The point is the journey is what's important.
A lifestyle of spending your time and effort and energy working toward becoming more fluent more developed .
This process is enjoyable no matter which part of the road you are on.
You are always going to express yourself musically better than the past no matter what.
Let yourself be intimidated when you hit the next level of the new thing you moved on to that happens forever . It's okay to feel like a student in that moment, because the level underneath that you just mastered , you acheived right before getting to this new level up, that made you getter that improved you . Take pride and joy for what you worked hard on, you got it , that level is in you now to use to express yourself . So even though you leveled up to this new material that seems hard And is intimidating , before long....
You will master it also .

You will be able to do things you never dreamed possible .
Believe in yourself . Work hard.
Acheive your goals .

Then when you go to play or record music
You will put everything in it you worked so hard on to articulate the exact emotion inside of you .
You will create emotions and feelings in people with your music that will stand the test of time.

Write a song just for your lover or kids or parents or best friend .

Tell them nobody else has a copy , that it was made for 1 special person that is one of a kind.

 

Let's now take our last shown form from before
Key of C major .

C6/ F#dim/ Dmin7/ G7/ {C6}


We seen it's closed Voicings traveling through the octaves.

Let's now break apart the chords into

Scale of chords

The scale of chords takes a single chord, and adds it's appropriate dominant chord .

If the chosen chord is not the Imaj or the vimin
Then this will be a secondary dominant .

If the chord is a dim7 chord ( as is the case with #IV)
Then you get a diminished scale .

Let's begin with our C6 chord first then move on to the next.

This C6 dim7 scale of chords will serve as our main structure to view the others through as well.
It makes it a little easier to grasp.

C6 is CEGA , ( also Amin7 ACEG )
Bdim7 BDFG# ( is G7b9 no root
Or it is ( E7b9 no root
This means with the C6 dim7 scale of chords
Initial form structure.
We have 1 form to be used in multiple instances
This makes it less to remember at first.

Let's now see this scaleofchords

C6 CEGA Ddim7 DFG#B

We have 2 , abstract Voicings .

We combine their notes in a row .
CDEFGG#ABC
We can see here the first property of the scaleofchords is that if you start on any note in
( C6/Amin7)
You will get chord tones on strong beats .
This work both ways , if we start on the chord tones of Bdim7 BDFG#
BCDEFGG#AB
We get chord tones on the strong beats.
This means right way this first initial property of the chord is you can use it on a Major type chord
Minor type chord , dominant type chord
And it's notes line up correctly on the strong beats evenly
We can see a demonstration of this now.

Let's say we have a chord form

Cmaj6/

This chord shows up and we need to play over it using the C6 dim7 scaleofchords

Now let's say it's for a long duration of the Cmaj/

We will use two properties .
1.arpeggios
2.c6 dim7 scaleofchords .

Let's see some different examples of this.

Strong beats in bold triplets in Red

1.CGAECGEDCBACEG pause
2.BCEGCBAG#GFEDC long
3.FDD#EDCABG#FF#GDBCEG
4.ACEGBA#AG#GFEDCEGA#A

These are musical examples that also include
Enclosures and chromatics .

A more clinical look

Descending C6 dim scaleofchords from root
CBAG#GFEDC

From 3rd

EDCBAG#GFE

From 5th

GFEDCBAG#G

From 6th

AG#GFEDCBA

This is very important to have a way to descend a scale beginning on any chord tone.

Let's now put the focus on the Bdim7
Part of the C6 dimscaleofchords.

( Remember in this case we are on a Cmaj chord
This means the Bdim7 chord in this scaleofchords is representing the G7 chord.)

Scale descending from b9th

G#GFEDCBAG#

From 3rd

BAG#GFEDCB

From the 5th

DCBAG#GFED

From the dom7th

FEDCBAG#GF

This means we have a form which has the capability to express the harmony in melodic form

There is a chord attached to each note in the
C6 dim scaleofchords

By use of syncopation , accenting which note on which beats we can spell the harmony in our melody using it.

Let's see an example .

Again a

Cmaj7/ x4

Say you hAve this single chord for a long duration

We will use the C6 dim scaleofchords .

We will think about the arpeggio notes combined with the scale to create a Melody . The melody will
Demonstrate strong beats in bold and triplets in Red. While keeping in mind we want to think about our phrasing as to denote a clear beginning middle and end of the phrase .

1.DBGE AG#FF#GECABDFG#GBCEGCBAG#G long

2.CEGBAG#GFE
2B.
CEGBAG#GF#FEDCBDFG#GC

 

Now , let's look at C6 dim scaleofchords
CDEFGG#ABC

In bold is our scale note
CEGA
DFG#B
EGAC
FG#BD
GACE
G#BDF
ACEG
BDFG#
CEGA

Now we will look at Closed chord voicings
Descending through all of our octaves .
This will express a harmony of V7 to I repeating
G7 C6 G7 C6 G7 C6 G7 C6 G7 C6

Shown is the notes of the chord Voicings
Low to high CGAE. Low note to high note


Begin in high octave descending into the low range

1.CGAE. BFG#D
2.AEGC. G#DFB
3.GCEA. FBDG#
4.EACG. DG#BF
1.CGAE. BFG#D
2.AEGC. G#DFB
3.GCEA. FBDG#
4.EACG. DG#BF
1.CGAE. BFG#D
2.AEGC. G#DFB
3.GCEA. FBDG#
4.EACG. DG#BF
1.CGAE. BFG#D
2.AEGC. G#DFB
3.GCEA. FBDG#
4.EACG. DG#BF

We can see it travels high octave to low octave
Using voice leading , that is each chord tone travels down to the nearest chord tone of the next chord .

Take your time go through these voicings play the notes in different rhythms and play the chord tones in different orders. Also play all the notes at same time mix these combinations up.


Next we are going to build upon this .

C6 dim scaleofchords
Forward
CDEFGG#ABC
Backwards
CBAG#GFEDC

We are going to play the voicing as a chord ,
Then descend the scaleofchords
( Scale in brackets )

Start in high octave descending to low octave

1a.CGAE ( EDCBAG#GFE)
1b.BFG#D( DCBAG#GFED)
2a.AEGC(CBAG#GFEDC)
2b.G#DFB(BAG#GFEDCB)
3a.GCEA(AG#GFEDCBA)
3b.FBDG#(G#GFEDCBAG#)
4a.EACG(GFEDCBAG#G)
4b.DG#BF(FEDCBAG#GF)
1a.CGAE ( EDCBAG#GFE)
1b.BFG#D( DCBAG#GFED)
2a.AEGC(CBAG#GFEDC)
2b.G#DFB(BAG#GFEDCB)
3a.GCEA(AG#GFEDCBA)
3b.FBDG#(G#GFEDCBAG#)
4a.EACG(GFEDCBAG#G)
4b.DG#BF(FEDCBAG#GF)
1a.CGAE ( EDCBAG#GFE)
1b.BFG#D( DCBAG#GFED)
2a.AEGC(CBAG#GFEDC)
2b.G#DFB(BAG#GFEDCB)
3a.GCEA(AG#GFEDCBA)
3b.FBDG#(G#GFEDCBAG#)
4a.EACG(GFEDCBAG#G)
4b.DG#BF(FEDCBAG#GF)
1a.CGAE ( EDCBAG#GFE)
1b.BFG#D( DCBAG#GFED)
2a.AEGC(CBAG#GFEDC)
2b.G#DFB(BAG#GFEDCB)
3a.GCEA(AG#GFEDCBA)
3b.FBDG#(G#GFEDCBAG#)
4a.EACG(GFEDCBAG#G)
4b.DG#BF(FEDCBAG#GF)
1a.CGAE ( EDCBAG#GFE)
1b.BFG#D( DCBAG#GFED)
2a.AEGC(CBAG#GFEDC)
2b.G#DFB(BAG#GFEDCB)
3a.GCEA(AG#GFEDCBA)
3b.FBDG#(G#GFEDCBAG#)
4a.EACG(GFEDCBAG#G)
4b.DG#BF(FEDCBAG#GF)
1a.CGAE ( EDCBAG#GFE)
1b.BFG#D( DCBAG#GFED)
2a.AEGC(CBAG#GFEDC)
2b.G#DFB(BAG#GFEDCB)
3a.GCEA(AG#GFEDCBA)
3b.FBDG#(G#GFEDCBAG#)
4a.EACG(GFEDCBAG#G)
4b.DG#BF(FEDCBAG#GF)


Take your time go slow emphasizing the strong beats on the descending scale then strike the next chord voicing in full then descend it's scale .

 

I'm gonna read all of this someday. Thanks in advance!

 

Our first scale of chords
C6 dim scaleofchords

Is our first abstract form
This is because it is made up from
C6 CEGA and Bdim7 BDFG#

This structure I described to you in detail in the last comment box has the properties of being used in several situations .

Cmaj/ G7/ Cmaj/
Amin/ E7/ Amin/
Cmaj/ C#7/ Cmaj/
Amin/ Bb7/ Amin/
Cmaj/ E7/ Cmaj/
Cmaj/ Bb7/ Cmaj/
Amin/ G7/ Amin/
Amin/ C#7/ Amin/

Any of these different progressions are instAnces where this C6 Dim scaleofchords is applicable .

As you can see they are very different from each other , and yet this one abstract form can be used in all these situations .

This will make more sense, once you see all of our varieties for scaleofchords and how each on is used .

To see Another use of the Maj6 dim scaleofchords

Let's create G6 dim scaleofchords

G6.........F#dim7
GBDE......F#ACD#

Think of key of C major .

G6 GBDE= Emin7 EGBD

A Diatonic substitution for C major tonic in key C.

Then the F#dim7 is our #IV substution .

So we can use the G6 dim scaleofchords
As a

Tonic/ Substitution Subdominant/
Emin7/.....#IVdim7/

......






Our 2nd scale of chords

We are only making a slight modification to our first scale of chords.

If we look at our first.
C6 dim
CEGA. BDFG#

If we bring the G note down to F# , now keep the rest the same . We get

Amin6 dim scaleofchords

ACEF#. BDFG#

This scale of chords has totally different uses than the first one . This is because of our new abstract form .

Amin6 ACEF# = F#min7b5

Min6 = Min7b5

This means we use this 2nd scale of chords
In primarily 2 main situations .
Amin6 is the relative minor in C major key
We use this scaleofchords on a tonic minor V7 to Imin6

ACEF# is Amin6 , FG#BD is E7b9 no root

Next our second different use of this scale of chords is by looking at the F#min7b5 F#ACE
This is 7 chord in Gmaj KEY

The secondary dominant or V7 of F#min7b5
Is C#7 C#FG#B ( Ddim7 is DFG#B C#7b9 no root

This means this scale of chords can be used in instances where you need to play a min7b5 and it's V7 chord .

Then there is a 3rd example ,
Because a min7b5 can be used as a substitution for a dominant chord .
F#Min7b5
F#ACE is related to
D7
DF#ACE
13...579

Then the tones in Bdim7 BDFG#
When used in the context of D7
Give us b5,#5,root,#9,and natural 13th.

So the Amin6 dim scale can be used over a D7
Function to spell out a Dominant 13 chord.


Amin6 Dim scale of chords
ABCDEFF#G#A


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

....

Look at our chord Voicings as before from high octave descending to low octave .
Chord tones are shown low to high .

1.CF#AE. BFG#D
2.AEF#C. G#DFB
3.F#CEA. FBDG#
4.EACF#. DG#BF
1.CF#AE. BFG#D
2.AEF#C. G#DFB
3.F#CEA. FBDG#
4.EACF#. DG#BF

See how it's one note different than the Maj6 dim?
Look.

{
1.CGAE. BFG#D
2.AEGC. G#DFB
3.GCEA. FBDG#
4.EACG. DG#BF
1.CGAE. BFG#D
2.AEGC. G#DFB
3.GCEA. FBDG#
4.EACG. DG#BF
}


Now that we have seen our 2nd scale of chords is a slight modification, let's look at it in full
Voicings descending the octaves as we did with the first scale of chords

1.CF#AE. BFG#D
2.AEF#C. G#DFB
3.F#CEA. FBDG#
4.EACF#. DG#BF
1.CF#AE. BFG#D
2.AEF#C. G#DFB
3.F#CEA. FBDG#
4.EACF#. DG#BF
1.CF#AE. BFG#D
2.AEF#C. G#DFB
3.F#CEA. FBDG#
4.EACF#. DG#BF
1.CF#AE. BFG#D
2.AEF#C. G#DFB
3.F#CEA. FBDG#
4.EACF#. DG#BF
1.CF#AE. BFG#D
2.AEF#C. G#DFB
3.F#CEA. FBDG#
4.EACF#. DG#BF
1.CF#AE. BFG#D
2.AEF#C. G#DFB
3.F#CEA. FBDG#
4.EACF#. DG#BF


Now we can see the Voicings , traveling through all octaves we can see adding our melody .

Let's look again at the 1st scale of chords as a comparison.


{
1a.CGAE ( EDCBAG#GFE)
1b.BFG#D( DCBAG#GFED)
2a.AEGC(CBAG#GFEDC)
2b.G#DFB(BAG#GFEDCB)
3a.GCEA(AG#GFEDCBA)
3b.FBDG#(G#GFEDCBAG#)
4a.EACG(GFEDCBAG#G)
4b.DG#BF(FEDCBAG#GF)

}

Now because all we have to do is change 1 note by one semitone G down to F#
Look at the Amin6 dim scaleofchords Voicings with descending scale which attached to each voice.

1a.CF#AE ( EDCBAG#F#FE)
1b.BFG#D( DCBAG#F#FED)
2a.AEF#C(CBAG#F#FEDC)
2b.G#DFB(BAG#F#FEDCB)
3a.F#CEA(AG#F#FEDCBA)
3b.FBDG#(G#F#FEDCBAG#)
4a.EACF#(F#FEDCBAG#F#)
4b.DG#BF(FEDCBAG#F#F)
1a.CF#AE ( EDCBAG#F#FE)
1b.BFG#D( DCBAG#F#FED)
2a.AEF#C(CBAG#F#FEDC)
2b.G#DFB(BAG#F#FEDCB)
3a.F#CEA(AG#F#FEDCBA)
3b.FBDG#(G#F#FEDCBAG#)
4a.EACF#(F#FEDCBAG#F#)
4b.DG#BF(FEDCBAG#F#F)


Now keep in mind that although we are 1 note different then the Maj6 dim scale of chords

We do not use the 2 scaleofchords the same way.

C6 dim scaleofchords
CEGA,BDFG#

Amin6 dim scaleofchords
ACEF#, G#BDF


.

 

We want to have a scale of chords for every functional situation in music.

To get all the different scaleofchords we need

We need to think about the main chord types we will come across in functional situations

( Remember, the Function is the most important thing because our our ability to swap out any specific chord with another of it's identical function)

Major6
Minor7
Minor6
Minor7b5
Dominant
Diminished




C6 dim7 scaleofchords
CEGA, BDFG#

CDEFGG#ABC



Amin6 Dim7 scaleofchords
CEF#A, BDFG#

ABCDEFF#G#A



C7 dim7 scale of chords
CEGA#, BDFG#

CDEFGG#A#BC



C7b5 dim7 scale of chords
CEF#A#, BDFG#

CDEFF#G#A#BC





Edim7 Dim7 scale of chords
{ AKA diminished scale half whole}

C#EGA#, BDFG#

C#DEFGG#A#BC#




Adim7 dim7 scale of chords
( AKA {diminished scale whole half}

ACD#F#, BDFG#

CDD#FF#G#ABC



These are our scaleofchords
Which cover every situation you can encounter .

They all share the qualities of having a harmony for each note in them. They always have chord tones on the strong beat.
They all descend the entire range of all octaves
With the chord voicing attached to the melodic descending scale .

We looked close at the first 2 scale of chords.

Now, let's look at our 3rd , the

C7 dim scaleofchords

CEGA#, BDFG#

You can see we made a slight alteration

Compared to C6 dim scaleofchords
C6 dim
CEGA,BDFG#



Scale of chords #3
.........

C7 dim7 scale of chords
CEGA#,BDFG#

CDEFGG#A#BC

CEGA#
DFG#B
EGA#C
FG#BD
GA#CE
G#BDF
A#CEG
BDFG#
CEGA#

This scale of chords gives us the C7
( V7 in Fmaj or Fmin)

C7 is also the Tritone substitution for F#7 V7
in the Bmajor or Bminor

C7 is the Backdoor dominant ( IVmin function
To Dmajor key.

C7 is also V7 of Fmin7 as the iiimin7 o
C#major KEY

So as you can see there are several ways to use a dominant like this .

Next our dim7 scale
Is Bdim7 BDFG#

Giving us Bb7, C#7, E7, G7

The most use of this is with
C7 and secondary dominant G7
V7ofV going to V
G7.....................C7( key of Fmajor or Fminor)

Let's look now at our Voicings for this scale of chords.

As we did with the first 2 scaleofchords
We have the chord voicing low to high
Then in brackets the descending scale which goes with it.

Start in the high octave traveling to the low octave

( Start by thinking of V7ofV to V G7/C7/Fmaj6)



1a.CGA#E ( EDCBA#G#GFE)
1b.BFG#D( DCBA#G#GFED)
2a.A#EGC(CBA#G#GFEDC)
2b.G#DFB(BA#G#GFEDCB)
3a.GCEA#(A#G#GFEDCBA#)
3b.FBDG#(G#GFEDCBA#G#)
4a.EA#CG(GFEDCBA#G#G)
4b.DG#BF(FEDCBA#G#GF)
1a.CGA#E ( EDCBA#G#GFE)
1b.BFG#D( DCBA#G#GFED)
2a.A#EGC(CBA#G#GFEDC)
2b.G#DFB(BA#G#GFEDCB)
3a.GCEA#(A#G#GFEDCBA#)
3b.FBDG#(G#GFEDCBA#G#)
4a.EA#CG(GFEDCBA#G#G)
4b.DG#BF(FEDCBA#G#GF)
1a.CGA#E ( EDCBA#G#GFE)
1b.BFG#D( DCBA#G#GFED)
2a.A#EGC(CBA#G#GFEDC)
2b.G#DFB(BA#G#GFEDCB)
3a.GCEA#(A#G#GFEDCBA#)
3b.FBDG#(G#GFEDCBA#G#)
4a.EA#CG(GFEDCBA#G#G)
4b.DG#BF(FEDCBA#G#GF)

 

Last edited: Oct 26, 2019

With the scaleofchords we get a way to have a scale that works on a set of two chords .
The scaleofchords gives us more than a regular scale because we get a chord with goes with each note in the scale along with the layout of the scaleof chords having the correct scale tones line up on the beat spelling out the chord.

Let's now look at a scale which fits with each chord .built from the harmonics of the chord .
" Upper extensions" makeup the notes on the scale such that any of the 7 scale notes are consonant with the chord underneath. You have no avoid notes and you don't have to worry about what notes land on which beats ( although you generally resolve to most consonant of the notes )

Let's look at the KEY of C major that you are probably so sick of you wanna to pull your hair put lol
( Keep in mind once you get familiar with all these levels of detail in the KEY of C major it all transfers over to all other keys this why it's important to really know C major in and out at first )

C Major KEY
CDEFGABC

The first "scale" is our key , it gives us the information which group of chords we have fitting into which functions .

1.Cmaj7 CEGB ( use C6 Cmaj6 CEGA
2.Dmin7 DFAC ( or Fmaj6 FACD F6
3 Emin7 EGBD ( or G6 Gmaj6 GBDE
4.Fmaj7 FACE ( Fmaj6 FACD F6
5.G7 GBDF ( our Diatonic Dominant chord .
6.Amin7 ACEG ( or C6 Cmaj6 CEGA
7.Bmin7b5 BDFA ( our Diatonic flavorful chord for V7 also our iimin7b5 from Amin cadence)


Each chord in the keys gets a upper extension 7 note scale unique to the chord.

First we want to group the Diatonic chords of the key together by function .

Tonic
----------
I.Cmaj6 CEGA
iii.Emin7 EGBD
vi.Amin7 ACEG

Subdominant
--------------------
ii.Dmin7 DFAC
IV.Fmaj7 FACE

Dominant.
--------------
V7 G7 GBDF
vii% Bmin7b5 BDFA or B halfdiminished


There are our 7 chords in 3 groups.

We start off where EACH group gets a 7 note scale

So we will start with 3 scales in the KEY of C major.

Let's start with the Subdominant function

this function is the only one which uses the exact scale of the KEY itself ( more on why layer)
So
ii.Dmin7 DFAC
IV.Fmaj7 FACE

Both use CDEFGABC
Except is centered around the arpeggio notes of that chord.
You have a major version and a minor version
Of the Subdominant scale sound .

ii.Dmin7 DFAC
DEFGABCD
And
IV.Fmaj7 FACE.
FGABCDE

How this works is that the chord tones are the strong focus and the other notes in the 7 note scale pull toward the arpeggio notes .
Watch.

Starting with the major sound.
Fmaj7 FACE

Scale is F Lydian FGABCDEF

Play
FACECAF

The extra notes GBD
G pulls to either F or A ( depends on your melody
B pulls to C
D pulls to C or E ( depends on your melody.


Now all 7 notes are always in the context of chord tones FACE Fmaj7 yet these extra notes G,B,D,
Can exist on top the chord with no clashing .
Mostly you will contour the melody to have the G,B,D, pull towards F,A,C the 135.

Let's see examples of this

FACEGF

See the G pulls down to F.

FAGFACBCA

The G pulls down to F
The B pulls up to C

Let's start on the 3rd of the chord

ACEDFACBA

The E pulls down to D then D pulls up to F
When we get to C we slide down to B then the B pulls to A.

Let's start from the 5th of the chord.

CFGACEDCABCEGAC

The G pulls to A
D pulls to C
B pulls to C
G pulls to A

Let's try another.

This time descending motion

CAFDEDCABCEFA


From the 3rd.

AFDBCAFDECACFA

From the root

FDCABAGFAFDBCAFCAEFACEF


Next up is our

ii.Dmin7 DFAC

It also uses the same scale , however the scale notes are centered around the
D,F,A,C,
1,3,5,7
Notes this time
E,G,B, are our extra scale notes .

E resolves to F
G resolves down F or up A
B resolves up C or down A.


As before let's look at our scale tones resolving
In the melody to the chord tones.

DFACBAFDEDBCED

Next the 3rd

FACEDBCEGA

From 5th

CEFDEFACBACED


Now descending .

Root

DBCAFDEDBCAFDEFA

3rd

FCDABCAEFDBCAEFACDF

5th

AFDBCEFDCAFDEFACDFACA