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Alain
Elite Contributor
Joined: Wed Dec 09, 2009 5:02 am Posts: 2594 Location: Shawinigan, Quebec, Canada
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Re: Musical analysis
The_Afro_Circus wrote: If we're talking about modal playing and harmony, it would be inefficient to put too much stock into Roman numeral analysis, which tends to be a very tonal and diatonic look at things. For me, each of these modes are interchangeable in the moment, obviously depending on the chord that I'm playing over. It all depends on what color I want to go for but I tend to mix and match a lot in my playing I understand your point of view. For me there are a couple of things that make the difference...how to use the 6th...so important. You know right away what is the main key. Of course, you can bring more than 1 color inside your improvisations...if you switch between them...better. I'm thinking mainly about a bluesy language or pentatonic scales.
_________________ Grand Stick, Wenge, 12 strings, MR, SN 6667 http://soundcloud.com/Kataway http://www.youtube.com/user/Shawinijazz https://alainauclair.bandcamp.com/
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Fri May 18, 2018 9:21 am |
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The_Afro_Circus
Master Contributor
Joined: Sat Jan 17, 2015 1:07 pm Posts: 1113
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Re: Musical analysis
Not sure I'd be using the 6th at all with pentatonic blues licks.
_________________ -Josh
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Fri May 18, 2018 10:25 am |
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Lee Vatip
Site Donor
Joined: Mon Dec 24, 2007 10:06 am Posts: 3250
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Re: Musical analysis
How's this twist for your Gm7 ...Dm7b5?
Gm7 add an Eb bass GBbDF/Eb=EbMaj9 Dm7b5 add Bb bass DFAbC/Bb=Bb9
Your progression becomes EbMaj7..Bb9, or I , V Many ways to interpret a progression
Steve A
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Fri May 18, 2018 11:06 am |
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Lee Vatip
Site Donor
Joined: Mon Dec 24, 2007 10:06 am Posts: 3250
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Re: Musical analysis
How's this twist for your Gm7 ...Dm7b5?
Gm7 add an Eb bass GBbDF/Eb=EbMaj9 Dm7b5 add Bb bass DFAbC/Bb=Bb9
Your progression becomes EbMaj7..Bb9, or I , V Many ways to interpret a progression
Steve A
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Fri May 18, 2018 11:06 am |
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Alain
Elite Contributor
Joined: Wed Dec 09, 2009 5:02 am Posts: 2594 Location: Shawinigan, Quebec, Canada
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Re: Musical analysis
Lee Vatip wrote: How's this twist for your Gm7 ...Dm7b5?
Gm7 add an Eb bass GBbDF/Eb=EbMaj9 Dm7b5 add Bb bass DFAbC/Bb=Bb9
Your progression becomes EbMaj7..Bb9, or I , V Many ways to interpret a progression
Steve A Yeap, that's it...and that is also why I called this Gm7 a IIIm7 and this Dm7b5 a VIIm7b5...because it is all in relation with Eb...the I chord. But when you play this phrygian mode in Gm it's important to keep in mind the note G as a "root"...or resolution. I like to start progressions on something else than I...lol. It's not commercial but I don't care.
_________________ Grand Stick, Wenge, 12 strings, MR, SN 6667 http://soundcloud.com/Kataway http://www.youtube.com/user/Shawinijazz https://alainauclair.bandcamp.com/
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Fri May 18, 2018 4:09 pm |
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Lee Vatip
Site Donor
Joined: Mon Dec 24, 2007 10:06 am Posts: 3250
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Re: Musical analysis
If you say Gmi is the resolution, then it should be labeled i....v in G phrygian. Chord numbers aren't necessary based on the Major key. The value is visualizing the chord functions on the Stick fretboard, how they relate to vocabulary, like scales, arpeggios etc. combined with a creative ear and technique
Steve A
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Fri May 18, 2018 8:38 pm |
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Alain
Elite Contributor
Joined: Wed Dec 09, 2009 5:02 am Posts: 2594 Location: Shawinigan, Quebec, Canada
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Re: Musical analysis
Lee Vatip wrote: If you say Gmi is the resolution, then it should be labeled i....v in G phrygian. Chord numbers aren't necessary based on the Major key. The value is visualizing the chord functions on the Stick fretboard, how they relate to vocabulary, like scales, arpeggios etc. combined with a creative ear and technique
Steve A I'd say it's the general point of view but there are other ways to play with this. I give you a simple example. Tango music...many times this style of music finish on a V7 chord...it's a suspended feeling...kind of. We don't ear the Imaj after and it's ok. The example I give with this Gm is a Im but as a phrygian mode and not like aeolian or dorian. I like to play with modes and give different colors of the melodies I can write or improvise on it. Maybe I break the rules but maybe not. What is so interesting in this Gm is the scale I use on it. The Ab note following the G is just right what I want to ear. On the other side I cannot end a phrase on this Ab when I'm in Gm. Just logical. I stay conscious about the chords behind my improvisation or if I write a melody. I like to give to the listener a sensation of sound instability. Is there a musical law saying that we can't do it? I don't think so. You can do what you want in music. As soon as you can explain it clearly, everything's possible. If I want to note it the way you told me I'do it this way Gm -- Dm7b5 Im -- Vm7b5 Cm7 -- Ab6/9 #11 IVm7 -- II6/9 #11 Fm7 VIIm7 It works but so complicated to read at sight. And to respect the phrygian mode.
_________________ Grand Stick, Wenge, 12 strings, MR, SN 6667 http://soundcloud.com/Kataway http://www.youtube.com/user/Shawinijazz https://alainauclair.bandcamp.com/
Last edited by Alain on Sat May 19, 2018 5:39 am, edited 1 time in total.
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Sat May 19, 2018 5:29 am |
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Alain
Elite Contributor
Joined: Wed Dec 09, 2009 5:02 am Posts: 2594 Location: Shawinigan, Quebec, Canada
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Re: Musical analysis
The_Afro_Circus wrote: Not sure I'd be using the 6th at all with pentatonic blues licks. You're right...I was not thinking about a blues progression when I wrote this.
_________________ Grand Stick, Wenge, 12 strings, MR, SN 6667 http://soundcloud.com/Kataway http://www.youtube.com/user/Shawinijazz https://alainauclair.bandcamp.com/
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Sat May 19, 2018 5:30 am |
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AnDroiD
Elite Contributor
Joined: Mon Feb 22, 2010 12:42 pm Posts: 2536 Location: Jersey
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Re: Musical analysis
Alain wrote: I like to give to the listener a sensation of sound instability. That's what I go for. And that's more modus operandi.
_________________ Peace, Marty "The present day composer refuses to die" -Edgard Varese
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Mon May 21, 2018 5:30 pm |
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