Hope u all enjoyed playing over the changes.BJR,u're right about these concepts not specifically pertaining to jazz.Yes,i do play a lil jazz here and there,will hopefully be playing at the Jazz Yatra Delhi n Mumbai....will inform u folks on confirmation.
have fun,keep practicing and making it"practical"
ps. for those interested in the voicings im using in"Pavlo's Point" im typing thm down here,i tried to keep it as simple.i would encourage u to be creative and play other voicings and/or add stuff to it..............
Major C X3201X
Minor Em 022000
Diminished F# dim 2X121X
Augusted A aug or A7#5 or A(#5) X07665
suspended D sus 4 or D7 sus 4 X5758X (pull of G(8) to F & E for teh m7 & m9 voicings
6 G6 3X5453
7 C7 X3535X 8XX9 11 8
major7 Fmaj7 X8 10 7 10 X
9 D9 10(t) X10 9 10 10
add9 G add 9 X 10 12 14 12 10
minor6 Fm6 X 8 10 8 9 10
minor7 Em7 X 7 9 7 8 10
mi maj Ab mi major (also notated by a triangle with a minus sign beneath) 4(t) X 5 4 4 3
major C/G (II inversion) viz C(root) C/E(I inversion) C/G(II inversion) 3X555X
X-string not played,0-open,(t)-play with thumb,strng order viz 6-5-4-3-2-1
well that was just because in Jazz u just cant do without it ... in Blues and Rock u can still without all the mumbo jumbo ...
Originally Posted by bjr
Originally Posted by ssslayer
no no, thats a common misconception. You use these concepts everywhere. More often than not, you don't know you're using them. That is when a good ear comes in handy (though God knows that the concept of having a good ear is abstract in itself).
Of course, when I talk about "you" I mean us beginners, the guys who have made it big mostly know a lot more than they let us in on.
ok man ...
to me all the mumbo jumbo is good only if it sounds good ... and if i can make something that sounds good ... i dont really need to bank upon the "mumbo-jumbo" ... thats all i meant ...
but in jazz it is a diff ball game ... u wont know what is going on ... how ot improvise ... thats y mumbo jumbo is required there ...
OK ... before this turns SPAM ... i stop ...
b.t.w. BJR: that was specifically meant for dharmatma ... but since u had worded it i had to include it in my post ...
Originally Posted by ssslayer
I understand. The end result is that it has to be good to listen to regardless of the intricacy or the lack of it. It was music that came first and theory that followed.
But you see, we are still using the "mumbo-jumbo". We just don't know it. Suppose I make up a wonderful triad comprising of C,G and E. I'll show it to a friend who'll turn up his nose and say "Big deal, you're just using a C major chord". I'll say "huh? what? fock you, I put in a real effort into that".
But we'll both be right na? I couldn't care less what chord it made up, I'd use it because it sounded good to me. But that doesn't mean it's something wonderfully new....it's just a C major chord.
It takes a particularly talented person to ask themselves questions and then be able to answer them and discover music on his or her own....not to mention the decades consumed. However, if someone is able to do this, their understanding of music will be far greater than I can ever hope to gain.
and if a musical discussion is called spam, I'm going to bring in a smiley onto the forum that shows the middle finger.....er yes, that will fix neo
^^^ what was meant for me??
the post in which u said that ..u can do without it in blues,rock and stuff..
@soulscape-- ive got a few friends who play jazz and ive been stealin a lot of their stuff..
how long have u been playin??
and i request u to post a lesson on chord voicing in the guitar lesson forums..
Originally Posted by Pavlo
Answering years later should be ok I guess :P
I stumbled across this question as I was learning Music Theory myself. The feeling / mood for each Chord or understanding the logic behind a musical composition is hard to realize as a beginner, takes a lot of time and effort to master.
As a group like
Major Chords -
How they sound like can be and understood so that you can write music without experimenting with an instrument - accomplished musicians do like Mathematicians & Physicists work with just their imagination.
It's more of the Chord Progressions that make sense to now. After some online research, I got these two books :
Frederick Horwood :
The Basis of Music
- This gives you everything you wanted to know about notation and with a little idea beforehand you are done.
The Basis of Harmony
- This is more geared for people who desire to WRITE music based on MUSIC THEY HEAR SUBVOCALLY - It essentially states every possible rule you need to follow like how should you write chords if it's a Counter Point, How to write Bass under a Melody or How to write a Melody above Bass , how should chords progress etc.
- It's an old one, but in my opinion, it's the best like the Gita stating the principles behind melodious music. But, to be warned, you can't realize what he says before you actually played some pieces and thought about it yourself. Understanding the elements of music in an isolated context is like an LKG guy asking of what use are these alphabets, mood is simiilar to reading in-between the lines.
So, the best suggestion I can give, play songs in different moods again and again and start thinking about them, you'll realize naturally which fits best.
- To understand this, you need to dissect music mentally as you listen. Yes, musicians know which Key signature, Timing & Chord progression should they write to decide the mood. Eg: Love Songs, Sad Songs / Painful, Eerie, Hip Hop etc. Comes with a bit of experience and experimentation. Most often melody is generated by your neurons
Hope it helps !
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