study this one for while on the dominant chord alternating between a iimin7 and V7 iimin7 and V7

 

For myself, the most inspiring way to get jazz ideas and want to play is the time period of 20's to 30's such a powerful creative energy and swing to it do you think so?
Even with the limitations of the tech back then the recording is so 3d and so much depth to it musically

 

Last edited: Jun 4, 2018

Listen to these songs and try make the connection with the music structure we have been covering and these how songs were made.

It will give your mind an idea of how to speak through the music with your own voice

 

EXPLORING {POSSIBILITY


We are now going to get into what the dominant chord in each key has to offer.

looking at G7 in C major KEY
GBDF
and all the altered notes
G root G# flat 9 A 9 A# #9 B 3rd C# flat 5th D 5th D# #5 F 7th

what we can do is create a scale like the bebop dom scale except this is going to be a chromatic scale. our goal is to have all chord tones land on the beat this is how we can achieve that. ( expressing a G9 #5 #11 GBD#FAC#) in other words G wholetone scale.
starting on the root

descending from G

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

Descending from the 3rd

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

Descending from the # 5th


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

Descending from the 7th

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

Descending from the 9th

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

Descending from the # 11th

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



What we are doing is is opening up the door to every possibility

these are for connecting parts of lines such that any area we end up , we always have the ability to create a connection we want. we use these tools with our melody and harmony as the top priority.
we want to have the knowledge part serve the inspiration part.

 

Last edited: Jun 4, 2018

Now lets take the chromatic scale with scale tones on the "on" beat for G7 alt (G9 #5 #11

Lets see what kind of patterns we can make to explore this

C# D# E D F A B G# A D F E G B G# A long note ring

We can see here that we are building on everything we have covered before

 

Grab new version in later posts

Spoiler: Changelog

The book is updated, and contains all of the information of following threads so far:
https://audiosex.pro/threads/jazz-theory-101-made-easy-and-can-use-it-for-any-genre.38677/
https://audiosex.pro/threads/easiest-way-to-start-playing-jazz.38277/
The organization is changed and some videos of the other thread are moved to other section for a more cohesive structure.
Also, I have hyperlinked the links in word and pdf to allow going straight to youtube if you like.

Spoiler: Read Mode for Word

Use read mode in the Word with the following setting for a great reading workflow:

However, it seems mp3s are not opened in this mode

Enjoy

 

Last edited: Jun 6, 2018

welcome to the MMJ team my friend!
love it!
(Music Matters Jazz)

I just noticed the MMK2017 in your pdf ( supposed to be MMJ2017) but that does not matter!
what matters is that I love what you put together and appreciate your fine efforts, i want to help people and get them excited thank you for your help and support so much!
you have done a fine job!

I would like to expand MMJ ( originally music maters Jazz)
to Music matters series which touches on several things about music i love to have your contributions like you just did and others as well please let me know guys if you like to get involved, to make a fun and exiting music matters organization to education and inspire regular people in all fun areas of music that they can put to work in their own writing , right away with no worry of paying money or taking years of school.
My mission statement for MUSIC MATTERS
is to share knowledge and education for all people from all walks of life for free.
to give them the ability to learn so to be able to advance their abilities.
(for areas specifically regarding jazz genre read below.)
I find it extremely important to re-ignite the jazz fuse in society, have people with knowledge of its structure -reinventing it and making modern new music with a love and appreciation of music history and recognition paying tribute to what has come before.
please let me and us know if you would like to be a part of MUSIC MATTERS.
Let us know your ideas and possible contributions and passions. I am grateful to have you read this. I appreciate you and the time you have spent reading this. lets inspire music in people! and give them a way to bring it out of their soul and being!

 

Last edited: Jun 6, 2018

@MMJ2017
Music Makers VS. Music Players (based on non-written or not-completely-elaborated form)



These 2 categories are different:

1- Music Makers use their ears but Music Players use improvisational techniques more than ear.

2- Music Makers have much time for modification but Music Players lack that.

3- Music created by Music Makers are much stronger and catchier than the ones by Music Players.

4- In the 21st century, people don't have much time to listen to 1 hour of non-stop music by just one band when doing by improvisation.

5- Can you swear that you don't look at Jazz as nostalgia?

6- Why do you think if you can memorize or internalize those improvisational techniques, you'd be able to make better music?

7- Is your aim making smart music or finding some ways to play with your instrument unceasingly for more than a week?
.
.
.


Why still urging the students on to learn the improvisational techniques while ear is more capable than those techniques? Ear just needs some time to distinguish the best parts and you want to replace that by those techniques to create fast music.


Fast music for what?

Auditory music dominates the technical music in every aspect.

 

Last edited by a moderator: Jun 6, 2018

@foster911

Without going off topic - This is a theory thread.

As for the ears or the technique both can act separately or together.
When it comes to improvising, a good player will be playing what he or she is singing in their head.
Improvisation is composition on the spot.
If all the person is doing is playing scales and theory then that is what it sounds like.

A great soloist in any style will tell a story. Agreat improviser might well use some scales after-the-fact when someone decides to transcribe it or analyse it.
DURING, they have learned their scales, harmony, rhythms - the works - AND - they just play and write and can do BOTH. The best lines are not always ones that are thought about. Generally not.

 

I've not seen that player in my whole life. If I could, I'll inform you but don't wait for that. It's just a sweet dream. A common dream by all players.

 

Spoiler

Oh sorry for my mistake. I will correct it in the next version. I did not know the meaning.
Please inform me for or do any kind of edit that you think is required.

I will be grateful to be a member of MMJ or MM team. and I try to do my best to continue this path.
For now, I plan to add the information of the following threads to the book, and also update new information of current threads.
https://audiosex.pro/threads/advanced-jazz-theory-made-easy-can-use-it-for-any-genre-too.38578/
https://audiosex.pro/threads/pragma...eory-to-actually-make-music-in-reality.33804/
https://audiosex.pro/threads/the-language-of-modal-music.32818/
https://audiosex.pro/threads/the-language-of-tonal-music.32310/

There are lots of players foster! Joe Pass for jazz, Joe Satriani for Rock,.. I recommend creating another thread for discussion, for not going off topic.

 

Last edited: Jun 6, 2018

YES, This thread is to get people going understanding how it works and the possibility then after they understand how it works they can use it to speak through their instrument and voice.that is most important thing.
it would be awfully hilarious if there was a person who told other people what their "musical voice" should be in a text form,at on a thread.
but what makes sense is giving people understanding of the structure and language so that the person can be creative and inventive with all the possibilities.

basically i am trying to share what the ""old man jazz head" would share with youngsters starting out in 1910s ' we have lost that aspect of people learning from each other, in the same way that made jazz amazing 100 years ago.( in the sense of all the products to buy to learn jazz today or a big college debt owed for 25 years just to learn music"
why bother people think when they can do styles they dont have to go to school for like electronica this is why jazz is dying off it needs to come back alive and re-invented in new ways into the future.)
but with technology of today people from all over can read this thread or others with sharing of jazz and they can get that aspect that is so lost in this day of money making scams to learn jazz in 30 days" or go to berklee and never even be told about KEY COLLECTIONS for example.

in the early days which led to the best jazz it was a person teaching what they found out to a young kid like louis Armstrong taught by king oliver ,

ask your berklee teacher what is larger than a key?

answer a KEY collection.
for eample
a question.
which 2 KEY collections (with the C major KEY at the center point)
contain every possible chord substitution related to the C major KEY?

simple question right?

well a simple answer as well.

C augmented KEY collection
C diminished KEY collection

contain every substitution available for the C major KEY center.

C major KEY iimin7 V7 Imaj resolves to C, E or G# major7
E major KEY iimin7 V7 Imaj resolves to C, E or G# major7
G# major KEY iimin7 V7 Imaj resolves to C, E or G# major7
------------
C major KEY iimin7 V7 Imaj resolves to C, D#, F# or A major7
D# major KEY iimin7 V7 Imaj resolves to C, D#, F# or A major7
F# major KEY iimin7 V7 Imaj resolves to C, D#, F# or A major7
A major KEY iimin7 V7 Imaj resolves to C, D#, F# or A major7



2 key collections(C aug and C dim )
with C major KEY at center lay out for you every possible chord substitution available in order of consonance to dissonance.



every jazz song in last 100 years USES this information, yet barely anyone consciously uderstands it yet it is no simple
there is larger structure than KEY.

"modulation"

is a false idea, it gives impression that your key is the "largest structure"
but a key is a small thing.

how many keys in the chromatic scale?
12 major keys in the chromatic scale.(key collection)
how many keys in the whole tone scale?
6 keys in the whole tone scale (key collection)


you begin with the chromatic scale a collection of 12 notes and 12 keys.(key collection)
next to split it evenly in half like a zipper to get 2 whole tone scales.(key collection)
next you combine tetrachords from the whole tone scales to create your normal major keys.(note collection)

 

Last edited: Jun 6, 2018

once you know a structure of a language THEN you can speak fluently.

no 2 year old baby comes out saying
"Pure, ambiguous conjecture ....my friend. My distaste for your lack of demonstrable evidence is apparent."

they would have to learn the structure of the language to be able to say that sentence
( as a perfect expression which captures their experiance)

it not that the lines are not thought about, it is that it was committed to memory such that the brain can access it subconsciously just like how we can drive for 2 hours and not remember the whole ride once we park.

 

@Foster

Every great jazz musician you ever heard or liked including the ones in this century epitomise what you call a common dream.
It isn't a dream, it's a reality. They are too busy playing so I guess that's why you do not hear them talk about it.

 

New book version arrived :
http://uploadboy.me/itu4wrw9fbdm/Jazz Audio_ Book.rar.html

Spoiler: Changelog

The book now contains all of the information from the following threads so far:
https://audiosex.pro/threads/jazz-theory-101-made-easy-and-can-use-it-for-any-genre.38677/
https://audiosex.pro/threads/easiest-way-to-start-playing-jazz.38277/
https://audiosex.pro/threads/advanced-jazz-theory-made-easy-can-use-it-for-any-genre-too.38578/
https://audiosex.pro/threads/pragma...eory-to-actually-make-music-in-reality.33804/
Bookmarks are added for pdf for fast navigating.
For a word, it seems mp3 are not opened in the reading mode so just collapse the ribbon with Ctrl+F1 and open the navigation bar for the same workflow.

 

Last edited: Feb 7, 2019

fantastic thank you my friend!
Such a great job putting it together thank you for you fine efforts.

 

Bassdude could you share a couple lines for the folks here,

on some simple ways that you like to navigate the combination of arpeggios and scale tones combined?
thank you for your comments here.

 

what an interesting take on things.
bassdude, i guess the question remains in that context, why you chose to write your comment over playing in that moment yourself?