That's the way João Gilberto incorporates/emulates on guitar (alternating the bass note root/5th) the Samba's syncopation, originally done by the percussive instrument called surdo.

 

Last edited by a moderator: Jun 24, 2021

By realizing such, you're on to something... as so does, Chopin, Ravel, Villa-Lobos and Radamés Gnattali (Jobim's close friend and mentor)

All in all, very frenchy fountains...

 

Last edited by a moderator: Jun 24, 2021

Great lucid standpoint. Congrats!

Check this out:

 

Last edited by a moderator: Jun 24, 2021

If I may, I'd suggest you to give some thought about the following:

 

Last edited by a moderator: Jun 24, 2021

Well, upon looking at it..

I cannot get to a conclusion in terms of how it relates to Vivo Sonhando,
mostly because it seems to be overlying a Cm over G, which builds on the 4rth of G.. (subdominant)

While mediant susbtitutes and relative minors are build over the 3rd or 6th respectively..

G Major surely includes a C Major triad, (not minor)
while G Lydian doesn't even contain a C..


If you were to modify G Major, and include the b3 of C,
you will get G Harmonic Major, and that's interesting enough..

But when that happens in the track, the G chord is also becoming minor,
so you get G Harmonic minor instead..
(and maybe that's what it goes for, instead of G Minor or the G Aeolian b5 stuff)


-Otoh, considering the Alternative labeling/voicing of the chord Ebmaj7/G..

It's surely an interesting superposition of triads,
but Eb is neither the mediant nor relative minor..

However it also turns the G into a Minor chord by introducing its b3 (Bb),
and by listening at it I guess part of what makes it sound nice is the fact that:
G is the 3rd of Eb.
The 5th of G is D, which is also the nat7 of Eb..

So we've got the Tonic placed on the Third of the chord/voicing/inversion,
and that oughts to be a Pleasing effect.. (and is easyer/better on Piano, btw)

While also enhancing the nat7 of Eb with a D,
which may also give more solidity to the G chord being its 5th.

So yeah, no conclusion.
(beyond the fact that ofc,
you can superimpose different triads/chords over a given Tonic, and create modulations this way..)


Any clues?
How do you see it related to the Cm9/G type harmony from Vivo Sonhando?

In any case, I find this median/relative minor stuff has a very Familiar sound,
and overlying some of them over their respective base triads can give interesting sounds on its own..

 

Last edited: Jun 24, 2021

Did you mean something else because this is the 4th mode of a G Major scale and what the 7 note chord Cmaj13#11 is built upon.
C Lydian = C,D,E,F#,G,A,B

 

Last edited: Jun 24, 2021

Yes sorry, I meant G Lydian..
(also it would have been Bonkers.. lol)

 

Last edited: Jun 24, 2021

May I ask what are you doing?

 

Sorry for the confusion mate, I was solely referring your mention to Pitch Axis Modulation...

The "II" can naturally be turned into any type of chord given its mode (unobvious) intervalic symmetry.

I to II, ascending or descending, can lead to far too many places.

Check this basic example ( which somehow addresses your allusion to min b6 and also Major b6 chords )



How would you label the (on purpose) unlabeled chords?

Reminder: you may omit all the roots from the labeled chords, as also play the chords sequence in reverse (ascending)

 

Last edited by a moderator: Jun 25, 2021

You're absolutely right. My sincere apologies... maybe senselessly going with the flow answers that?

 

Man, there's no need to apologize.

I just want to know what's going on in this thread? What's the purpose at all? What are we going to do?

 

Where would you like it to go? I'm considering towards harmony. What do you say?

 

Actually, Rick Beato's son Dylan would probably just tell you the notes as the cat stepped on them

 

Harmony is an abstract theory for describing only an small part of music been gathered and compiled after the fact of music as you know. You can't only consider harmony and make a meaningful music. You have to start from music itself, harmony comes later. Of course you can start from harmony but the result would be nothing more than music exercises being taught by teachers.

It's necessary to get to know the theories of harmony, but it's not right to rely only on harmony. No one has been able to explain all the music with harmony. Harmony shows somewhat that a music works, but it doesn't reveal all the mystics of music.

 

Definitely a Jazz Cat. What is that? If a spreaded GM9, the right forepaw is about to screw the things up a bit...

 

Last edited by a moderator: Jun 26, 2021

Let's spare some energy for discussing the content brought up henceforth. What do you say?

 

Last edited by a moderator: Jun 26, 2021

Well, at least it got me thinkin about the matter,
and noticed it was implying a chord built on the subdominant,
and that another option would be Harmonic minor instead..


-As for the Chords,
of course there will be a different name for each one of them depending on the Inversion you choose,
or on what note you chose to place the Tonic, whether it was included in the chord voicing or not..

I'm not going to tell you the alternative names of all the possible inversions,
that would take me a while and there's really no point for me..

But at first sight they would be:
A+ (augmented), if you follow the Context of having the root on A,
or just as it's given Fsus6b9 but that's a silly chord no one will ever play on its own.. lol

Then Bmaj7#5add9 in that context, or F#b9 as it's given,
since the first spelling is crazy, ofc it would be handy to call it F#b9/B,
and again I'm not going to deal with the rest of inversions..

Emb6-9, Eb6b9 or C/D#, Esus9Maj7b6 or Cº/E, Em7b6,
the first and second chords would be OK i guess, the Last one is quite Good,
but the third one is bonkers.. lol (although it's growing on me, nice one

And in the context of having a G in the tonic, maybe..
Cb5/G, C#9/G, Cb5#9/G, Cadd9/G.. could be another option.


-On the Original Topic of this thread..
Another way of thinking/approaching it, could be that of Bela Bartok's Polymodal Chromaticism:
https://en.wikipedia.org/wiki/Polymodal_chromaticism

From it, one of the ideas that arised was his twelve-tone Phrygian/Lydian polymode,
which included All the Chromatic notes, but was apparently used differently than how other composers did,
where the notes still retained part of the harmonic Function.

I don't know the Details beyond that, but it's another possibility..

 

Last edited: Jun 28, 2021

Music is for ears and music-understanding part of brain. Using tongue or writing-related part of brain don't help much in communicating ideas effectively. You know how many music books there are on the market? Are they able to make people better musician? They just lead people astray from feeling the music.

 

So where's your tune for your provocatively dumb lyrics?