| Author |
Message |
Forum: "Teflon" Instruments and Musicians non-Stick Topic: Music Theory Thread |
| Tatsu |
|
Posted: Sun Oct 07, 2012 3:20 am
|
|
Replies: 105
Views: 10708
|
| In William Russo's book, Jazz Composition and Orchestration he says that good melodies tend to have both a lower and an upper curve so shoot for that when composing your melodic line as your melody having the same silhouette as a mountain and a valley. The verse also should usually start in a differ... |
|
 |
Forum: "Teflon" Instruments and Musicians non-Stick Topic: Music Theory Thread |
| Tatsu |
|
Posted: Sun Oct 07, 2012 3:13 am
|
|
Replies: 105
Views: 10708
|
| As far as colorful notes, it depends if your tune is going to have a vamp section or not how you might approach it. If you're going to have soloists play over the changes you've created in the "head" then the first time you play the changes, play them as vanilla as possible. The next time ... |
|
|
Forum: "Teflon" Instruments and Musicians non-Stick Topic: Music Theory Thread |
| Tatsu |
|
Posted: Sun Oct 07, 2012 3:05 am
|
|
Replies: 105
Views: 10708
|
| The kind of weak motion that IV I and the descending third produce let's you have the feeling that more music is coming so they're not as useful at the end of the tune when no more music is coming but they're great at the ends of verses. Chords which have at least three of the notes that are in your... |
|
|
Forum: "Teflon" Instruments and Musicians non-Stick Topic: Music Theory Thread |
| Tatsu |
|
Posted: Sun Oct 07, 2012 2:55 am
|
|
Replies: 105
Views: 10708
|
| The most basic motion at the ends of sections are of two kinds in classical music. An alpha progression of an ascending fourth descending fifth and a beta progression of a descending third. The alpha progression is the stronger progression and is good to use at the end of the tune for example. I als... |
|
|
Forum: "Teflon" Instruments and Musicians non-Stick Topic: Music Theory Thread |
| Tatsu |
|
Posted: Sun Oct 07, 2012 2:48 am
|
|
Replies: 105
Views: 10708
|
| I held off talking to you about progressing in ascending fourths/ descending fifths because it's explanation is perhaps the most complex. In jazz iii vi ii V I is a common progression because each chord resolves a perfect fourth up to the next chord. in A melodic minor the root motion would be C F# ... |
|
|
Forum: "Teflon" Instruments and Musicians non-Stick Topic: Music Theory Thread |
| Tatsu |
|
Posted: Sun Oct 07, 2012 2:31 am
|
|
Replies: 105
Views: 10708
|
| I feel a better place for you to start would be to think in terms of Verses and Choruses even though jazz uses different terminology. Choruses are the part of the song that repeats and is the payoff everyone is waiting for so maybe you could put two repeating chords in that section. For contrast, th... |
|
|
Forum: "Teflon" Instruments and Musicians non-Stick Topic: Music Theory Thread |
| Tatsu |
|
Posted: Sun Oct 07, 2012 2:19 am
|
|
Replies: 105
Views: 10708
|
| Hi Lee, yeah, having to keep track of what key chords are in and trying to play that is a head ache and not a very intuitive way of playing. Just flat the relevant note and voila. Oceans, I see you put that you want to have a 1-3-6-4 progression with colorful notes. That's not the best progression f... |
|
|
Forum: "Teflon" Instruments and Musicians non-Stick Topic: Music Theory Thread |
| Tatsu |
|
Posted: Wed Oct 03, 2012 1:02 am
|
|
Replies: 105
Views: 10708
|
| My own compositions are not at either level. I'm currently focused on substitutions of the iiVI progression which brings things down a few notches. Previously on my violinish tunes over in Showcase I was using the modal approach that Holdsworth might employ but I was doing it on a non esoteric modal... |
|
|
Forum: "Teflon" Instruments and Musicians non-Stick Topic: Music Theory Thread |
| Tatsu |
|
Posted: Wed Oct 03, 2012 12:50 am
|
|
Replies: 105
Views: 10708
|
| Corea also employs nonfunctional harmonizations over ascending or descending lines in the bas or soprano to connect structural chords. The Gminor i chord and the D7#9 V chords are the structural chords in the following example which Corea is connecting with Non functional chords over a descending li... |
|
|
Forum: "Teflon" Instruments and Musicians non-Stick Topic: Music Theory Thread |
| Tatsu |
|
Posted: Wed Oct 03, 2012 12:39 am
|
|
Replies: 105
Views: 10708
|
| Corea does use Dominant to Tonic motion but he usually reserves it for the auxiliary key. It should be mentioned that in Corea's linear progressions he often leaves out the dom in order not to disrupt the ascending or descending passage. CMaj Dmin Emin FMaj Amin... because the dominant chord will th... |
|
|
| Sort by: |
RSS
Photo Gallery