No, I'm so sorry, I'm so dumb that can't "understand" why don't you know the importance of the use of a sharp or a flat note.
"Make it instead a b9th G#"
That would be Ab, you can't have a flat ninth note of G7 named to G#. I mean, you can, but in this case this discussion becomes useless as it's not based on science or logic but simply only on faith, like a religious faith. And we're not supposed to discuss religion.
The same when you write "CEGA# ( C7"
The problem is that it's not for coincidence that music theory has kept respecting this naming rule because that makes sense and otherwise students would get lost and could only manage to pass through memorizing it as if it was a senseless code or believe in it as if it was a religion.

And you also say that: "G7 GBDF resolving to Cmaj7 CEGB is more tense than Cmaj6 CEGA"
Well, if it's more tense for you, just use the triad CEG, that's simple. Cmaj6 is just an inverted Am7 -> Am7/C

But don't worry, you're not the only person on Earth that believes this way, it's still not right though, just try to say the notes of that scale, you will realize where the bug is.

 

I don't understand what you mean.
It's not registering to me what your saying .
Can you explain more?
With your entire comment I don't know what you are really getting at or communicating

For instance is it your belief that G# and Ab
Are different sounds with a different frequency value?
Because if you did believe this , then I would understand
What your comment pertains to.
However if you think G# and Ab are enharmonic equivilents with the same frequency for both
Than I can't understand what your comment could possibly accomplish.

You think it's confusing for a person to know that
G# and Ab , A# and Bb, C# and Db, D# and Eb,F# and Gb, are enharmonic equivilents and each are the identical frequency?
How could that be confusing it's 5 notes ?
I just can't understand what you comment is saying .

You say why not use the triad CEG?

C6 CEGA IS using the triad CEG

I don't know what you mean.

When you talk about the religion stuff I don't register what context you mean or why.

Can you please explain more to help me understand
What deeper meaning is contained in your comment?

 

Last edited: Dec 3, 2019

a scale with the base note G can't have a ninth note altered from the base note (G), it must be named the next note of the scale: A, Ab or A#.

 

But I can demonstrably show this comment you wrote to be False .

Look

G7

GBDFA G#. A#...C#....Eb
R3579. b9... #9...#11...b13


Look A is the 9th and G is the R
What's your explanation?

The G is taken the A is taken what could you possibly name it?

You have bizzarre

" Nit pickery"

What helps me decide what to focus attention on and how much of it is
" Prioritization"

This means the most important things get more focus and the least important things get less
Does that makes sense?

For example enharmonic equivilents
Two names for identical notes. ( Same HZ frequency

C# is Db
D# is Eb
F# is Gb
G# is Ab
A# is Bb

A person MUST be equally comfortable see both names for the same frequency.
They shouldn't be more comfortable with one or the other .

It's not a strength to only be comfortable seeing
Enharmonics one way not the other, that's a weakness of the very basics.
You haven't gotten into real important things yet and your hung up on enharmonics equivilents?
Thats a weakness .

If you are focusing that much attention on nit picking
Insignificant things how could you ever fathom the more complex aspects of music?
How much attention and focus is left to focus on what's actually important?
Such a bizzarre thing.


CEG is just a triad
Not enough info to know what it is .

Is it ACEG ( a ii chord in Gmaj?
Is it CEGBb ( a V chord in Fmaj?
Is it a CEGA the I chord in C major ?
Already we have
Tonic Subdominant and dominant functions
The triad CEG could be representing .

Having 4 notes such as C6 CEGA is more helpful.

I mean how can you have jazz in your user name and not know all this?
Ithe major6 chord is older than the major7 chord.
Cmajor7 CEGB is crunchy ( but fine to use )
CEG is fine as a superimposition
But on it's on is super vague .
I mean if you say why not make C6 CEGA
Into CEG triad , then why not make CEG into
CG diad?
I don't get your point .
Why not play only with single notes?
The answer is , you can with all these things .
It's not about telling you what you can and can't do.
Is your impression that music theory is meant to be rules to follow ? Restrictions?

This entire thread is just the basics of jazz.
The theory you need to know to play
Thousand jazz standards and why they work the way they do .how to understand the language
( It also explains classical music chamber music as well )

 

Last edited: Dec 3, 2019

Let's look at the C6 Cmajor 6th chord

C E G A
1 3 5 6

What are the things in music's structure that uses this?

First we have to look at the parental form

Bdim7
BDFG#

Now picture each note with the note before and after it.

For B. A#BC
For D. C#DD#
For F. EFF#
For G#. GG#A

What pattern do you see here?

You have all 12 notes!

So starting on a Diminished 7th chord.

You can create any type of chord by sliding up or down the notes by one click
( Think a bicycle lock)

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

If I move the G# down I get G7 GBDF
If I move the F down I get E7. EG#BD
If I move the D down I get C#7 C#FG#B
If I move the B down I get A#7 A#DFG#
...
If I move the G# up I get Bmin7b5 BDFA
If I move the F up I get G#min7b5 G#BDF#
If I move the D up I get Fmin7b5 FG#BD#
If I move the B up I get Dmin7b5 DFG#C
...
If I take Bdim7 BDFG#
If I move the F and D up I get Bmaj6 BD#F#G#
If I move the F and D down I get Emaj6 EG#BC#
If I move the G# and F up I get Dmaj6 DF#AB
If I move the G# and F down I get Gmaj6 GBDE
If I move the B and G# up I get Fmaj6 FACD
If I move the B and G# down I get A#maj6 A#DFG
If I move the D and B up I get G#maj6 G#CD#F
If I move the D and B down I get C#maj6 C#FG#A#

Are you starting to see yet the significance of the major 6 chord?

The major 6 chord represents it's keys tonic.

Cmaj6 CEGA is home.

Now even though Amin7 ACEG is same notes.
You never use a Minor7 chord for a minor tonic.
So in the relative minor KEY of Aminor
( Relative to C major)
You use Aminor6 ACEF# for the tonic.
Like this cadence

Bmin7b5/ E7b9/ Amin6/

Compared to Cadence in relative C major

Dmin7/ G7b9/ Cmaj6/

Listen to those connected together like this.

Dmin7/G7b9/Cmaj6/ Fmaj7/Bmin7b5/E7b9/Amin6

Loop that 50 times

 

Last edited: Dec 3, 2019

If the information demonstrated to you is not enough for you to understand.
Just through a childish temper tantrum
Say a bunch of racist and ingnorant things
And waste your time being beligerent , instead of studying and doing things to improve your life .
Clap clap clap

If being shown to you step by step where all you have to do is play the notes to hear it and understand it .
Is too much work you for you, subsequently causing you to become beligerent and ingnorant,
You should stop doing music and go work at a gas station.
You don't have what it takes .

Spend 6 months practicing this.

"
Bdim7
BDFG#

Now picture each note with the note before and after it.

For B. A#BC
For D. C#DD#
For F. EFF#
For G#. GG#A

What pattern do you see here?

You have all 12 notes!

So starting on a Diminished 7th chord.

You can create any type of chord by sliding up or down the notes by one click
( Think a bicycle lock)

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

If I move the G# down I get G7 GBDF
If I move the F down I get E7. EG#BD
If I move the D down I get C#7 C#FG#B
If I move the B down I get A#7 A#DFG#
...
If I move the G# up I get Bmin7b5 BDFA
If I move the F up I get G#min7b5 G#BDF#
If I move the D up I get Fmin7b5 FG#BD#
If I move the B up I get Dmin7b5 DFG#C
...
If I take Bdim7 BDFG#
If I move the F and D up I get Bmaj6 BD#F#G#
If I move the F and D down I get Emaj6 EG#BC#
If I move the G# and F up I get Dmaj6 DF#AB
If I move the G# and F down I get Gmaj6 GBDE
If I move the B and G# up I get Fmaj6 FACD
If I move the B and G# down I get A#maj6 A#DFG
If I move the D and B up I get G#maj6 G#CD#F
If I move the D and B down I get C#maj6 C#FG#A#


"
Then come back and talk to me.


I just gave you ( in one comment box )

A lifetime of information on how music ticks.

 

Last edited: Dec 3, 2019

I don't know what you mean by this ,
This thread has many thousands of views and half of the people comment to me directly thanking me and others ask a question and then it makes sense then they thank me and use the information in their music.
Are you instead encrypting a different hidden meaning that you yourself are having a difficult time understanding it, and therefore are angry because of it?
I can understand that.
My advice is to go all the way back to music basics and run through the theory until you hit the point that you don't understand something . Work on that level and gradually work your way through .
Finally, start at the very beginning of this thread as it covers step by step ( once you have the music theory basics all memorized )
Then if you are going through the information ,
Find a snag in the weeds .
Ask me a direct question about the specific difficulty ( quote where your at)
Ask the question directly ( instead of encrypting
Into these strange attempts at a seemingly insult )
Best of luck to you, I'm happy help you understand anything you need to.
I would request that you keep in mind these few values when interacting here at audiosex

Honor
Integrity
Respect
Dignity
Trust

 

The worst part of this racist retarded comment.
His how purely dumb it is.
You can go get to to Bach, Beethoven, Liszt
Vivaldi hundreds of years back and they used every single thing I've talked about in this thread .
The theory is the way music itself works .
Jazz uses theory that all music uses
What makes jazz what it is , other things besides the theory ( although they did advance it further along and filled in some gaps in theory )
Jazz has a swing beat. It's a 3 over 4 time it's improvisation, it's listening to others and playing in a group composing in realtime there's a culture rt.
Many things make jazz unique.
The theory is not unique.
All music used the same music theory.
Because the music theory is describing
The way music itself actually works


PS we all came from Africa you tool.
( Study the d.n.a. evidence sigh)

 

Last edited: Dec 3, 2019

As I told you, there are music schools that think it's nit picking, just like you, I've heard about it, they think "A person MUST be equally comfortable see both names for the same frequency." [sic]
You miss the importance of FUNCTION.
You can believe in your faith, I didn't think I could change your belief with a comment, I just mentioned that it's not right according to those who care about what they learn or teach.
You had a lot of wild assumption after my short comment, quite rude ones actually. But I let it for your distorted reality field.
I'm not going to enter this useless argument. And I don't need to learn from you anything, have had brilliant teachers who knew how to teach and how to create music and didn't just memorize the phonebook.

 

If your genuine

How do you explain these situations ?

C6 dim scale .
CDEFGG#ABC

You have G and A so what do you name the note in between?

G7

GBDFA.
13579

How do you name the b9?
You have G as root and A as 9th
How do you name it?

( Please describe your thinking also

Finally when your dealing with music on the larger than single key view how do you decide which
Enharmonics equivilent must be followed?


Bdim7
BDFG#

Now picture each note with the note before and after it.

For B. A#BC
For D. C#DD#
For F. EFF#
For G#. GG#A

What pattern do you see here?

You have all 12 notes!

So starting on a Diminished 7th chord.

You can create any type of chord by sliding up or down the notes by one click
( Think a bicycle lock)

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

If I move the G# down I get G7 GBDF
If I move the F down I get E7. EG#BD
If I move the D down I get C#7 C#FG#B
If I move the B down I get A#7 A#DFG#
...
If I move the G# up I get Bmin7b5 BDFA
If I move the F up I get G#min7b5 G#BDF#
If I move the D up I get Fmin7b5 FG#BD#
If I move the B up I get Dmin7b5 DFG#C
...
If I take Bdim7 BDFG#
If I move the F and D up I get Bmaj6 BD#F#G#
If I move the F and D down I get Emaj6 EG#BC#
If I move the G# and F up I get Dmaj6 DF#AB
If I move the G# and F down I get Gmaj6 GBDE
If I move the B and G# up I get Fmaj6 FACD
If I move the B and G# down I get A#maj6 A#DFG
If I move the D and B up I get G#maj6 G#CD#F
If I move the D and B down I get C#maj


I can't possibly think
Your serious about this .

The name of something is a container a symbol
The only that that matters is the meaning
Not what you label something as.

Do you use 17 tone equal temperament or something?



You say I have wild assumptions, however you don't point to anything particular why is that?
I'm only saying specific things to you.
I don't assume things I responded to what you communicated.


Go ahead and you write out " your version"
A text version of all the connections in jazz,
And I'll study it .

 

Last edited: Dec 3, 2019

So much to learn here.
Kudos, brother.

 

See this is why I avoid theory and just make music I think sounds good.

 

Thank you I appreciate you.

 

Ah, don't let one or two trolls out of thousands of happy cAmpers persuade ya.

Take this little bit here try this for fun.

A helpful hint with the theory,

It's what all your instrument layers add up to be

So if you take a chord like
Bdim7
BDFG#
You can make different instrument do each note and space them far apart

Then do the inversions
BDFG#
DFG#B
FG#BD
G#BDF
( Bottom note is bass layer )

Have each of them resolve to

CEGA
EGAC
GACE
ACEG

So for example a 8 note scale
( However you have a chord voicing for each note in the scale (

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

CDEFGG#ABC

So whenever you make some melody
You have a chord attach to that melodies note
( If you decide to )

This will give you three dimensional music instead of flat boring music try it .
Make the beats and sounds whatever you normally would

 

Last edited: Dec 4, 2019

Oh, I never said I don't *know* theory. I just don't rely on it to make music. It's kind of intrinsic at this point; it's like being a baker- once you know it you just do it. You don't have to stop and think about rules of baking.

But it's true that too many people are trying to make music without ever having opened a cookbook in the first place (to flog a not very good metaphor to death)

 

That's true , the theory part down is just the starting line so much more comes after that .

 

You don't even know what your talking about.
Music " styles"
Have nothing to do with music you nut.
It's a marketing customer busdiness concept.
Music is 1 thing.
The " styles" or " genres"
Is a business tool that's at.


Go stand in the corner with your candy corn necklace clown shoes.

" Timbre"
Is what styles have to do with .
Timbre or what a instrument sounds like has nothing to do with how music itself works.
Happy birthday
Sounds like it does whether using a kazoo,
A synth rapping the words , opera singing ,
A piano a violin or farting it into a tin can.

 

I don't know what robotrip you are having right now
What did I say about drinking bottles of robotussin?
( Too hard on the kidneys yo..)

 

Why don't you then actually say what a good way of thinking is instead?
Why don't you just point at what a problem I have is and explain why?
That's what I don't get from you.
You live in a state of poetry

You think this thread is laborious?
Wow okay.
Good thing you are not a structural engineer
Brain surgeon
Quantum physicist
Motherboard designer
Or any of a billion
Actual complex discipline in society .
I take it your calculus and c++ is poor?

This thread is not even 1% of what millions
Musicians knew in their life .
Millions of people .

Go read a book about
leonard bernstein

Study the life of Liszt

Listen to 6 hours of Bach

How do you think society
Operates ?
Everyone laughing watching cat videos on YouTube?
Have you met any attorneys
Spine Drs?


Do you know what has been accomplished with music throughout history?
Or are you one of those people so lazy it's like,
" Oh, I know I'll just get into music and
Hit boom boom lick
Do to re so
"
Now I'll be a millionaire types?


I love music itself .
I'm interested in learning how it works.
No matter how advanced it has the capacity to work .
I modify myself because I accept music for what it is.
I'm not interested in making dumbed down flat lifeless 1 dimensional music .
To me this what " I love music" means.
I judge myself , not by the lowest common denominator musically or just barely being able to do something , but I judge myself musically by the best that has existed.
How do you think it works?

 

Last edited: Dec 4, 2019