Carol's "old school" approach is to give primacy to chord tones and arpeggios in your vocabulary of practice,
rather than applying a mode or scale to each chord.
Instead of practicing C Ionian, D dorian, E phrygian etc
you pratctice CEGB, DFAC, EGBD and so forth
In other words arpeggios up & down the scale.
This is what she means by her term "chordal scales"
(naturally there are passing tones in carol's exercises as well, but these are not explicitly drawn from scales or modes)
Carol asserts that back in the day nobody bothered with chord - scale formulas
and she is not the only musician with "old school" experience to assert this
If you google jazz theory, you you find endless discussions of modes
But if you google theory discussions of Charlie Parker, Coltrane et al you find discussions of chords...in my experience.
for what it's worth I think Carol is right on the money with that idea.
rather than applying a mode or scale to each chord.
Instead of practicing C Ionian, D dorian, E phrygian etc
you pratctice CEGB, DFAC, EGBD and so forth
In other words arpeggios up & down the scale.
This is what she means by her term "chordal scales"
(naturally there are passing tones in carol's exercises as well, but these are not explicitly drawn from scales or modes)
Carol asserts that back in the day nobody bothered with chord - scale formulas
and she is not the only musician with "old school" experience to assert this
If you google jazz theory, you you find endless discussions of modes
But if you google theory discussions of Charlie Parker, Coltrane et al you find discussions of chords...in my experience.
for what it's worth I think Carol is right on the money with that idea.
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