Understanding substitutions in Jazz

Discussion in 'Education' started by MMJ2017, Oct 16, 2019.

  1. MMJ2017

    MMJ2017 Audiosexual

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    Your thoughts are wandering all over the place .
    It is clear that you are Acting impulsive.
    You are not talking about anything specific or have any point. I am presenting demonstrable information about how jazz works.
    It is specific information every single player learns knows and uses.
    I have not talked about myself because the topic is not a person be it me or someone else , it is information .
    The way jazz music works itself.
    I am only presenting factual things not a type of opinion based content .
    I am speaking about what is not what my preferences are.
    What I am presenting is the knowledge millions of people learned throughout history it's how tens thousands of jazz standards inner workings are constructed and it's how to understand what to do with the music.
    The only way someone could respond the way you made the decision to , is to not even have read through this material because it is demonstrable .
    If you have something specific you disagree with why don't we talk about that.
    This entire place audiosex.pro
    Is not hundreds of artists and acts listing their material and advirtising tv shirts and CDs look around here.
    Why would you have these bizzarre expectations for me here and now?
    And more importantly what does anything I have made or done or recorded have to do with you a person reading a educational thread about jazz music itself?
    This topic of music education is about what the reader does with it
    I can write and record 25 songs by tomorrow morning and post it here for you , but if you don't understand what Is happening inside the music, what good does it do in this educational thread
    here?
    You say " talk the talk and walk the walk"
    You are just some person showing up to a music education thread whining and crying .
    What kind of " walk the walk" is that?
    Meanwhile I am demonstrating music knowledge.
    How music itself works.
    I am not just showing up somewhere saying nothing particular like you .
    I am explaining in a testable way how music exists as. Given we are in a music educational thread.
    I'm not talking the talk ( like you)
    I am walking the walk.
    You said words in a comment box, however what portion of reality do they accurately connect with?
    The portion of reality my words demonstrably connect with is the context of jazz music how it actually works in reality ( so demonstrable that 10s thousands of jazz standards ( songs in case you didn't know) can be reverse engineered and match to every sentence I have spoken.
    So if you really want to walk any kind of walk instead of just talking the talk. Say something specific you disagree with about this thread and we can discuss the topic at hand which is the way jazz exists in reality .

    I am happy to have a context with you some type of challenge creating music with timestamps whatever you want pick the specifics and we can time stamp showing the process .finish a brand new peice of music and whatever direction you want to go with it.
    How's that for walking the walk?
    What are you most comfortable with musicwise?
    That you are confident enough to have a friendly fun challenge , ( screw something made in the past )

    Maybe a time-stamped 3hour window ?
    Or do you 2ant a challenge where the music is composed in realtime ?

    We both win either way, either you beat me and I learn something about how you kicked my ass ( what was it about your music that demolished mine)
    Or the other way around
    What criteria would you like to set?

    Have to use all 12 notes within 16 bars?
    Have to stay in one key?
    Have to contain subwoofer car stereo bass?
    Have to contain 7 note harmony?

    Think it through figure criteria that plays to your strength.

    You see it's one thing to spend 6 months writing and recording a song.
    What about doing it in realtime?
    What about only having 3 hours or so for the entire process?
    Start to finish?
    What do you think?
     
    Last edited: Oct 18, 2019
  2. taskforce

    taskforce Audiosexual

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    @krakenfart This conversation has been done before. While you have a point about a real showcase, it is very weak. Tutors do not need to be professional musicians, meaning that they can teach and make a living alright, no need for gigging. But the attitude, man, this is not good imho. I remember in the 70s and 80s, us from small countries, we had to search hard to find books about jazz, real book was almost a myth and those who had enough pages from it were considered privileged. Now, we are given all this and more as pure distilled knowledge and we complain...
    Dunno man, what is this world comin' to.
    Cheers.
     
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  3. MMJ2017

    MMJ2017 Audiosexual

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    This is exactly what I am about what I am doing here.
    Giving free knowledge that normally is hard to come by or people don't really know how to find it .
    I'm trying to add value to audiosex.
    I respond in this educational way to every aspect of music from start to finish .
    Whether it's about composing,.writing, improvising, mixing ,tracking, pre production, production , mastering , engineering, artist development, setting up a recording room with acoustic treatment , which equipment on what budget to get , what studio monitors , what microphone, how to mic a drumset, how to mic a guitar cabinet , which vocal excersises etc. Im trying to give information to help people . ( So that the quality of music as a whole gets better in the world and people have a way to get their passion out follow their dream even if their poor)
     
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  4. MMJ2017

    MMJ2017 Audiosexual

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    I am absolutely happy with anyone at any time wanting to talk about ant specifics I cover why they think it does not work that way, if that's you please go into it. Let's get back to the way music works as a topic by approaching it that way.
    As far as this exact thread I literally mean millions of jazz players have learned what is presented here right now it does not get anymore standard than this there is nothing controversial in this content it is very straight forward . It is devoid of human opinion on purpose .
    I don't care what my own opinions are with this topic I care about how jazz itself works .
    I remove myself from it , I'm trying to find out how jazz exists as then share it in clearcut way.
    I do have threads about my own opinions are
    Like for example search for my thread series
    " What is real or not?"
    That's me as a person from my perspective a very different thing than sharing educational knowledge.
     
  5. MMJ2017

    MMJ2017 Audiosexual

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    In the last hundred years we see lot of fetishising
    Recorded sound.
    That is one choice made out of millions each moment for each second passing in the song.
    Yes a certain amount of that is valuble for sure.
    Myself , I put a much larger priority on understanding every possibility in each moment passing .
    Rather than fetishising each note choice made in a particular recording .
    Every second that passes in a recording each note you hear is literally one choice made out of endless possibilities .
    It's one thing people just starting out with music
    They feel great just to come up with something at all in a moment of time. That is one level of skill
    But think of the level of skill it takes to understand every possible thing that could have been played in that moment.
     
  6. MMJ2017

    MMJ2017 Audiosexual

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    Back to " all that Jazz"

    Understanding dim7 chords in the KEY of C major


    In all of music we only have 3 dim7 chords .

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

    Each one of them contains 4 dominant chords inside of it.

    BDFG#

    Bb7 ( A#7
    Db7. ( C#7
    E7
    G7

    A#C#EG

    A7
    C7
    Eb7 ( D#7
    Gb7 ( F#7



    ACD#F#

    G#7
    B7
    D7
    F7


    Now there are the 3 dim7 as well as the 12 dominant chords inside of them.

    Let's look at how all 3 of these dim7 work in the KEY of Cmajor

    First is the obvious one Bdim7 BDFG#

    It has the dominant of Cmaj G7 GBDF
    It has the dominant of Relative Amin E7 EG#BD
    It has Tritone sub of G7 , C#7 C#FG#B
    It has Tritone sub of E7 , Bb7 BbDFAb

    Next we learn about our Subdominant substitution
    Called the
    #IV dim7
    F#ACD#
    Inside of it contains
    F7
    Ab7
    B7
    D7

    We can see the #IV in many progressions
    In the KEY of C major
    Ex.

    F#dim7/ Fmaj7/ Emin7/ Ebdim7/ Dmin7/C#7/Cmaj/

    Or

    F#dim7/ Fmaj/ Fmin6/ Bb7/ Cmaj

    Or

    C6/ Cdim7/ C6

    Or
    Dmin7/ G7/ Cdim7/ Cmaj 6/

    That is 2 of our diminished what about the other one?

    Edim7

    EGA#C#

    D#7
    F#7
    A7
    C7


    We see by the Dominants inside of it .

    D#7 can resolve to Dmin7 ( Tritone of A7
    F#7 is V7 of Bmin7b5 the vii chord
    A7 is V7 of Dmin7 the ii chord
    C7 is V7 of Fmaj7 the IV chord

    So A7 to Dmin7 can show up

    Cmaj6/ C#dim7/ Dmin7/ G7/ Cmaj

    Edim7/ Fmaj7/ Fmin7/ Bb7/ Cmajor

    C6/ Dmin7/ C#dim7/ Bmin7b5/ Cmajor

    And many more
     
  7. MMJ2017

    MMJ2017 Audiosexual

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    Scales for substitutions in Jazz

    Scales in jazz are a small part compared other styles.

    You have a scale for each chord

    This can be hard to grasp at first but before you know it gets easy .

    There are 3 scales you need to know
    Major ( and it's modes including minor
    Harmonic minor ( and it's modes
    Melodic minor ( and it's modes

    Here is how they work in the key of C major

    1.CEGA C6 CDEF#GABC. C Lydian
    2.DFAC. Dmin7 DEFGABCD D Dorian
    3.EG#BD E7 ( V7 in Aminor EFG#ABCDE
    4.FACE. Fmaj7 ( FGABCDEF
    5 GBDF. G7 ( GABC#DEFG G Lydian dominant
    6.ACEF# Amin6 ( Imin ABCDEF#G#. A melodic minor
    7.BDFA Bmin7b5 ( BC#DEFGAB. B Locrian #9

    We can see that there are some differences from what you may be used to .

    It's true that you can use the chromatic scale on each chord or the C major reg scale as long as you hit chord tones on strong beats for whatever chord your on .
    But I want to gives you more usable scales where the notes in them can be used without avoid notes
    For example.

    You can play GABCDEFG on G7
    As long as you play GBDF on strong beats
    And you can play
    GG#AA#BCC#DD#EFF#G
    On G7 as long as you play GBDF on strong beats.

    However the scale I gave you
    G7 Lydian dominant GABC#DEFG
    Any of them notes can be used on the strong beat


    Another example

    Cmaj7 chord
    CDEFGABC
    You really can't play the F in any usable way on strong beat ( advanced players can play anything
    However
    CDEF#GABC
    All them notes are really strong on the beat
    Of Cmaj chord ( any tonic chord
     
  8. MMJ2017

    MMJ2017 Audiosexual

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    Let's look now at our substitutions and their scales.
    Key of C major

    Tonic.
    Cmaj 6
    Emin7
    Amin7

    Amin6
    F#min7b5

    These use C Lydian CDEF#GABC



    Dominant
    G7
    Bmin7b5

    Bdim7

    C#7
    E7

    These use G Lydian dominant
    GABC#FEFG

    B Locrian #2
    BC#DEFGAB

    E7 V7 of Amin uses A harmonic minor from EFG#ABCDE

    C#7
    Uses C# Lydian dominant
    C#D#FGG#A#BC#

    We also get into dominant diminished scale
    G7
    GG#A#BC#DEFG
    G wholetone
    GABC#D#FG
    Dominant has the most options .



    Subdominant substitutions .

    #IV dim7
    F#dim7 In key of C major

    Uses E harmonic minor from F#
    F#GABCD#E

    IV minor
    In key of C major this is
    Fminor
    Fmin6
    Bb7
    AbMaj7
    Dmin7b5
    Dbmaj7

    These use F melodic minor scale .

    FGAbBbCDEF


    The minor Cadence in Cmaj A relative minor

    A minor cadence to A

    Bmin7b5/ E7/ Amin6/

    Bmin7b5 uses B Locrian #2
    BC#DEFGAB
    E7 uses A harmonic minor
    ABCDEFG#A
    Amin6 uses A melodic minor
    ABCDEF#G#A


    Major cadence in C major

    Dmin7/ G7/ Cmaj6/

    Dmin7 uses D Dorian DEFGABC
    G7 uses G Lydian b7
    GABC#DEFG
    Cmaj 6 uses C Lydian
    CDEF#GABC
     
  9. MMJ2017

    MMJ2017 Audiosexual

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    How to construct a chromatic scale for each scale that goes with a chord.

    This is a first step of which the next is to create
    Enclosures for a chord .
    Before we get to enclosures though we have to construct a chromatic scale version of the starting scale .

    Example.

    Key of c major

    Chord is Dmin7
    Scale is D Dorian
    DEFGABCD

    We need create chromatic D Dorian scale .

    ( Each chord tones must be a strong beat)
    Forward direction

    DD#EGFF#GG#AA#BDCC#D
    D.....E...F.....G.....A.....B..C.....D...

    Backwards
    DC#CDBA#AG#GF#FGED#D
    D.....C...B....A.....G....F....E....D

    This is how to construct a chromatic D Dorian scale
    So that we have a note in between each note on a week beat

    Let's look at how we can use melody in this chromatic D Dorian scale .

    Dmin7/ x4

    DFACDA#GG#AFDFA

    This is a 3 note enclosure around the 5th
    DFAC
    1357

    DFAC
    BGA#G#AFGED

    This a 4 note enclousure around the 5th
    DFAC
    1357

    FACE
    DBC#BDAF...FCAF

    A 4 note enclosure a round the 7th
    DFAC
    1357



     
  10. MMJ2017

    MMJ2017 Audiosexual

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    Let's look at some enclosures in C major
    On the tonic chords .
    1.Cmaj6 CEGA
    3.Emin7 EGBD
    6.Amin7 ACEG
    1min.Amin6 ACEF#

    There is surrounding the 3rd.

    ( Start on the off beat,{G#FF#G } strong beats are in bold.)
    Think long note short note long note short note
    123 = 12
    So
    123123123123
    1..21...21..21..2

    That gives you a swing rhythm

    Next we start with
    Cmaj6 CEGA
    ..............1356

    G FDD#E C

    Next surrounding the 5th
    CEGA
    1356

    A G#FF#G ECEGE

    This are like Lego building blocks.
    For example combine the 2
    1.enclosure of 3rd
    2.enclosure of 5th

    CFDD#EDCABG#FF#G E

    Here is a triplet of Emin7

    CD#
    EGBCA

    Triplet in orange

    EA
    CEGBA#AG#GFDD#EDCABG#FF#GFEDC#EGA#AE



     
    Last edited: Oct 19, 2019
  11. MMJ2017

    MMJ2017 Audiosexual

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    Let's look at rhythm in a Melody
    1....2.....3....4....5....6.....7....8....1....2....3.....4.....5...
    123123123123123123123133133123123123123
    1...21..21..21..21..21..21..21..21..21..21..21..21..2
    C..EG..E....A... EG..EC...C..E...AC..EG. E... A... EG..

    This is difficult to write in text please bare with me
    But try this take your time go slow at first.
     
  12. MMJ2017

    MMJ2017 Audiosexual

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    Listen to these all the way through
     
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  13. sir jack spratsky

    sir jack spratsky Producer

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    ah welcome back MMJ we missed you
     
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  14. The Observer

    The Observer Guest

    He's only trying to help people who know very little of jazz theory.
    In terms of context, this is a forum with a lot of people who probably know very little of what he is saying. It does not matter whether a publisher would take him on or not. Possibly not in the way it is written inside the limited space of the forum posts, but that is not important.

    Perhaps it may not be the best way or the right way but he's not asking for any money. If someone knows it's wrong there is no point in saying so. If it was a published work and it was wrong, you would contact the publisher so it could be corrected, but it is not published other than this forum. That one comes with age because they have no need to prove it is wrong after a certain point, they just know it and walk away. That same person if they see that another person is only trying to help even if it is wrong will say nothing unless it hurts someone.
    As for him gigging playing jazz, it's a theory lesson not a how to play it at a gig. He would post a video of himself if that was the situation.
    I see why you are annoyed but the thing is, he is not hurting anyone and in fact, he is helping some. The institutions that teach jazz have this site blocked anyway.

    EDIT: He is like AS's version of Rick Biato and you do not see any institutions rushing to employ him either, but he also provides a valuable community service. That is perhaps a better way to see it.
     
    Last edited by a moderator: Oct 20, 2019
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  15. MMJ2017

    MMJ2017 Audiosexual

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    Thanks my friend,

    I notice some people have an attitude that to give away this type of knowledge for free is sacreligous.
    They believe that the thing that is most important is to be able to afford to go to a prestigious school. Get a price of paper with ink on it certified that you sat in a classroom and nodded your head then repeated back things with more than 65 % accuracy .I don't care about those things in the slightest .
    When it comes to jazz I love it for what it is want to understand it so I studied hard in anyway possible then want to share things for people that want to learn it.
    It's these propaganda ideas about certain things .
    Like you must provide peices of paper with ink on it.
    For every aspect of life to prove that you are worthy of survival. Breath, food , life.
    But sometimes people forget what is important
    Jazz started out a music thought of low class.
    The people learned only by sharing things each other , then those players once they got good would take on teaching the next generation .buddy bolden
    King Oliver , bunk Johnson , taught people then Louis Armstrong learned from these people.
    He then taught the world how to swing with the Advent of recording music and playing it back in living room across the world.
    Have we really cone so far as to think jazz should only be taught w ith a tuition fee attached?
    That it is sacreligous to help 0rople who are seeking to understand how it works?
    At what cost?
    That it eventually does out?
    I want the music to live and thrive .
    It is unique and not many types music especially modern music anywhere near the level of sophistication it has .
    I want to see music as a whole category increase in quality .
     
  16. MMJ2017

    MMJ2017 Audiosexual

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    We talked about scales for each chord before
    Based on the upper extension of a chord.
    There is a quick way to find out a scale for any chord you are on.

    You take the 135 of said chord and add it's 7th of that chord type . Then add a wholetone to the 13 and 5
    Let's see in ex.

    Cmajor key
    Cadence to C

    Dmin7,G7,Cmaj7

    DFAC,GBDF,CEGB
    1357..1357..1357

    For D chord
    DFAC
    1357

    So 135 is DFA
    Wholetones above them notes is
    EGB
    Put all 7 notes in a row now.
    DEFGABC D Dorian.

    Next is our G7 GBDF
    GBDF
    1357

    Wholetones above 135 is
    AC#E
    Put all notes in a row

    GABC#DEFG G Lydian dominant

    Last is Cmaj7
    CEGB
    135

    DF#A

    Put in row

    CDEF#GABC C Lydian

    We now have the 3 scales for the 3 chords in the cadence of C major.

    .....



    Let's now look at another type of scale in Jazz.

    This scale is for a V7 to I
    So 1 scale for 2 chords.

    In C major key

    GBDF to CEGB
    Two things we adjust first
    We make the dominant into it's dim7
    That's
    Bdim7 here
    BDFG#
    And we change the Cmaj7 CEGB into
    C6 CEGA
    That's step 1.
    Step 2 is combine 8 notes of these 2 chords into 1
    Scale

    CDEFGG#ABC

    Step 3
    Write them vertically
    C
    D
    E
    F
    G
    G#
    A
    B
    C

    Step 4 by selecting everyother note of the scale
    Wrote vertically then create the chords for each note like this

    CDEFGG#ABC

    CEGA......( C6
    DFG#B....(G7
    EGAC.......(C6
    FG#BD......(G7
    GACE........(C6
    G#BDF.......(G7
    ACEG........(Amin7
    BDFG#.......(E7
    CEGA.........(C6 or Amin7


    You see something special happens with this scale.

    We get C major and rel A min V7 to I
    Unfolding as the harmony of the scale .
    So the scale works melodically and harmonically
    V7 to I is our building block progression .

    As we travel through the scale
    CDEFGG#ABC

    We get a chord which perfectly fits each note .
    Such that anything you do with the scale
    ( Any melody you make)
    Also has a functional harmony.
    This means you can harmonize anything!

    This is called a " scale of chords"

    It was named by Barry Harris . ( Jazz legend

    However as Barry will tell you this existed in jazz music going back to the 1920s and before .


    Let's look at some of the implications in the scale of chords .
    C6 scale of chords is C6 / Bdim7/
    It works as G7 to Cmaj or it works as
    E7 to Amin the rel minor in that key.
    There are 2 important aspects of these 2 chords.
    1.
    C6 CEGA = Amin7ACEG
    ( That a major chord and minor are the same

    2.
    Bdim7 BDFAb
    Equals 4 dominant chords
    Bb7 / BbDFAb
    Db7/ DbFAbB
    E7/ EAbBD
    G7/ GBDF

    We are using abstracted chord structures

    A major chord which is identical with a minor chord

    A dim7 chord with is identical with 4 different dominant chords.


    Let's see this exact scale of chords applied to other chords in the C major KEY

    2.Dmin7 DFAC equals Fmaj6 FACD

    So what happens if we make
    F6 dim7 scale of chords?
    ( To go with our iimin7 chord in this KEY of C)

    F6 dim7 scale of chords
    FGAA#CC#DEF

    EGA#C# ( A7 V7 of dim7
    FACD.......(Dmin7
    GA#C#E..(A7
    ACDF........(Dmin7
    A#C#EG....(A7 or C7
    CDFA.........(Dmin7 or Fmaj6
    C#EGA#....(C7
    DFAC..........(Fmajor
    EGA#C#.....(C7
    FACD...........(Fmaj


    You see we have the same thing as before.
    Fmaj6 and it's V7 secondary dominant
    Or Dmin7 and it's secondary dominant .
    Either our ii chord in the key with it's V7
    Or our IV chord in the key of C with it's
    Secondary dominant.
    And as before the melody has a full harmony to go with it .
     
  17. MMJ2017

    MMJ2017 Audiosexual

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    Now before showing to you our other scale of chords.
    Let's validate the C major KEY non Diatonic
    Subdominant/ Tonic /
    Progression substitution called the #IV dim7

    This progression looks like C6/ F#dim/ C6

    How this works is that we start on tonic Diatonic
    In our key this means

    1.C6
    3.Emin7
    6.Amin7

    We select the 3.Emin7 as our substitution for or Tonic

    Next We create it's scale of chords.
    Emin7 EGBD = G6 GBDE

    D#F#AC......(B7 V7 of Emin7
    EGBD............(Emin7
    F#ACD#........(B7
    GBDE.............(Emin7
    ACD#F#.........(B7 or (D7 ,V7 of G6
    BDEG..............(Emin7,or G6
    CD#F#A..........(D7
    DEGB...............(G6
    D#F#AC...........(D7
    EGBD...............(G6


    You see what we have? F#dim7 F#ACD# is
    4 dominant7 chords
    F7 FACEb
    Ab7 AbCEbGb
    B7 BD#F#A
    D7 DF#AC

    Our #IV in the KEY of C major
    Can be thought of as V7 of iiimin7 ( which is tonic
    So this ends up compared to Cmaj as center
    Being a Subdominant function substitute
    V7 if G6 , or V7 of Emin7


    ....


    We need to now cover all the variations of the scale of chords .

    This means we need to Abstract all types of chords.

    1.Major
    2.Dominant
    3.Minor
    4.Min7b5
    5.Min6

    Our 1st scale of chords has
    Maj6 and dim7
    The maj6 is also a Min7
    C6 CEGA = Amin7ACEG
    This means we covered
    1.Major
    And
    2.Minor

    Next we need to cover Dominant type of chord.

    To understand this.
    Let's compare C6 to C7
    C6CEGA
    C7CEGA#

    We can see we simply move that 1 note up a semitone .
    This brings us to our 2nd scale of chords
    We change just that one note keep the rest the same
    C6 dim7 scale of chords is.
    CEGA, BDFG#

    CDEFGG#ABC

    C7 dim7 scale of chords is
    CEGA#, BDFG#

    CDEFGG#A#BC
    Let's
    Create the full C7 dim7 scale of chords

    BDFG#....( V7 of C7 secondary dominant
    CEGA#....( C7 the V7 of Fmajor
    DFG#B.....( G7
    EGA#C.....(C7
    FG#BD......(G7
    GA#CE......(C7
    G#BDF.......(G7
    A#CEG......(C7
    BDFG#.......(G7

    With 1 tiny modification we now have a scale of chords for the Dominant function.

    Let's see G7 dim7 scale of chords for Key of C

    GABCDD#FF#G


    F#ACD#.....( D7 secondary dominant of G7
    GBDF...........(G7 ,V7 of Cmajor
    ACD#F#......(D7
    BDFG...........(G7
    CD#F#A......(D7
    DFGB...........(G7
    D#F#AC......(D7
    FGBD...........(G7
    F#ACD#.......(D7
    GBDF........... (G7


    Our first scale of chords

    Maj6 dim7
    Covers the major type and minor type
    Dom7 dim7
    Covers the dominant type ( with it's V7 of V

    Next , for the 3rd scale of chords we want to look at
    A min6 compared to a minor7b5.

    To understand this let's compare
    Dmin7 our ii chord.
    To Dmin6

    Dmin7
    DFAC
    Dmin6
    DFAB

    Now
    Dmin6
    DFAB = Bmin7b5 BDFA

    We now see just like
    C6 CEGA = Amin7 ACEG

    Dmin6 DFAB = Bmin7b5

    This means we can go back to the beginning with our first scale of chords again .

    C6 dim7

    CEGA, BDFG#

    Now C6 CEGA= Amin7 ACEG

    Amin7 ACEG,. Amin6 ACEF#

    So to get our next scale of chords we simply make this one tiny adjustment.

    Amin6 Dim7

    ACEF#, BDFG#

    ( Just like before 1 tiny adjustemnt )

    ABCDEFF#G#A

    Now we will have a scale of chords for every type of chord there is.

    ACEF# ...( Amin6 or F#min7b5
    BDFG#....( E7,V7ofAmin{orC#7,V7ofF#min7b5
    CEF#A.....(Amin6
    DFG#B......(E7
    EF#AC......(Amin6
    FG#BD......(E7 or C#7
    F#ACE.......(F#min7b5 or Amin6
    G#BDF........(C#7 or E7
    ACEF#.........(Amin6

    We now have a scale of chords for.
    1.Major
    2.dominant
    3.minor
    4.minor7b5
    5.min6
    6.diminished
    7.augmented ( same one for dominant
     
  18. MMJ2017

    MMJ2017 Audiosexual

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    Just like how we looked at abstracting our chord types.
    Ex.
    Maj6 = Min7 ( C6 CEGA= Amin7 ACEG
    Min6= Min7b5 ( Dmin6 DFAB = Bmin7b5 BDFA

    BDim7 BDFG#
    = Bb7 BbDFAb,
    C#7, C#FG#B
    E7,. EG#BD
    G7, GBDF

    We also abstract Scales also.

    To understand how let's take a look at our
    Previous
    G7 dim7 scaleofchords.

    GABCDD#FF#G

    GBDF......( G7
    ACD#F#.. ( D7
    BDFG........(G7
    CD#F#A....(D7
    DFGB..........(G7
    D#F#AC......(D7
    FGBD...........(G7
    F#ACD#......(D7
    GBDF............(G7

    This gives us a way to create melody with harmony
    Any note used has a full chord attached .

    Well we already seen how G7 GBDF = Bdim7 G#BDF

    What happens then if we take our G7 dim7,
    And change that one One?
    Basically
    Bdim7 dim7


    G#ABCDD#FF#G#

    G#BDF......(G7,A#7,C#7,E7
    ACD#F#.. ( G#7,B7,D7,F7
    BDFG#........(G7 ..V7
    CD#F#A....(D7...secondary dominant
    DFG#B..........(A#7..V7
    D#F#AC......(F7..secondary dominant
    FG#BD...........(C#7..V7
    F#ACD#......(G#7..secondary dominant
    G#BDF............(E7
    ACD#F#..........(B7..secondary dominant

    The name of this scale of chords is called
    The diminished scale.
    What it gives us is
    A secondary dominant resolving to it's dominant
    ( Like V7 to I except { V7 of V} resolving to V7

    However the magical thing about this Diminished scale is that in just this one scale we have the melody and the harmony ( like the other scale of chords )
    However it's 4 different secondary Dominants
    Resolving to their appropriate V7 chord
    Let's take a look

    B half whole diminished.

    BC DD# FF# G#A B

    We have the scale of chords for

    Cdim7 CD#F#A
    B7, D7, F7, G#7

    Bdim7 BDFG#
    A#7, C#7, E7, G7

    In key of C major or Cmin
    D7 is V7 of V G7
    D7 resolves to G7

    Key of D# or D#min
    F7 is V7 of V A#7
    F7 resolves to A#7

    Key of F#major or F#min
    G#7 is V7 of V C#7
    G#7 resolves to C7

    Key of Amajor or Amin
    B7 is V7 of V E7
    B7 resolves to E7


    All of this is contained inside of our
    B half whole diminished scale.

    The melody and the harmony for all these keys.
    You simply use it the same way as Any of the other
    Scale of chords .


    Let's look at our next
    Abstracted Scale

    The wholetone scale .

    Thinking in terms of C major KEY
    Our V7 dominant chord is
    GBDF
    1357
    Now we know that alterations to a V7 are normal

    Watch what happens if we do this slight alterations

    GBC#D#FA
    13b5#579

    Put the notes in a row
    FGABC#D#F
    7193b5.#57

    We get a scale with all wholetones apart.

    We can think of it as
    GBD#FAC#
    13#579#11

    G9#5#11
    But because we now have a symmetrical shape
    ( All notes in scale a wholetone apart)


    This means each note of the scale creates its own

    Dominant 9nth, #5, #11 chord.

    Watch this.

    GABC#D#FG



    GBD#FAC#....( G7 GBDF ,G9#5#11 GBD#FAC#
    AC#FGBD#....(A7 AC#EG, A9#5#11 AC#FGBD#
    BD#GAC#F.....(B7 CD#F#A B9#5#11 BD#GAC#F
    C#FABD#G.....(C#7 C#FG#B, C#9#5#11 C#FABD#G
    D#GBC#FA..( D#7 D#GA#C#,D#9#5#11,D#GBC#FA
    FAC#D#GB..(F7 FACD#, F9#5#11 FAC#D#GB
    GBD#FAC#... .( G7 GBDF ,G9#5#11 GBD#FAC#



    What this means is that this one single 6 note scale

    Can be used on 6 separate dom7 chords.

    And because
    ALL of music only has 2 wholetone Scales

    F wholetone
    FGABC#D#F

    C whole tone
    CDEF#G#A#C


    Between these 2 , 6 note scales
    You have a way to play on all 12 dominant chords

    ( Even more importantly, you can see what dominant chords share the same notes and fit together .)
     
  19. MMJ2017

    MMJ2017 Audiosexual

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    Let's look at a dominant circle of fifths
    Progression

    B7 E7 A7 D7 G7 Cmaj6

    It's a secondary dominant to dominant resolution .
    Let's take say the portion D7/ G7/

    We can use the dim scale of chords.

    Bdim7 BDFG#
    Cdim7 CD#F#A

    G#BDF equals G7
    D#F#AC equals D7

    Now scale of chords

    F#ACD#....( D7, F7,G#7,B7
    G#BDF......( G7, A#7, C#7, E7
    ACD#F#....( D7,
    BDFG#.....( G7
    CD#F#A....(D7
    DFG#B......(G7
    D#F#AC....(D7
    G#BDF......( G7

    So this scale of chords covers

    D7/ G7/
    Also
    B7, E7
    Also
    F7 / A#7
    G#7/ C#7/


    Our Progression
    B7/ E7/
    We have that covered

    Next is A7/ we can use here A#dim7 A#C#EG

    That brings us to
    B7/ E7/ A7/
    Next is
    D7/ G7/
    We use our scale of chords again the same one
    Now we have
    B7/ E7/ A7/ D7/ G7/
    Our last chord is C6 CEGA Cmaj6

    We can use C6 dim scaleofchords for this.

    C6 plus Bdim7
    BDFG# ( G7, E7
    CEGA....(C6, Amin7
    DFG#B..(G7,E7
    EGAC.....(C6,Amin7
    FG#BD....(G7,E7
    GACE......(C6,Amin7
    G#BDF.....(G7,E7
    ACEG.......(C6, Amin7
    BDFG#.....(G7,E7


    Now we have a way to play through our progression
    B7/ E7/ A7/ D7/ G7/ C6

    Where all the notes we use can be harmonized with a chord to fit every note
    While our notes always land on the strong beat
    You can play contrary motion or intervals and always match on the strong beat .
     
  20. MMJ2017

    MMJ2017 Audiosexual

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    Scale of chords contrary motion .

    C6 dim7

    CDEFGG#ABC
    CDEFGG#ABC Cmajor6th

    CDEFGG#ABC. Bdim7 =G7

    See how the chord tones line up?

    Start on C go backward
    CBAG#GFEDC
    Now combi e that with forward
    CDEFGG#ABC

    Add together

    CBAG#GFEDC
    C
    DEFGG#ABC

    You can flow any melodic shape and the chord that fits with the note will be correct .
     
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