When it comes to a 7 note scale of this type ,
The focus is on the chord .
Take our IV. Fmajor 7
FACEFACE
Look at the chord tones spread out 2 octaves

Look at the gaps .
Between root and 3rd, 3rd and 5th, 5th and 7th.

We don't have that gap between 7th and root .

It is in these gap areas which we need to fill in a note .
3 gaps .
To do this find your R357
FACE
1357
Now take 135 and put a whole tone above 135.
F gets G, A gets B , C gets D .
Now adds these 3 additional notes to the 1357
FACE
1357
G,B,D

Our scale is.
FGABCDEF Flydian .

Next with ii Dmin7
DFAC
1357

D gets E , F gets G, A gets B

DFAC
1357
E,G,B

DEFGABC D Dorian.

This is the reason why in the major KEY it is your 2 Diatonic Subdominant chords which use the scale notes of the KEY itself.

We want to add in extra notes besides the 1357
But we want them notes to fit on top of the chord without clashing .

Otherwise you can use the 12 note chromatic scale
If you are not concerned about having the extra notes (besides the 1357 ) fitting in consonant way.

So we have scales now for our Subdominant Diatonic chords , and we seen how to use them scale tones pulling toward our chord tones .

Let's now look at the KEY of C major

Tonic function Diatonic chords
I.Cmaj7 C6
iii.Emin7
vi.Amin7

For these 3 chords in C major we can use
C Lydian scale CDEF#GABC

We seen how to create our upper extension scale before
C major7
CEGB
1357
C gets D, E gets F#, G gets A

CDEF#GABC C Lydian

And as before the chord tones are the focus , and the scale tones pull toward the chord tones , even though the chords tones can sit on the chord without clashing .
So the F# is a good note on Cmajor CEGB
Or Emin EGB or Amin ACE

Now we only need scale for our Subdominant category .
G7
GBDF
1357

G gets A, B gets C#, D gets E ,
GBDF.
1357
A,C#,E

.GABC#DEFG. G Lydian Dominant ( Lydian b7th)

BDFA
1357

B gets C#, D gets E, F gets G

BDFA.
1357

C#, E, G,

GABC#DEFG. G Lydian dominant

For both dominant function chords.

Just as the examples of before we always focus on the 1357 and the scale notes pull toward them .

Now we have a scale for every chord in C major KEY.

 

To understand how a MINOR KEY scales work,
We first have to look at the hierarchy in JAZZ.
1.KEY signature ( center focus)
2.Chord ( what function you are on in a given moment)
3.scale ( what tones are connected to your chord function you are on in which KEY.

So now let's look at the structure of

A minor ( relative C major KEY)
1.Amin6 ACEF#
2.Bmin7b5 BDFA
3.Cmaj7 CEGB
4.Dmin7 DFAC
5.E7 EG#BD
6.Fmaj7 FACE
7.G7 GBDF

You can see some differences with it's relative C major , and that's for a reason .
If you left it all the same as C major it would just sound like you were in C major.
But because a Minor KEY is unique from Major
We have some differences .
Here is how it works .

Our Functions in Minor

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

You can see our structure is the same as major .

A ii V I
In C major is Dmin7/ G7/ Cmaj6

Subdominant/ Dominant/ Tonic/

In A minor the 1 chord is always a Amin6 ACEF#

iimin7b5,V7,Imin6

Bmin7b5, E7, Amin6

We use B Locrian #9 ( G Lydian dominant
BC#DEFGAB
On the iimin7b5 chord

We use E Lydian dominant on the V7 chord.

EF#G#A#BC#DE

We use A melodic minor on the Imin6 chord .

ABCDEF#G#A


This is the minor cadence

Subdominant/ Dominant/ Tonic

A minor KEY

Tonic.
-----------
I.Amin6
III.Cmaj7

Subdominant
--------------------
ii% Bmin7b5
IV. Dmin7 ( IV minor
VII7.G7 ( backdoor dom
VI.Fmaj7 ( IV min

Dominant
---------------
V7.E7 EG#BD


So compared to C major

Emin7 EGBD a tonic in C major becomes
E7..EG#BD a dominant in A minor.

Bmin7b5 a Dominant in C major becomes
A Subdominant function in a minor
But we still use same scale ( B Locrian #9

G7 is dominant in C major
G7 becomes backdoor dominant in A minor
( It becomes a subdom IV category in A min
The scale stays G7 Lydian dominant

Fmaj7 and Dmin7 keep their scale and stay
Subdom function

Amin7 ACEG in C major a tonic becomes
Amin6 ACEF# in A minor

Here is examples of progressions in A minor .

Subdominant/ Tonic/

Turn it around , then use IV min category

Dmin7/ G7/ Amin6

Or
Fmaj7/ Amin6

Next dominant to tonic

E7/ Amin6/

Subdom/ Dom/ Tonic

Bmin7b5/ E7/ Amin6/



When we create a cadence to each chord in a key we follow either the major cadence or minor cadence .
iimin7/ V7/ I6 for Maj type chord
iimin7b5/ V7b9/ Imin6 for a Min type chord.

 

Upper structure 7 note scales for each chord,
In the context of a chord progression.
----------------------

We spent time on looking at the chords in a major and minor key and which scales go with the chord and it's function .

Let's now look at the context of a very common
C major Cadence .

Subdominant/ Dominant/ Tonic/

Dmin7/ G7/ Cmaj6/

Dmin7 will use D Dorian scale
DEFGABCD

G7 will use G Lydian dominant
GABC#DEFG

C maj6 will use C Lydian
CDEF#GABC

These are the scales we will use.

We will use them in a particular way right now .

The center focus is the chord tones

DFAC, GBDF, CEGA

Then the extra scale notes pull toward and resolve to our chord tones.
Next the progression itself has a forward momentum which moves to to tonic.

There are millions of melodies which represent these changes , but let's look at examples of some
With our above criteria .


DBCDEFAC,BAFDEFDB,CEDCEGACBAGAF#GEDC

Another

FDEFDCAC,BAFDG#GDF,EGAGCAF#GEDCBAGBDE

 

We have been looking at the separate elements in order to get each one down , before we eventually start combing all of them.
We have the scaleofchords for a set of 2 chords
The tonic and the dominant .
Then we just covered the 7 note upper extension scale that goes with each sep chord.

Now we will cover enclousures which go the the chromatic scale .

Let's start KEY of C major
iimin7 chord Dmin7

First step we start with the 7 note upper extension scale .
DEFGABCD

The next step we convert this into a chromatic scale .

The chromatic D Dorian scale .

( What we have to do is have a note between each scale tone )

We have a forward direction and a backwards direction

Forward direction.

DD#EGFF#GG#AA#BDCC#D

Backwards direction.

DC#CDBA#AG#GF#FGED#D

This chromatic version of the scale first of all
Makes all of our scale tones land on the strong beat.
Next the chromatic version shows us the possible enclosures.


Let's focus in on the chord tones of Dmin7

Using the chromatic D Dorian scale
We will focus on the root

FGED#D

On the 3rd

AG#GF#F

5th

CDBA#A

7th

ED#DC#C

Now forward direction .

BDCC#D

DD#EGF

FF#GG#A


This is the basic forward and backward .

Let's combine it with the upper extension scale
D Dorian DEFGABC .

Root

FGED#DC#CBACD

3rd

AG#GF#FGEDCDBA#A

5th

DCBDAGFEDFACD

7th

FEDC#CBAFDC#CDEGF


Let's now take our 2 Diatonic Subdominant chords.
ii.DFAC
IV FACE

And use their arpeggio's ,combined with the 7 note upper extension scale, combined with the Chromatic D Dorian scale , all together .


Dmin7 first

From the root

AFDD#EGFDFACC#D

3rd

CAFDCBAGFDAFBDCC#DD#EGF

5th.

FEDC#CAA#BDCC#DCAF


7th.

CDFACDBA#ACEGAG#GF#FEDC#C

 

Last edited: Oct 29, 2019

The Chromatic version of 7 note upper Harmon scale

Let's take our F Lydian scale for our IV chord in C major KEY

Fmaj7 FACE
FGABCDEF

FACEGBD

Now make
Chromatic F Lydian scale .

FF#GG#AA#BDCC#DD#EGFF#GG#AA#BDCC#DD#

First is to add a grace note to EACH scale note.
GF
F#G
G#A
A#B
DC
C#D
D#E
GF

Next we make a 2 note buttonhook or enclosure

GEF
F#AG
G#A#A
A#C#B
C#A#C
C#D#D
GD#E
F#D#E
GEF


Next let's make a 3 note enclosure with starts on the off beat like this .R is for rest ,X is the landing
Note resolution. ( The finish line )

12341
RxxxX

F#ED#F
G#FF#G
BA#G#A
DA#CB
DC#BC
D#CC#D
FDD#E
F#ED#F

This time a 4 note enclosure .

GF#ED#F
AFF#G#G
BA#GG#A
DCAA#B
DBA#C#C
CEC#D#D
GFDD#E
GF#D#EF


You can make the even larger also,
But let's look at
Adding enclousures to our arpeggio chord tones, our 7 note upper extension scale along with our chromatic D Dorian scale .
DFACEGB

DFAC
1357

Root

DC#CBAGFEDFACED#CC#D

3rd.

FEDC#CBAGFACEGF#D#EF

5th

AGFEDC#CBACEGBGG#A#A


7th

CBAGFEDC#CEGBDA#BC#C

 

We want to build up our ability to be able to play any possibility over any form.
We learn all these techniques to be able to combine them to make music we a thinking of in the moment.

What we want to eventually be able to do is any type of musical movement with harmony and melody , no matter what the form is.
Ex say I'm thinking of a Melody starts in middle goes high then low travels a arpeggio lands high on long note with vibrato then descends chromatically into a fast run until landing low mid area.
The idea is that I want to be able to do this no matter the key or the chord progression or the chord of the moment .( While still entirely being connected with what the form is 100 percent )

You might wonder , " well if you want to create music that can do anything no matter what the form is what's the point in having a form then ?"
What is the form accomplishing then ?
Well, this is the amazing thing about a music like jazz . A gropubof people can get together that never played together before or met each other before .
The form is what connects all music layers.
No matter what I'm doing if I follow the form and they are it will fit together we'll
It's a powerful revelation .
You are combing two opposites .
Structure and chaos
Restriction and freedom.
The form makes the freedom possible.
However it's only when you have developed yourself to be familiar enough with all the possibilities ,.
Will you have the freedom which comes from the form .

If your starting out and cannot mentally Invision many options except bland ones for a progression or chord, then it's not freedom it's crap.
So to get to the freedom takes incredible work and dedication and time, but it does carry over to any style of music you want it to, also it does carry over to any part of life the ability to structure life while having a place for improvisation and freedom .
Please give yourself the opportunity to reach the creative freedom that 100 percent will come with time if you dedicate yourself to learning this..
I just wanted to share this because sometimes people don't understand what the theory is really for .it's a means to an end. Just like your spoken language when you finally learn to navigate any topic you can create sentence after sentence fluently without feeling like your thinking hard about your specific words. It feels like it just comes out of you right? Like your expressing yourself fluently .
You can reach this with music also .
It is similar process as learning a language .
It takes time but however hard it feels now , once you are fluent it's effortless . The better you get is the less you have to think it's just engrained in your subconscious mind like driving a car or speaking your language .
Hang in there . Let the journey be positive and enjoyable it constantly gets more familiar .
Do it everyday as much as you can .

 

Symmetrical objects are the most special in music .

Anything you make out of them is applicable to each note in them.

Let's look at the symmetrical scales in Jazz.

The symmetrical scales are applicable to Dominant
Function .( Sometimes others as well like the non Diatonic #IV dim subdom substitution)

1. Wholetone scale.
FGABC#D#

Let's think of The KEY of C major , it's V7 chord is G7

How does the G7 fit with the whole tone scale ?
The main form is a G7b5 GBDbF or GBC#F

Now Because a whole tone scale is built from all tones you get 6 dom7b5 chords.

F7b5 FABD# goes with E7 as Tritone sub
G7b5 GBC#F goes with Cmaj7
A7b5 AC#D#G. Goes with Dmin7
B7b5 BD#FA. Goes with E7
C#7b5 C#FGB. Goes Tritone of G7
D#7b5 D#GAC#. Is Tritone of A7

The flat 5th resolves to the tonics root
The b5th of G7 c# resolves to C of C major.

You also get a dom7#5

G7#5 GBD#F.

The #5th in G7#5 D# resolves to the E in C Maj

You get 6 Dom7 #5 in the wholetone scale.

G7#5 GBD#F to Cmajor
A7#5 AC#FG to D7 Or Dmin7
B7#5 BD#GA to E7 or Emin7
C#7#5 C#FAB Tritone of G7
D#7#5 D#GBC# Tritone of A7
F7#5 FAC#D# Tritone of B7


You can do so much with the wholetone scale in terms of melody .

Let's look at an excersise now.

Create a compelling melody with the G wholetone scale which resolves to C major that sounds good.

Ex.

ABFGC#BGAF ( resolves to Voicing EACG)

Now practice this until it sounds very good
( Need to work out the rhythmic element )

Step 2 , now that you have it and it sounds good
We can look at what makes this scale amazing .

First we are going to create 4 Voicings for Cmaj6

CGEA, EACG, GCEA, AEGC

Now we go back to our melody resolving to that first voicing .

We shift the whole melody up one tone , then resolve it to the next higher voicing so watch this.
( Here is what we began with

ABFGC#BGAF ( resolves to Voicing EACG)


Now watch this.

BC#GAD#C#ABG. ( Resolves to Voicing GCEA)

C#D#ABFD#BC#A ( resolves to Voicing AEGC)

D#FBC#GFC#D#B ( resolves to Voicing CGAE)

We are opening the door to so much right now.

Let's try another melody resolving to C major


FABFGBC#ABGFAGF to voicing ( CGAE) Cmaj

Now this time instead of shifting the melody let's
Change the Voicing we are resolving to .

FABFGBC#ABGFAGF to voicing ( DACF) Dmin7

FABFGBC#ABGFAGF to voicing ( DGBE ) Emin7

As you can see if you take account both wholetone scales

G wholetone GABC#D#F
C wholetone CDEF#G#A#

You get every type of dominant chord resolving to any V7 or secondary dominant in the KEY

Spend some time exploring making more melodies out of the G wholetone scale ( resolving to Cmaj, Dmin7 , or Emin7) related to the KEY of C.

You can change melody by shifting up and down by tone or change the resolving chord Voicings to explore this.
There many millions of options here.

 

Make Lego blocks ( loopable melody )

Out of G wholetone scale .

Then resolve it to the 4 chord voicings of C6 CEGA.

I'll give you some examples.

First , create a Melody from the G wholetone
Which you could keep lopping it .

Ex

AC#BGFABG

Loop it a bit now.

AC#BGFABGAC#BGFABGAC#BGFABGAC#BGFABG

( The looping part is important first it tells you if you like the sound of it second you get a distinct beginning and end )

This is our Lego block 1.

AC#BGFABG

Now create a 2nd Lego block in the same way as the first .

AC#D#C#AGBG

Now loop it a bit.

AC#D#C#AGBGAC#D#C#AGBGAC#D#C#AGBG

We have our 2nd Lego block.

( 2.....AC#D#C#AGBG)

Now create a 3rd Lego block .


AGBC#D#BAC#


Now loop it

AGBC#D#BAC#AGBC#D#BAC#AGBC#D#BAC#

(3.....AGBC#D#BAC#)

We now have 3 loopable Lego blocks

1...AC#BGFABG
2...AC#D#C#AGBG
3...AGBC#D#BAC#

Now play them connected to each other in different orders.
Make a bunch different patterns out of the Lego blocks then resolve to the voicing C6 GCEA

Next,

We are going to take our 3 Lego blocks and now
Exploit the properties of the wholetone scale by shifting them up a wholetone do that we get
6 Lego blocks.

1...AC#BGFABG
2...AC#D#C#AGBG
3...AGBC#D#BAC#
4...BD#C#AGBC#A
5...BD#FD#BAC#A
6...BAC#D#FC#BD#


Next we do this same thing. Take our last 3 Legos and shift them up a wholetone to create 7,8,9,


1...AC#BGFABG
2...AC#D#C#AGBG
3...AGBC#D#BAC#
4...BD#C#AGBC#A
5...BD#FD#BAC#A
6...BAC#D#FC#BD#
7...C#FD#BAC#D#B
8...C#FGFC#BFB
9...C#BD#FGD#C#F

Next we do the same thing take 7,8,9
And shift them up a wholetone to get 10,11,12


1...AC#BGFABG
2...AC#D#C#AGBG
3...AGBC#D#BAC#
4...BD#C#AGBC#A
5...BD#FD#BAC#A
6...BAC#D#FC#BD#
7...C#FD#BAC#D#B
8...C#FGFC#BFB
9...C#BD#FGD#C#F
10...D#GFC#BD#FC#
11...D#GAGD#C#GC#
12...D#C#FGAFD#G


We now have enough Legos to mix and match them in different ways , even break each one into 4 sections then swap out those sections with other sections of other legos.

This gives us a way to explore every possibility in a form.
It gives our ears a way to build larger more complex melodies that are more expressive then smaller shorter melodies .

Take these 12 legos and experiment with them in different ways of coming them or parts of them .
Then resolve to the Voicings of C6 CEGA.

CGAE, EACG, GCEA, AEGC

Take your time , go slow if you need to ,

Add different rhythmic elements to it .
Really take in the experiance of exploring possibilities
And how variation and permutation can take you to
Uncharted territory and come up with more imagination than you typically would without doing it .

 

Last edited: Oct 30, 2019

Next we are going to look at the symmetrical scale

C Augmented scale

C D# E G G# B C


We get a C Aug triad CEG#
And a B Aug triad BD#G

The C augmented is the most important here .

The special properties of a augmented chord is
3 major #5ths in one

CEG# Cmaj #5
EG#C. Emaj#5
G#CE G#maj#5

Now adding in the B Aug to complete the scale .
BD#G

BC D#E GG# B

We have
Cmaj7 CEGB with b3 and #5 D# G#

Emajor7 EG#BD# with b3 and #5 G C

G#maj7 G#CD#G with b3 B and #5 E

This is the focal point of the C augmented scale

It gives us lots options .
Because with the b3 we can make

Cminmaj. CD#GB
Eminmaj. EGBD#
G#minmaj G#BD#G

And TRIADS
C min or C mAj
E min or E mAj
G#min or G# Maj
Baug BD#G
D#aug D#GB
Gaug GBD#

This is really interesting how the augmented form
Works .

 

Let's look at the exact same scale from the perspective of G7
GBDFA.C.E
135791113

C Augmented
CD#EGG#BC

C is the 11th
D# is the b13th
E is the 13th
G is root
G# is b9th
B is 3rd

Because the Augmented scale is symmetrical,

Look what happens when you make one for each of the 12 notes .

C Augmented scale.

CD#EGG#BC
C#EFG#ACC#
DFF#AA#C#D
D#F#GA#BDD#
EGG#BCD#E
FG#ACC#EF
F#AA#C#DFF#
GA#BDD#F#G
G#BCD#EGG#
ACC#EFG#A
A#C#DFF#AA#
BDD#F#GA#B
CD#EGG#BC

What we see is 4 scales
( Then it starts over in a different tone)

Let's now look at just the Augmented TRIADS
CEG#
C#FA
DF#A#
D#GB
.........
EG#C
FAC#
F#A#D
GBD#
.......
G#CE
AC#F
A#DF#
BD#G
........

You see we have a triad built from Maj 3rds
C to E , E to G#
CEG#
This means there are 4 augmented chords
In the chromatic scale . ( All possible notes)

3 notes x 4 sets = 12 notes of chromatic scale .

Let's see how to name them.
CEG# Cmaj Aug
C#FA , is FAC# F Maj Aug
DF#A# is D Maj Aug
D#GB is GBD# G Maj AUG

So 4 Augmented chords
( Related to C major they named
C major Aug ( think tonic
F major Aug. ( Think subdom IV
D major Aug. ( Think D7 V7 of V7
G major Aug ( think V7 G7

Now each augmented triad contains 3
maj#5 TRIADS

CEG#. Is Cmaj#5 , Emaj#5, Abmaj#5
C#FA, or FAC# is Fmaj#5, Amaj#5, C#maj#5
DF#A# is Dmaj#5 , F#maj#5, Bbmaj#5
D#GB is GBD# Gmaj#5, Bmaj#5, Ebmaj#5
....
EG#C is CEG# repeat where we began
Etc.

So the Augmented triad gives us all possible Maj chords in the chromatic scale smooshed in every set of 12 notes.

 

The implications of the augmented TRIADS and the augmented scales that extend out from them.


C augmented triad CEG# contains

Cmaj#5, Emaj#5, Abmaj#5

C augmented scale
CD#EGG#BC

Contains
Caug,Eaug,G#aug,
Cmaj,Emaj,Abmaj
Cmajor7, Emajor7, AbMaj7

Cmin, Emin, G#min,
Cminmaj7,Eminmaj7,Abminmaj7

F augmented scale

FG#ACC#EF

Faug,Aaug,C#aug
Fmaj,Amaj,C#maj
Fmaj7,Amaj7,C#maj7

Fmin, Amin, C#min
Fminmaj7, Aminmaj7, C#minmaj7

D Augmented scale
DFF#AA#C#D

Daug,F#aug,A#aug

Dmaj, F#maj, A#maj

Fmaj7,F#maj7,A#maj7

Dmin,F#min,A#min
Dminmaj7, F#minmaj7, Bbminmaj7


G augmented

GA#BDD#F#G

Gaug, Baug, D#aug
Gmaj,Bmaj,D#maj
Gmaj7, Bmaj7, Ebmaj7

Gmin, Bmin, Ebmin
Gminmaj7, Bminmaj7, Ebminmaj7


Here is every augmented scale contained in the
Chromatic scale ,
Next we see the inner contents of the
Augmented triad and the Augmented scale.


This Symmetrical form shows us several aspects of the inner workings of music structure .

The Augmented scales as a whole show us

Which areas to modulate to when starting on a KEY

If you are in the KEY of C major .

And you do want to modulate to another KEY
The most close ( while sounding like a new key)
Are
Cmaj, Emaj, Abmaj

( any of these keys modulate well to the other keys
Giving the music clear impression of key change

Look at G Aug
Gmaj, Bmaj, Ebmaj ( same thing any of these keys
Modulates to the other giving a sense that a new tonal center is established. )

Let's compare to a different modulation .
Say in the KEY of C major and you modulate
To G major , it does not give the sound a clear indication that a tonal center shift has happened
Sure after a while a long streching music you will eventually sound like the key of G coming from the key of Cmaj but it's not impactful.

What are the other implications of the augmented
Form?

It shows you which sets of chords are near each other

Cmaj, Emaj,Abmaj
Cmin,Emin,Abmin
Cmin7,Emin7<Abmin7
Cminmaj,Eminmaj,Abminmaj

For example all these chords are near each other
In Cmaj KEY
Emaj is a modulation
Abmaj is a subdom IVmin substitution (nondiatonic
Cmin is parallel min
Emin is iii tonic
Abmin is modulation
Cminmaj is parallel min
Eminmaj secondary cadence
G#minmaj is the G7 altered scale
And it's the same from the perspective
Of Emaj key or Abmaj key look at those groups of chords you'll see the same relationships

Putting into practice.

Start in the key of C major
Play the C Augmented

B leads to C
D# leads to E
G# leads to G

Do the same for E Maj then Abmaj

Next the relative minor .

Key of A min .
Use A augmented scale
ACC#EFG#A

G# leads to A
C# leads to C
F leads to E

Take everything we cover about the augmented TRIADS and scales
Take your time and apply it to major types
Minor type and dominant type of chords .
Look at how the scale can be navigated .
Then switch to cover the other 2 in that same form .
After you have done this for all 4 augmented forms
Practice using a Cadence ( ii V I )
And modulate to the other 2 keys listen to how it sounds .
Ex
C major KEY .

Dmin7/ G7/ C6/ { F#min/ B7/ Emaj}
Dmin7/ G7/ C6/ { A#min/ D#7/ G#maj/}

Then switch it around to the next one .

F#min7/ B7/ Emaj6/ { Dmin7/ G7/ Cmaj}
F#min7/ B7/ Emaj6/ { A#min/ D#7/ G#maj}

Etc.

Really explore that connections that the augmented Symmetrical forms show us .

Take your time .

 

How to make real music from a form.

In the KEY of C major


Dmin7/ G7/ C6/


Step 1 .
Zoom into the arpeggio

Taking { Dmin7/}

D....F....A....C....D....F....A....C....

This is level 1 .

DFAC
1357

These are the scaffolding of our melody

Level 2 is combine the arpeggio with the 7 note upper extension scale .

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

Now see how our arpeggio's are in bold?

Think of that's our Target for the strong beat
The other scale notes are hit on the off beat and resolve to the nearest arpeggio tone .

Ex.

On the beat is bold, off the beat is normal.

Starting off , just use arpeggios .

DFACD

See how our 7th C is off the beat , then resolves to D the root on the beat ( at the end of the line)

This is our blueprint of how this is going to work
A less consonant chord or scale tone on the off beat which resolves to a consonant chord tone on the strong beat.

Let's start out simple .

A descending melody.

D BC A F

The B on the off beat resolves to C on the strong beat .

Another.

AFD EFDA

We descend the arpeggio from A ,
When we hit D on the strong beat we go E on the weak beat resolving to F on the strong beat then further descend.

Another.

DFDEFDAF

Here we stay in a close group where E resolves to F before descending the arpeggio

Another.


Ascending
DFABCACED

B resolves to C then higher up E resolves down to the D root at the end ,giving a variety to the ascending motion.


Let's now take our 2nd chord of the cadence .
G7/

GBDF
1357

As before step 1 think of your arpeggio.

G....B....D....F....G....B....D....F....

Then in step 2 add your 7 note upper extension scale .

G Lydian dominant .
GABC#DEFG

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

As before start with a Melody just with the chord tones

GBDF
1357


Bold is on the beat regular is the weak beats
( Off the beat 1234)

GBDFG
See how the 7th F resolves to G the root?

This is our formula for this excersise .
The notes of the scale which are more dissonant
Resolve to the consonant chord tones.

Ascending

GBD EF

The E on the off beat resolves to the 7th on the beat.

Let's expand it.
GBD EFDB

So far we just added descending D then B arpeggio's

GBD EFDB C#D

Now we add C# off beat resolving up to D on beat.

GBD EFDB C#DBG

Here we connect the Descending B then G lands on a strong beat.

Now we have a self contained Lego building block where we started on G and end on G

So let's repeat part of the beginning.

GBD EFDB C#DBGBD EFD B C#D

Now let's remove the first 2 notes.


DEFDBC#DBGBDEFDBC#D

Let's remove the first 4 notes

BC#DBGBDEFDBC#D

See how it changes the way you here it ?

Let's look at another for G7


Descending

DBGEFDBC#DBGDF long ring

Another one.

B AG EFDBGBC#DF G B

 

 

Last edited: Nov 7, 2019

The living legend dave Frank pianist runs a jazz school in New York City .

Avante garde jazz composer Dave Frank s
Music touches me in a wAy which
Only Louis Armstrong , Bach, and Charlie Parker s music does.

My dream is that he sees this and responds

Please take time to look at his educational material as well as his Art.

 

It's very rare to see somebody post a clip of Pat Martino these days. I am actually tempted to read the stuff in here...

 

Pat Martino is a champion , and a especially what he's been through he has accomplished so much .

 

Last edited: Nov 29, 2019

https://liveforlivemusic.com/featur...mulating-genre-of-music-according-to-science/

 

may I ask you why you are spending a lot of time posting these theory lessons?
If you invested so much time, why didn't you format it* in a visually better way and save it in pdf and share it with the public? If not creating a lesson book.
Are you really digiting it or it's from the "OCR-ed" image of someone's theory book?
Seriously, the way it is presented is really not helpful. Imagine the person who hasn't have access to music theory, or not on the requeired level, and meets this in the way it looks in this thread, the subject is very tense anyway, and this plain text format makes it just more confusing/complicated to read and understand. Each visual weaknesses makes many parts more unclear.

Btw, I can't understand why some theorist still insist using the definition Cmaj6 when it's clearly an Amin7, as you also mention somewhere in these texts, so why do you think it's valid to use the wrong way? Is it the Berklee way to teach theory?

*I can see you formatted the text in some parts, at least making letters bold, so why not just formatting it in a real way?

 

I don't understand what you are asking about.
I don't know what you mean by the things you are saying, like what way you mean it.

You don't understand what Cmaj6 is?

CEGA
1356

Why use the 6th?

It's more consonant

B is the 3rd of G7 F is the 7th of G7

G7 GBDF resolving to Cmaj7 CEGB is more tense than Cmaj6 CEGA

However that's fine you can resolve that way still even though it has tension in C major7

There is a deeper level of music that ties into the
Cmaj6 .

Let's look at this .

Cmaj6 CEGA

Now B dim7 BDFG#
( Remove the root of G7 because C Maj has a G)
Make it instead a b9th G#
Now watch what we get when combining these 2 chords.

CEGA
DFG#B
EGAC
FG#BD
GACE
G#BDF
ACEG
BDFG#
CEGA

We get the C6 dim scale , a 8 note scale which has a chord voicing inversion attached to each note for harmony ( V7 to I harmony)

Do you think that's arbitrary? What's the point you ask?

Well if we keep everything exactly the same except
Take C6 CEGA sharpen the A to A#

CEGA# ( C7
DFG#B
EGA#C
FG#BD
GA#CE
G#BDF
A#CEG
BDFG#
CEGA#

Now we have a C7 dim scale of chords
Where 8 note scale each note has a chord voicing harmony.

So now we have major type , minor7 type ,dominant type let's go back to our original
C6 again.

C6 CEGA okay this time
We take G and flatten it F#

Amin6 ACEF#

The rest we keep the same ,now look what we have .
ACEF#
BDFG#
CEF#A
DFG#B
EF#AC
FG#BD
F#ACE ( look it's F#min7b5we have this type also
G#BDF
ACEF#

Now we have Amin6 dim scale 8 note scale that spells out chord Voicings inversions on each note of the scale.
Now we have covered
Major type ( maj6
Minor7 type ( min7
Min6 type
Min7b5 type
Dom7 type

Where each has a 8 note scale which the note is connected to outline harmony of chord inversions
That spell a progression of the dominant chord


Why care about any of this?

Because it gives you a way to cover an entire instrument all octaves with any chord and it's
V7 chord with voice leading

This means when you learn how to use those things
You can create any melodic motion or direction you want freely



You see the Maj6 is part of a larger music framework .
You get a V to I
4 times per octave for all octaves

( The I being any type of chord and function which exists ) and then it's V7 chord

What does a B note in a Cmaj chord accomplish?

Nothing . Is just the 3rd of G7 being unresolved
Which is fine if you decide you want to use it.

If you take a look at F6 FACD it's the 4 chord in Cmajor and the ii chord in c major
Dmin7 DFAC ( that's because those 2 chords both subdominant )
If you look at Amin7 ACEG and C6 CEGA
They both tonic chords Amin7 is a tonic in c major .
C6 is a tonic in C major

If we look at C dim7 ( parental form )

CD#F#A ( all minor 3rds apart(

Move middle notes up semitone
CEGA

Once you have C6
CEGA( C6 or Amin7
CEGA# ( C7
CEGB ( Cmajor7
CEGA
CEF#A ( Amin6 or F#min7b5
CEGA
ACEG
AC#EG ( A7
ACEG
ACD#G ( Amin7b5


In Jazz , the Amin7 ACEG is only used in C major key
As a tonic.
You would not use that chord on the KEY of Aminor.

You use Aminor6 chord in key of Aminor
Aminor6
ACEF#
1356

So unless I'm misunderstanding your post .

It's entirely possibly the " problems"
You think exist are due to not yet fully understanding that which is being presented to you.

Can I ask if you started on page 1 reading the thread?

If by chance you didn't it will guide you step by step through all the process .

 

Last edited: Dec 3, 2019