Understanding substitutions in Jazz

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

  1. The Observer

    The Observer Guest


    Here are two accurate quotes from Jack DeJohnette in Lloyd Petersens' "Music and the Creative Spirit".

    'You can’t put jazz in a box and label it. Johnny Griffin once said “Jazz is a lifestyle, you live it.” You cannot go to a university and get it. I think the music changed from the time that musicians listened to the music on records and travelled to all of a sudden going to universities. It got codified. It’s great to have all this information written down, but a lot of what happens there in music is there for listening with your heart as well as your head.' (DeJohnette in Petersen, p.69):


    AND

    “Students need to develop their own voices, though I think that is changing rapidly. The biggest problem that young students face today is that there are more practitioners than there is work. Think about that.’ – Jack DeJohnette (DeJohnette in Petersen, p.71)
     
  2. MMJ2017

    MMJ2017 Audiosexual

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    Let's now take a look at a easy way to get used to our main functions in a key, then add in substitutions in a natural way to get used to them.

    Key of C major .
    Subdominant/ Tonic/
    Dominant/ Tonic/
    Subdominant/ Dominant/ Tonic/

    The 3 progressions from which all are built.

    First we will take. A standard cadence .
    Subdominant/ Dominant/ Tonic/

    Dmin7/ G7/ Cmaj6/
    DFAC....GBDF....CEGA

    I will create a simple melody for it

    CAFDFA....BGFDFG...EGAGCG

    Next We are going to transform the progression to
    To
    Subdominant/ {subdom IVmin sub} Tonic/

    Fmaj7/ Fmin7/. Cmaj6/
    FACE.......FAbCEb....CEGA


    CAFDFA....CG#FD#G#F...EGAGCG


    See we took our melody and minimally changed it to the new form .
    This is a way to help you understand the scope of substitutions .

    In the key of C major
    The Subdominant substitution IVminor
    Consists of these chords

    Fminor7
    Fmin6
    Dmin7b5
    Bb7
    Abmajor7
    Dbmaj7


    Now with what we just made a moment ago we are going to swap out these different IVmin chords
    Yet keep the melody identical .
    Listen to what changes and what sounds the same.

    Fmaj7/ Dmin7b5/. Cmaj6/
    FACE.......DFAbC....CEGA


    CAFDFA....CG#FD#G#F...EGAGCG


    Fmaj7/ Bb7/. Cmaj6/
    FACE.......BbDFAb....CEGA


    CAFDFA....CG#FD#G#F...EGAGCG

    Fmaj7/ Abmaj7/. Cmaj6/
    FACE.......AbCEbG....CEGA


    CAFDFA....CG#FD#G#F...EGAGCG


    You see the IVmin category any those Group of chords can be used to express it.
    You can play same melody over any IV min chords
    Or you can play the chord tones of them different chords over a Fminor chord. Viseversa
    You are grouping chords by function giving you a way to play many more options by understanding what things are the same as each other .
    Just like how in c major key
    1.Cmaj7
    3.Emin7
    6 Amin7
    These 3 chords the tonic can always be swapped for each other .



    Here is the KEY Cmajor .
    CDEFGABC
    1.CEGB.....Cmaj6....Tonic
    2.DFAC......Dmin7....Subdominant
    3.EGBD......Emin7.....Tonic
    4.FACE.......Fmaj7.....Subdominant
    5.GBDF........Gdominant7..Dominant
    6.ACEG........Amin7.....Tonic
    7.BDFA....... Bmin7b5.. Dominant

    You group the chords together in function
    ( Based on the center focus C Maj CEGC)

    Tonic..... Relaxed
    1.CEGA..C6
    3.EGBD....Emin7
    6.ACEG....Amin7

    Subdominant...a bit tension
    2.DFAC......Dmin7
    4.FACE......Fmajor7

    Dominant...very tense ...far from home
    V7. GBDF G7
    iiv BDFA Bmin7b5.Bhalfdiminished


    These are our 7 chords classified by function .

    Here is the main structure of progression ( changing chords )

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

    Ex
    Fmaj7/ to Cmaj6/
    FACE/ to CEGA/

    It's some tension to relaxation .

    Next is tension to relaxation .

    G7/ to C6/
    GBDF..CEGA

    We can swap out the chords or substitution for other chords that the same function .
    So
    Subdominant/ Tonic/

    Can be
    Fmaj7/ Emin7/
    Dmin7/ Amin7/
    F6/ to C6/

    We can also turn around the progression
    So Subdominant/ to Tonic/ becomes

    Tonic/ Subdominant/ Tonic

    Cmaj/ Fmaj7/ Cmaj/
    Or
    Emin7/ Dmin7/ Amin7/
    Or
    Amin7/ Fmaj7/ Emin7

    Next we have

    Dominant/ Tonic/

    Can be turned around

    Tonic/ Dominant/ tonic/
    (Note when we turn around we put a tonic at end for resolution )

    C6/ G7/ C6
    Amin7/ Bmin7b5/ Emin7/

    Emin7/ G7/ Cmaj6/

    Now that we seen the Diatonic functions

    We also have non Diatonic substitutions in the key of C major .


    Tonic..... Relaxed
    1.CEGA..C6
    3.EGBD....Emin7
    6.ACEG....Amin7
    Sub
    Amin6 ACEF# ( melodic minor
    F#min7b5 F#ACE ( inversion of Amin6





    Subdominant...a bit tension
    2.DFAC......Dmin7
    4.FACE......Fmajor7
    Sub

    IVminor category
    ....
    Fmin7
    Fmin6
    Bb7
    AbMaj7
    Dmin7b5
    Dbmaj7

    #IV diminished 7th

    F#dim7
    F#ACD#

    The #IV Subdominant substitution
    Is 4 dominant chords
    F7 FACEb
    G#7 G#CD#F#
    B7 BD#F#A#
    D7 DF#AC








    Dominant...very tense ...far from home
    V7. GBDF G7
    iiv BDFA Bmin7b5.Bhalfdiminished

    Sub

    Tritone sub for G7 GBDF is C#7 C#FG#B
    Next is

    Bdim7
    BDFG#
    Contains 4 dominant chords
    A#7, A#DFG#
    C#7,C#FG#B
    E7,EG#BF
    G7 GBDF

    These all Substitution for dominant in C major

    G wholetone scale
    GABC#D#F
    G half whole diminished
    GG# A#B C#D EF G
    G augmented scale
    G, A#, B, D, Eb, F#, G



    ......


    Note.

    In the key of C major

    You have a cadence to each chord in the key.

    1.Cmaj.....Dmin7,G7,Cmaj
    2.Dmin7...Emin7b5,A7b9, Dmin6
    3.Emin7..F#min7b5,B7b9, Emin6
    4.Fmaj7...Gmin7,C7,Fmaj6
    5.G7.......Amin7,D7,G6
    6.Amin7...Bmin7b5,E7b9, Amin6
    7.Bmin7b5..C#min7b5,F#7b9,Bmin7b5
     
    Last edited: Oct 22, 2019
  3. Donald Glover

    Donald Glover Noisemaker

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    Never mind just saw you covered Am too. Ignore the hate, thank you for your FREE knowledge man!
     
    Last edited: Oct 22, 2019
  4. Donald Glover

    Donald Glover Noisemaker

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    .
     
    Last edited: Oct 22, 2019
  5. MMJ2017

    MMJ2017 Audiosexual

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    Hello Donald thanks for joining us my friend, let me know if there is anything you would like me to dig into more or if your wondering anything .
     
  6. A Ghost On The Moon

    A Ghost On The Moon Producer

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    Thank you for all this information, i promise i will read the pdf im compiling of all this the second im out of class today.
     
  7. Arabian_jesus

    Arabian_jesus Audiosexual

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    I was thinking the same thing but as a txt! Could you maybe post a link for downloading? I don't have acrobat so i can't write pdf's :(
     
  8. A Ghost On The Moon

    A Ghost On The Moon Producer

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    I’ll turn it into a rich text file when I get home, todays Been a bit rough but I promise I’ll compile these
     
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  9. MMJ2017

    MMJ2017 Audiosexual

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    Chord Voicings
    -------------------------

    Starting with the KEY of C major
    We are now going to take a look at
    Chord voicings for a ii V I in C major.

    We will use closed Voicings such that you get
    4 usable inversions of the chord.

    The chord will be connected to the cadence
    Next the chord will display the melodic fragment attached .

    First we will use a maj6 - min7 voicing for ii
    Then a dim7 voicing for V7
    Then a maj6 - min7 voicing for I

    This structure will also contain voice leading.

    Dmin7/ G7/ Cmaj6/

    The chord is displayed from lowest note to highest note. Then the melody and voice leading.
    Chord first then melody

    1. ADFC ( CAFD) G#DFB ( BG#FD) GCEA (AGEC)

    Chord then melody in caption

    2. FCDA ( AFDC) FDBG# (G#FDB) EACG (GECA)

    3.DACF (FDCA) DG#BF (FDBG#) CGAE (ECAG)

    4. CFAD ( DCAF) BFG#D (DBG#F) AEGC (CAGE)


    Follow this pattern of 4 descending Voicings in ii V I of C major in 4 octaves.
     
  10. MMJ2017

    MMJ2017 Audiosexual

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    Chord Voicings II
    ----------------------------

    Now we will take a look at

    The same thing for Cadence to Amin.

    We will use Min6- Min7b5 voicing for ii
    We will use dim7 voicing for V7
    We will use Min6- Min7b5 voicing for I

    I will display the C major ii V I
    Then underneath display the Amin ii V I

    Just as before Chord voicing then melody .

    C Maj ( Dmin7/ G7/ Cmaj6/
    Amin ( Bmin7b5/ E7/ Amin6/

    1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

    1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

    2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

    2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

    3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

    3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

    4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

    4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)


    Play these in 4 octaves.
     
  11. MMJ2017

    MMJ2017 Audiosexual

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    The Cadence spans all octaves descending with
    Ascending chord, descending melody .
    There are 4 Voicings for each cadence.
    Once you finish the last voicing you descend to begin the pattern once more .
    By doing this you will span the entire range of the instrument with Voice leading, contrapuntal shapes of chord Voicings assembled into Abstract universalCadence for every type of chord by learning the main two forms.

    Major ii V I
    Minor ii V I


    Begin in the highest octave then work your way down to the lowest octave.



    Just as before Chord voicing then melody .

    Chord goes low to high, melody in bracket goes high to low then start over with next chord voicing

    Chord goes acsending melody is descending

    C Maj ( Dmin7/ G7/ Cmaj6/
    Amin ( Bmin7b5/ E7/ Amin6/

    1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

    1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

    2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

    2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

    3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

    3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

    4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

    4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)

    1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

    1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

    2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

    2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

    3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

    3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

    4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

    4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)

    1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

    1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

    2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

    2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

    3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

    3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

    4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

    4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)

    1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

    1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

    2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

    2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

    3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

    3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

    4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

    4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)

    1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

    1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

    2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

    2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

    3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

    3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

    4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

    4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)
    1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

    1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

    2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

    2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

    3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

    3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

    4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

    4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)

    1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

    1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

    2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

    2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

    3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

    3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

    4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

    4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)

    1.ADFC ( CAFD) G#DFB (BG#FD) GCEA( AGEC)

    1.ADFB (BAFD) G#DFB ( BG#FD) F#CEA ( AF#EC)

    2.FCDA ( AFDC) FBDG# (G#FDB) EACG (GECA)

    2.FBDA ( AFDB) FBDG# ( G#FDB) EACF# ( F#ECA)

    3.DACF ( FDCA) DG#BF ( FDBG#) CGAE ( ECAG)

    3.DABF ( FDBA) DG#BF (FDBG#) CF#AE ( ECAF#)

    4. CFAD ( DCAF ) BFG#D ( DBG#F) AEGC (CAGE)

    4. BFAD ( DBAF) BFG#D ( DBG#F) AEF#C ( CAF#E)
     
  12. Juan Carlos

    Juan Carlos Member

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    I agree, but in order to play jazz and improvise this is basically the only way to do it. If you love jazz you obviously need to have some knowledge on this.
     
  13. MMJ2017

    MMJ2017 Audiosexual

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    You are about to embark on a journey through all octaves in the KEY of C major.
    With the progression

    Cmaj6/ F#dim/ Dmin7/ G7
    I...........#IV....... ii......... v

    As before start in high octave .
    Descending to low octaves .

    Chord ascending melody in bracket descending.

    Systems check engine online 3..2..1... Launch rockets.

    1. AEGC(CAGE)AD#F#C(CAF#D#)ADFC(CAFD)

    G#DFB(BG#FD)

    2.GCEA(AGEC)F#CD#A(AF#D#C)FCDA(AFDC)

    FBDG#(G#FDB)

    3.EACG(GECA)D#ACF#(F#D#CA)DACF(FDCA)

    DG#BF(FDBG#)

    4.CGAE(ECAG)CF#AD#(D#CAF#)CFAD(DCAF)

    BFG#D(DBG#F)


    1. AEGC(CAGE)AD#F#C(CAF#D#)ADFC(CAFD)

    G#DFB(BG#FD)

    2.GCEA(AGEC)F#CD#A(AF#D#C)FCDA(AFDC)

    FBDG#(G#FDB)

    3.EACG(GECA)D#ACF#(F#D#CA)DACF(FDCA)

    DG#BF(FDBG#)

    4.CGAE(ECAG)CF#AD#(D#CAF#)CFAD(DCAF)

    BFG#D(DBG#F)

    1. AEGC(CAGE)AD#F#C(CAF#D#)ADFC(CAFD)

    G#DFB(BG#FD)

    2.GCEA(AGEC)F#CD#A(AF#D#C)FCDA(AFDC)

    FBDG#(G#FDB)

    3.EACG(GECA)D#ACF#(F#D#CA)DACF(FDCA)

    DG#BF(FDBG#)

    4.CGAE(ECAG)CF#AD#(D#CAF#)CFAD(DCAF)

    BFG#D(DBG#F)

    1. AEGC(CAGE)AD#F#C(CAF#D#)ADFC(CAFD)

    G#DFB(BG#FD)

    2.GCEA(AGEC)F#CD#A(AF#D#C)FCDA(AFDC)

    FBDG#(G#FDB)

    3.EACG(GECA)D#ACF#(F#D#CA)DACF(FDCA)

    DG#BF(FDBG#)

    4.CGAE(ECAG)CF#AD#(D#CAF#)CFAD(DCAF)

    BFG#D(DBG#F)

    1. AEGC(CAGE)AD#F#C(CAF#D#)ADFC(CAFD)

    G#DFB(BG#FD)

    2.GCEA(AGEC)F#CD#A(AF#D#C)FCDA(AFDC)

    FBDG#(G#FDB)

    3.EACG(GECA)D#ACF#(F#D#CA)DACF(FDCA)

    DG#BF(FDBG#)

    4.CGAE(ECAG)CF#AD#(D#CAF#)CFAD(DCAF)

    BFG#D(DBG#F)

    1. AEGC(CAGE)AD#F#C(CAF#D#)ADFC(CAFD)

    G#DFB(BG#FD)

    2.GCEA(AGEC)F#CD#A(AF#D#C)FCDA(AFDC)

    FBDG#(G#FDB)

    3.EACG(GECA)D#ACF#(F#D#CA)DACF(FDCA)

    DG#BF(FDBG#)

    4.CGAE(ECAG)CF#AD#(D#CAF#)CFAD(DCAF)

    BFG#D(DBG#F)
     
  14. MMJ2017

    MMJ2017 Audiosexual

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    We are starting to get into the advanced aspects of the structure of music.
    It is intimidating ( but you get it over time don't give up! Go slow , it's going to take time just stick with it)

    I want to invite people to ask questions now, before I continue to explain more and more advanced aspects .

    The is one thing it is very important for you to understand.

    Any melodic motion can be made on any part of a instrument in any particular form.

    To help you understand what I mean,
    Take the last comment box before this one .
    We have the key of C major ,
    The particular progression .

    Cmaj6/ F#dim7/ Dmin7/ G7/ Cmaj6

    I showed you a motion of traveling every octave in
    4 Voicings which follow voice leading .

    This is demonstrating that any type of motion with harmony or melody can be made .

    Imagine for a moment that a person is on say piano. This person in the example, has zero knowledge of how music works.
    What they are doing is hitting notes listening to the sound deciding what types of motion they want ,
    High to low , low to high , high to low to middle, low to high to middle, they are building things just based on an idea for the motion of the sound .
    Think of the melody shape for " happy birthday"

    Middle ,same ,higher, back down, higher , lower
    Etc.

    You may think this person has a type of freedom to create music this way.
    The only process or structure to follow they have is
    Think of a Melody and try to pick it out and match it. That's the only rules to their method .
    They have no form or structure it's just intuitive.

    Now , even before explaining any negative aspects about the method they are using .

    This process they are using, that stays the exact same for us studying music theory, using a form and being in a key with functions and 7 Diatonic chords , non Diatonic substitutions , scale for each chord, grace notes , passing tones , enclosures etc.

    We have every single postive aspect that the ignorant person has , it's just that we are using a ground floor level .
    We have this structure everything we do fits inside of .we have a way to understand options how to group similar things together etc.
    We still follow the process of thinking of melodic or harmonic motions rhythms etc.
    The only different between being ignorant of music structure , and hAve knowledge of music works is that when you learn how music works you learn what things are connected. What is happening,
    But most importantly
    You learn
    Every single possibility .

    In the last comment box we took key of c major
    1 progression
    Tonic/ substitution SubDom/ Subdominant/ Domin
    Cmaj6/. F#dim7/. Dmin7/. . G7. /

    I showed you a way to travel all octaves through all inversions with the chords and melody .

    This form demonstrates whatever instrument you are using , any area your at is every chord and chord progression for all keys .

    This extra step we have of having a foundation that we build the music out of, in no way places restrictions on us for how we can make harmonic or melodic motions.
    In fact it's the opposite, we can take any progression or chord or anything, and travel any motion any octave .
    This is the most important thing to understand about what I am sharing here.
    This is not some restriction, that you doing the same things to create songs as people only doing it by selecting a sound and building up from Imagination. Except you are doing that also , but in with a form underneath .
    You have everything you need to study and become what anyone you know would call a " musical genius "
    This is because while a musically ignorant person
    Might hear a chord with the notes
    CEG then they play a high A note on top that came from their mind but now they don't know what else can be done with it.
    You , the person who has deeply studied this music theory .
    Will understand that you can span the entire instrument in all octaves with Rich harmony and as many instrument layers you want
    Everytime you come up with the first idea in your imagination.
    You recognize that what you heard in minds eye was C6 chord.that you can make thousands independent melodies out of it and all of them fit with each other yet unique you never run out of ideas or hot a place where you don't know what to do next.
    You always know what to do next .
    How can this be though?

    It's because in any given song, not even 10% of the total structure of music itself is contained in it.

    When you build this knowledge I am sharing on this thread . " The way music works "

    A specific song is such a tiny thing compared to music as a whole .

    When you, the informed fluent musician sits down to make a song .
    You are coming from a place where you are not going to even fit 3% of your total musically knowledge in this specific song.
    It's a tiny task .
    Even the whole album this the song goes with
    It's such a tiny task to write an album compared to
    Your awareness of the whole of music .
    You by studying a learning more all the time, are building up an understanding of every possibility.
    Every chord change that exists, every type of movement or motion.
    What's the big deal coming up with 1 melody for a 15 second snippet of a recording?
    ( When the contents of your mind contain millions ,
    And how thosemillions of melodies are related to each other and which ones are variations of other ones)
    I want to tell you, if you work hard you will exceed any level or Ability you ever dreAmed of that initially got you started to work hard to begin with
    Whether it's a player you heard and impacted you so much that you wanted to be as good as that, what ever got you started in the path expanding your knowledge of how music works.
    If you stick with it now ( yes it's hard)
    If you put in the time and effort ( yes it seems impossible at first )
    You will reach the point eventually ,
    Where you have put in the work and effort to the point you have exceeded your dreams of how good you wanted to be.
    You will advance to the point of beyond your dreams.
    Now that I have told you the real truth.
    It's going to get hard up on this bitch ( joke mofo relax) I want to build you up to the point where you have the ability to not only fathom the most advanced things in music , but use them fluently.
    You will eventually be able to play music invented in realtime as you play it, that exceeds the quality and quantity of the music that took you 6 months just to compose 1 song of.
    Music is sufficiently advanced subject and inner workings that you can spend 80 straight years learning all day every day and still have more there beyond your own lifetime .
    The point is the journey is what's important.
    A lifestyle of spending your time and effort and energy working toward becoming more fluent more developed .
    This process is enjoyable no matter which part of the road you are on.
    You are always going to express yourself musically better than the past no matter what.
    Let yourself be intimidated when you hit the next level of the new thing you moved on to that happens forever . It's okay to feel like a student in that moment, because the level underneath that you just mastered , you acheived right before getting to this new level up, that made you getter that improved you . Take pride and joy for what you worked hard on, you got it , that level is in you now to use to express yourself . So even though you leveled up to this new material that seems hard And is intimidating , before long....
    You will master it also .

    You will be able to do things you never dreamed possible .
    Believe in yourself . Work hard.
    Acheive your goals .

    Then when you go to play or record music
    You will put everything in it you worked so hard on to articulate the exact emotion inside of you .
    You will create emotions and feelings in people with your music that will stand the test of time.

    Write a song just for your lover or kids or parents or best friend .

    Tell them nobody else has a copy , that it was made for 1 special person that is one of a kind.
     
  15. MMJ2017

    MMJ2017 Audiosexual

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    Let's now take our last shown form from before
    Key of C major .

    C6/ F#dim/ Dmin7/ G7/ {C6}


    We seen it's closed Voicings traveling through the octaves.

    Let's now break apart the chords into

    Scale of chords

    The scale of chords takes a single chord, and adds it's appropriate dominant chord .

    If the chosen chord is not the Imaj or the vimin
    Then this will be a secondary dominant .

    If the chord is a dim7 chord ( as is the case with #IV)
    Then you get a diminished scale .

    Let's begin with our C6 chord first then move on to the next.

    This C6 dim7 scale of chords will serve as our main structure to view the others through as well.
    It makes it a little easier to grasp.

    C6 is CEGA , ( also Amin7 ACEG )
    Bdim7 BDFG# ( is G7b9 no root
    Or it is ( E7b9 no root
    This means with the C6 dim7 scale of chords
    Initial form structure.
    We have 1 form to be used in multiple instances
    This makes it less to remember at first.

    Let's now see this scaleofchords

    C6 CEGA Ddim7 DFG#B

    We have 2 , abstract Voicings .

    We combine their notes in a row .
    CDEFGG#ABC
    We can see here the first property of the scaleofchords is that if you start on any note in
    ( C6/Amin7)
    You will get chord tones on strong beats .
    This work both ways , if we start on the chord tones of Bdim7 BDFG#
    BCDEFGG#AB
    We get chord tones on the strong beats.
    This means right way this first initial property of the chord is you can use it on a Major type chord
    Minor type chord , dominant type chord
    And it's notes line up correctly on the strong beats evenly
    We can see a demonstration of this now.

    Let's say we have a chord form

    Cmaj6/

    This chord shows up and we need to play over it using the C6 dim7 scaleofchords

    Now let's say it's for a long duration of the Cmaj/

    We will use two properties .
    1.arpeggios
    2.c6 dim7 scaleofchords .

    Let's see some different examples of this.

    Strong beats in bold triplets in Red

    1.CGAECGEDCBACEG pause
    2.BCEGCBAG#GFEDC long
    3.FDD#EDCABG#FF#GDBCEG
    4.A
    CEGBA#AG#GFEDCEGA#A

    These are musical examples that also include
    Enclosures and chromatics .

    A more clinical look

    Descending C6 dim scaleofchords from root
    CBAG#GFEDC

    From 3rd

    EDCBAG#GFE

    From 5th

    GFEDCBAG#G

    From 6th

    AG#GFEDCBA

    This is very important to have a way to descend a scale beginning on any chord tone.

    Let's now put the focus on the Bdim7
    Part of the C6 dimscaleofchords.

    ( Remember in this case we are on a Cmaj chord
    This means the Bdim7 chord in this scaleofchords is representing the G7 chord.)

    Scale descending from b9th

    G#GFEDCBAG#

    From 3rd

    BAG#GFEDCB

    From the 5th

    DCBAG#GFED

    From the dom7th

    FEDCBAG#GF

    This means we have a form which has the capability to express the harmony in melodic form

    There is a chord attached to each note in the
    C6 dim scaleofchords

    By use of syncopation , accenting which note on which beats we can spell the harmony in our melody using it.

    Let's see an example .

    Again a

    Cmaj7/ x4

    Say you hAve this single chord for a long duration

    We will use the C6 dim scaleofchords .

    We will think about the arpeggio notes combined with the scale to create a Melody . The melody will
    Demonstrate strong beats in bold and triplets in Red. While keeping in mind we want to think about our phrasing as to denote a clear beginning middle and end of the phrase .

    1.
    DBGE AG#FF#GECABDFG#GBCEGCBAG#G long

    2.CEGBAG#GFE

    2B.
    CEGBAG#GF#FEDCBDFG#GC













     
  16. MMJ2017

    MMJ2017 Audiosexual

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    Now , let's look at C6 dim scaleofchords
    CDEFGG#ABC

    In bold is our scale note
    CEGA
    DFG#B
    EGAC
    FG#BD
    GACE
    G#BDF
    ACEG
    BDFG#
    CEGA

    Now we will look at Closed chord voicings
    Descending through all of our octaves .
    This will express a harmony of V7 to I repeating
    G7 C6 G7 C6 G7 C6 G7 C6 G7 C6

    Shown is the notes of the chord Voicings
    Low to high CGAE. Low note to high note


    Begin in high octave descending into the low range

    1.CGAE. BFG#D
    2.AEGC. G#DFB
    3.GCEA. FBDG#
    4.EACG. DG#BF
    1.CGAE. BFG#D
    2.AEGC. G#DFB
    3.GCEA. FBDG#
    4.EACG. DG#BF
    1.CGAE. BFG#D
    2.AEGC. G#DFB
    3.GCEA. FBDG#
    4.EACG. DG#BF
    1.CGAE. BFG#D
    2.AEGC. G#DFB
    3.GCEA. FBDG#
    4.EACG. DG#BF

    We can see it travels high octave to low octave
    Using voice leading , that is each chord tone travels down to the nearest chord tone of the next chord .

    Take your time go through these voicings play the notes in different rhythms and play the chord tones in different orders. Also play all the notes at same time mix these combinations up.


    Next we are going to build upon this .

    C6 dim scaleofchords
    Forward
    CDEFGG#ABC
    Backwards
    CBAG#GFEDC

    We are going to play the voicing as a chord ,
    Then descend the scaleofchords
    ( Scale in brackets )

    Start in high octave descending to low octave

    1a.CGAE ( EDCBAG#GFE)
    1b.BFG#D( DCBAG#GFED)
    2a.AEGC(CBAG#GFEDC)
    2b.G#DFB(BAG#GFEDCB)
    3a.GCEA(AG#GFEDCBA)
    3b.FBDG#(G#GFEDCBAG#)
    4a.EACG(GFEDCBAG#G)
    4b.DG#BF(FEDCBAG#GF)
    1a.CGAE ( EDCBAG#GFE)
    1b.BFG#D( DCBAG#GFED)
    2a.AEGC(CBAG#GFEDC)
    2b.G#DFB(BAG#GFEDCB)
    3a.GCEA(AG#GFEDCBA)
    3b.FBDG#(G#GFEDCBAG#)
    4a.EACG(GFEDCBAG#G)
    4b.DG#BF(FEDCBAG#GF)
    1a.CGAE ( EDCBAG#GFE)
    1b.BFG#D( DCBAG#GFED)
    2a.AEGC(CBAG#GFEDC)
    2b.G#DFB(BAG#GFEDCB)
    3a.GCEA(AG#GFEDCBA)
    3b.FBDG#(G#GFEDCBAG#)
    4a.EACG(GFEDCBAG#G)
    4b.DG#BF(FEDCBAG#GF)
    1a.CGAE ( EDCBAG#GFE)
    1b.BFG#D( DCBAG#GFED)
    2a.AEGC(CBAG#GFEDC)
    2b.G#DFB(BAG#GFEDCB)
    3a.GCEA(AG#GFEDCBA)
    3b.FBDG#(G#GFEDCBAG#)
    4a.EACG(GFEDCBAG#G)
    4b.DG#BF(FEDCBAG#GF)
    1a.CGAE ( EDCBAG#GFE)
    1b.BFG#D( DCBAG#GFED)
    2a.AEGC(CBAG#GFEDC)
    2b.G#DFB(BAG#GFEDCB)
    3a.GCEA(AG#GFEDCBA)
    3b.FBDG#(G#GFEDCBAG#)
    4a.EACG(GFEDCBAG#G)
    4b.DG#BF(FEDCBAG#GF)
    1a.CGAE ( EDCBAG#GFE)
    1b.BFG#D( DCBAG#GFED)
    2a.AEGC(CBAG#GFEDC)
    2b.G#DFB(BAG#GFEDCB)
    3a.GCEA(AG#GFEDCBA)
    3b.FBDG#(G#GFEDCBAG#)
    4a.EACG(GFEDCBAG#G)
    4b.DG#BF(FEDCBAG#GF)


    Take your time go slow emphasizing the strong beats on the descending scale then strike the next chord voicing in full then descend it's scale .
     
  17. Juan Carlos

    Juan Carlos Member

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    I'm gonna read all of this someday. Thanks in advance!
     
  18. MMJ2017

    MMJ2017 Audiosexual

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    Our first scale of chords
    C6 dim scaleofchords

    Is our first abstract form
    This is because it is made up from
    C6 CEGA and Bdim7 BDFG#

    This structure I described to you in detail in the last comment box has the properties of being used in several situations .

    Cmaj/ G7/ Cmaj/
    Amin/ E7/ Amin/
    Cmaj/ C#7/ Cmaj/
    Amin/ Bb7/ Amin/
    Cmaj/ E7/ Cmaj/
    Cmaj/ Bb7/ Cmaj/
    Amin/ G7/ Amin/
    Amin/ C#7/ Amin/

    Any of these different progressions are instAnces where this C6 Dim scaleofchords is applicable .

    As you can see they are very different from each other , and yet this one abstract form can be used in all these situations .

    This will make more sense, once you see all of our varieties for scaleofchords and how each on is used .

    To see Another use of the Maj6 dim scaleofchords

    Let's create G6 dim scaleofchords

    G6.........F#dim7
    GBDE......F#ACD#

    Think of key of C major .

    G6 GBDE= Emin7 EGBD

    A Diatonic substitution for C major tonic in key C.

    Then the F#dim7 is our #IV substution .

    So we can use the G6 dim scaleofchords
    As a

    Tonic/ Substitution Subdominant/
    Emin7/.....#IVdim7/

    ......






    Our 2nd scale of chords

    We are only making a slight modification to our first scale of chords.

    If we look at our first.
    C6 dim
    CEGA. BDFG#

    If we bring the G note down to F# , now keep the rest the same . We get

    Amin6 dim scaleofchords

    ACEF#. BDFG#

    This scale of chords has totally different uses than the first one . This is because of our new abstract form .

    Amin6 ACEF# = F#min7b5

    Min6 = Min7b5

    This means we use this 2nd scale of chords
    In primarily 2 main situations .
    Amin6 is the relative minor in C major key
    We use this scaleofchords on a tonic minor V7 to Imin6

    ACEF# is Amin6 , FG#BD is E7b9 no root

    Next our second different use of this scale of chords is by looking at the F#min7b5 F#ACE
    This is 7 chord in Gmaj KEY

    The secondary dominant or V7 of F#min7b5
    Is C#7 C#FG#B ( Ddim7 is DFG#B C#7b9 no root

    This means this scale of chords can be used in instances where you need to play a min7b5 and it's V7 chord .

    Then there is a 3rd example ,
    Because a min7b5 can be used as a substitution for a dominant chord .
    F#Min7b5
    F#ACE is related to
    D7
    DF#ACE
    13...579

    Then the tones in Bdim7 BDFG#
    When used in the context of D7
    Give us b5,#5,root,#9,and natural 13th.

    So the Amin6 dim scale can be used over a D7
    Function to spell out a Dominant 13 chord.


    Amin6 Dim scale of chords
    ABCDEFF#G#A


    ACEF#
    BDFG#
    CEF#A
    DFG#B
    EF#AC
    FG#BD
    F#ACE
    G#BDF
    ACEF#

    ....

    Look at our chord Voicings as before from high octave descending to low octave .
    Chord tones are shown low to high .

    1.CF#AE. BFG#D
    2.AEF#C. G#DFB
    3.F#CEA. FBDG#
    4.EACF#. DG#BF
    1.CF#AE. BFG#D
    2.AEF#C. G#DFB
    3.F#CEA. FBDG#
    4.EACF#. DG#BF

    See how it's one note different than the Maj6 dim?
    Look.

    {
    1.CGAE. BFG#D
    2.AEGC. G#DFB
    3.GCEA. FBDG#
    4.EACG. DG#BF
    1.CGAE. BFG#D
    2.AEGC. G#DFB
    3.GCEA. FBDG#
    4.EACG. DG#BF
    }


    Now that we have seen our 2nd scale of chords is a slight modification, let's look at it in full
    Voicings descending the octaves as we did with the first scale of chords

    1.CF#AE. BFG#D
    2.AEF#C. G#DFB
    3.F#CEA. FBDG#
    4.EACF#. DG#BF
    1.CF#AE. BFG#D
    2.AEF#C. G#DFB
    3.F#CEA. FBDG#
    4.EACF#. DG#BF
    1.CF#AE. BFG#D
    2.AEF#C. G#DFB
    3.F#CEA. FBDG#
    4.EACF#. DG#BF
    1.CF#AE. BFG#D
    2.AEF#C. G#DFB
    3.F#CEA. FBDG#
    4.EACF#. DG#BF
    1.CF#AE. BFG#D
    2.AEF#C. G#DFB
    3.F#CEA. FBDG#
    4.EACF#. DG#BF
    1.CF#AE. BFG#D
    2.AEF#C. G#DFB
    3.F#CEA. FBDG#
    4.EACF#. DG#BF


    Now we can see the Voicings , traveling through all octaves we can see adding our melody .

    Let's look again at the 1st scale of chords as a comparison.


    {
    1a.CGAE ( EDCBAG#GFE)
    1b.BFG#D( DCBAG#GFED)
    2a.AEGC(CBAG#GFEDC)
    2b.G#DFB(BAG#GFEDCB)
    3a.GCEA(AG#GFEDCBA)
    3b.FBDG#(G#GFEDCBAG#)
    4a.EACG(GFEDCBAG#G)
    4b.DG#BF(FEDCBAG#GF)

    }

    Now because all we have to do is change 1 note by one semitone G down to F#
    Look at the Amin6 dim scaleofchords Voicings with descending scale which attached to each voice.

    1a.CF#AE ( EDCBAG#F#FE)
    1b.BFG#D( DCBAG#F#FED)
    2a.AEF#C(CBAG#F#FEDC)
    2b.G#DFB(BAG#F#FEDCB)
    3a.F#CEA(AG#F#FEDCBA)
    3b.FBDG#(G#F#FEDCBAG#)
    4a.EACF#(F#FEDCBAG#F#)
    4b.DG#BF(FEDCBAG#F#F)
    1a.CF#AE ( EDCBAG#F#FE)
    1b.BFG#D( DCBAG#F#FED)
    2a.AEF#C(CBAG#F#FEDC)
    2b.G#DFB(BAG#F#FEDCB)
    3a.F#CEA(AG#F#FEDCBA)
    3b.FBDG#(G#F#FEDCBAG#)
    4a.EACF#(F#FEDCBAG#F#)
    4b.DG#BF(FEDCBAG#F#F)


    Now keep in mind that although we are 1 note different then the Maj6 dim scale of chords

    We do not use the 2 scaleofchords the same way.

    C6 dim scaleofchords
    CEGA,BDFG#

    Amin6 dim scaleofchords
    ACEF#, G#BDF


    .
     
  19. MMJ2017

    MMJ2017 Audiosexual

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    We want to have a scale of chords for every functional situation in music.

    To get all the different scaleofchords we need

    We need to think about the main chord types we will come across in functional situations

    ( Remember, the Function is the most important thing because our our ability to swap out any specific chord with another of it's identical function)

    Major6
    Minor7
    Minor6
    Minor7b5
    Dominant
    Diminished




    C6 dim7 scaleofchords
    CEGA, BDFG#

    CDEFGG#ABC



    Amin6 Dim7 scaleofchords
    CEF#A, BDFG#

    ABCDEFF#G#A



    C7 dim7 scale of chords
    CEGA#, BDFG#

    CDEFGG#A#BC



    C7b5 dim7 scale of chords
    CEF#A#, BDFG#

    CDEFF#G#A#BC





    Edim7 Dim7 scale of chords
    { AKA diminished scale half whole}

    C#EGA#, BDFG#

    C#DEFGG#A#BC#




    Adim7 dim7 scale of chords
    ( AKA {diminished scale whole half}

    ACD#F#, BDFG#

    CDD#FF#G#ABC



    These are our scaleofchords
    Which cover every situation you can encounter .

    They all share the qualities of having a harmony for each note in them. They always have chord tones on the strong beat.
    They all descend the entire range of all octaves
    With the chord voicing attached to the melodic descending scale .

    We looked close at the first 2 scale of chords.

    Now, let's look at our 3rd , the

    C7 dim scaleofchords

    CEGA#, BDFG#

    You can see we made a slight alteration

    Compared to C6 dim scaleofchords
    C6 dim
    CEGA,BDFG#



    Scale of chords #3
    .........

    C7 dim7 scale of chords
    CEGA#,BDFG#

    CDEFGG#A#BC

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

    This scale of chords gives us the C7
    ( V7 in Fmaj or Fmin)

    C7 is also the Tritone substitution for F#7 V7
    in the Bmajor or Bminor

    C7 is the Backdoor dominant ( IVmin function
    To Dmajor key.

    C7 is also V7 of Fmin7 as the iiimin7 o
    C#major KEY

    So as you can see there are several ways to use a dominant like this .

    Next our dim7 scale
    Is Bdim7 BDFG#

    Giving us Bb7, C#7, E7, G7

    The most use of this is with
    C7 and secondary dominant G7
    V7ofV going to V
    G7.....................C7( key of Fmajor or Fminor)

    Let's look now at our Voicings for this scale of chords.

    As we did with the first 2 scaleofchords
    We have the chord voicing low to high
    Then in brackets the descending scale which goes with it.

    Start in the high octave traveling to the low octave

    ( Start by thinking of V7ofV to V G7/C7/Fmaj6)



    1a.CGA#E ( EDCBA#G#GFE)
    1b.BFG#D( DCBA#G#GFED)
    2a.A#EGC(CBA#G#GFEDC)
    2b.G#DFB(BA#G#GFEDCB)
    3a.GCEA#(A#G#GFEDCBA#)
    3b.FBDG#(G#GFEDCBA#G#)
    4a.EA#CG(GFEDCBA#G#G)
    4b.DG#BF(FEDCBA#G#GF)
    1a.CGA#E ( EDCBA#G#GFE)
    1b.BFG#D( DCBA#G#GFED)
    2a.A#EGC(CBA#G#GFEDC)
    2b.G#DFB(BA#G#GFEDCB)
    3a.GCEA#(A#G#GFEDCBA#)
    3b.FBDG#(G#GFEDCBA#G#)
    4a.EA#CG(GFEDCBA#G#G)
    4b.DG#BF(FEDCBA#G#GF)
    1a.CGA#E ( EDCBA#G#GFE)
    1b.BFG#D( DCBA#G#GFED)
    2a.A#EGC(CBA#G#GFEDC)
    2b.G#DFB(BA#G#GFEDCB)
    3a.GCEA#(A#G#GFEDCBA#)
    3b.FBDG#(G#GFEDCBA#G#)
    4a.EA#CG(GFEDCBA#G#G)
    4b.DG#BF(FEDCBA#G#GF)
     
    Last edited: Oct 26, 2019
  20. MMJ2017

    MMJ2017 Audiosexual

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    With the scaleofchords we get a way to have a scale that works on a set of two chords .
    The scaleofchords gives us more than a regular scale because we get a chord with goes with each note in the scale along with the layout of the scaleof chords having the correct scale tones line up on the beat spelling out the chord.

    Let's now look at a scale which fits with each chord .built from the harmonics of the chord .
    " Upper extensions" makeup the notes on the scale such that any of the 7 scale notes are consonant with the chord underneath. You have no avoid notes and you don't have to worry about what notes land on which beats ( although you generally resolve to most consonant of the notes )

    Let's look at the KEY of C major that you are probably so sick of you wanna to pull your hair put lol
    ( Keep in mind once you get familiar with all these levels of detail in the KEY of C major it all transfers over to all other keys this why it's important to really know C major in and out at first )

    C Major KEY
    CDEFGABC

    The first "scale" is our key , it gives us the information which group of chords we have fitting into which functions .

    1.Cmaj7 CEGB ( use C6 Cmaj6 CEGA
    2.Dmin7 DFAC ( or Fmaj6 FACD F6
    3 Emin7 EGBD ( or G6 Gmaj6 GBDE
    4.Fmaj7 FACE ( Fmaj6 FACD F6
    5.G7 GBDF ( our Diatonic Dominant chord .
    6.Amin7 ACEG ( or C6 Cmaj6 CEGA
    7.Bmin7b5 BDFA ( our Diatonic flavorful chord for V7 also our iimin7b5 from Amin cadence)


    Each chord in the keys gets a upper extension 7 note scale unique to the chord.

    First we want to group the Diatonic chords of the key together by function .

    Tonic
    ----------
    I.Cmaj6 CEGA
    iii.Emin7 EGBD
    vi.Amin7 ACEG

    Subdominant
    --------------------
    ii.Dmin7 DFAC
    IV.Fmaj7 FACE

    Dominant.
    --------------
    V7 G7 GBDF
    vii% Bmin7b5 BDFA or B halfdiminished


    There are our 7 chords in 3 groups.

    We start off where EACH group gets a 7 note scale

    So we will start with 3 scales in the KEY of C major.

    Let's start with the Subdominant function

    this function is the only one which uses the exact scale of the KEY itself ( more on why layer)
    So
    ii.Dmin7 DFAC
    IV.Fmaj7 FACE

    Both use CDEFGABC
    Except is centered around the arpeggio notes of that chord.
    You have a major version and a minor version
    Of the Subdominant scale sound .

    ii.Dmin7 DFAC
    DEFGABCD
    And
    IV.Fmaj7 FACE.
    FGABCDE

    How this works is that the chord tones are the strong focus and the other notes in the 7 note scale pull toward the arpeggio notes .
    Watch.

    Starting with the major sound.
    Fmaj7 FACE

    Scale is F Lydian FGABCDEF

    Play
    FACECAF

    The extra notes GBD
    G pulls to either F or A ( depends on your melody
    B pulls to C
    D pulls to C or E ( depends on your melody.


    Now all 7 notes are always in the context of chord tones FACE Fmaj7 yet these extra notes G,B,D,
    Can exist on top the chord with no clashing .
    Mostly you will contour the melody to have the G,B,D, pull towards F,A,C the 135.

    Let's see examples of this

    FACEGF

    See the G pulls down to F.

    FAGFACBCA

    The G pulls down to F
    The B pulls up to C

    Let's start on the 3rd of the chord

    ACEDFACBA

    The E pulls down to D then D pulls up to F
    When we get to C we slide down to B then the B pulls to A.

    Let's start from the 5th of the chord.

    CFGACEDCABCEGAC

    The G pulls to A
    D pulls to C
    B pulls to C
    G pulls to A

    Let's try another.

    This time descending motion

    CAFDEDCABCEFA


    From the 3rd.

    AFDBCAFDECACFA

    From the root

    FDCABAGFAFDBCAFCAEFACEF


    Next up is our

    ii.Dmin7 DFAC

    It also uses the same scale , however the scale notes are centered around the
    D,F,A,C,
    1,3,5,7
    Notes this time
    E,G,B, are our extra scale notes .

    E resolves to F
    G resolves down F or up A
    B resolves up C or down A.


    As before let's look at our scale tones resolving
    In the melody to the chord tones.

    DFACBAFDEDBCED

    Next the 3rd

    FACEDBCEGA

    From 5th

    CEFDEFACBACED


    Now descending .

    Root

    DBCAFDEDBCAFDEFA

    3rd

    FCDABCAEFDBCAEFACDF

    5th

    AFDBCEFDCAFDEFACDFACA
     
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