YES! sorry I didnt read this before. Spanish Prygian, MixoFlat9Flat 13,Jumble of cool notes #26a. Just as along as we agree its the First choice (meaning the one that sounds most inside)
Aj
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I was on modes practices and I discovered....
- Thread starter Baloo
- Start date
YES! sorry I didnt read this before. Spanish Prygian, MixoFlat9Flat 13,Jumble of cool notes #26a. Just as along as we agree its the First choice (meaning the one that sounds most inside)
Aj
Yep Andrew, we agree.
I like superlocrian better for the dominant function in minor, as the Spanish (Or mixo b13) has that "snake charmer" interval between b6 and raised 7th, which can tend to sound a bit corny. Superlocrian just sounds more jazzy to me.
I like your concept of basing your scale choices on what notes work in relation to the key. If we are going to arrive at G minor, let's use as many notes from that key as possible on the preceding chord. Also, you've got a good idea to use the piano to work out harmony, and play what you like to hear.
C+9 generates a whole tone scale. Monk loves this sound on dominant chords.
Tonight I was teaching beginner theory at Vancouver Community College, and I pointed out how the dominant chord wants to pull us toward a tonic function. I played I, IV, V, and left the V hanging, so that they could feel the ear tugging toward the resolution on I. All these extensions and scales do is add more tension to the sound, pulling us more and more toward a tonic resolution. Tension and release, that's the ticket!
(I also like these chords and scales as worlds to themselves, ala Wayne Shorter's harmony.)
I like superlocrian better for the dominant function in minor, as the Spanish (Or mixo b13) has that "snake charmer" interval between b6 and raised 7th, which can tend to sound a bit corny. Superlocrian just sounds more jazzy to me.
I like your concept of basing your scale choices on what notes work in relation to the key. If we are going to arrive at G minor, let's use as many notes from that key as possible on the preceding chord. Also, you've got a good idea to use the piano to work out harmony, and play what you like to hear.
C+9 generates a whole tone scale. Monk loves this sound on dominant chords.
Tonight I was teaching beginner theory at Vancouver Community College, and I pointed out how the dominant chord wants to pull us toward a tonic function. I played I, IV, V, and left the V hanging, so that they could feel the ear tugging toward the resolution on I. All these extensions and scales do is add more tension to the sound, pulling us more and more toward a tonic resolution. Tension and release, that's the ticket!
(I also like these chords and scales as worlds to themselves, ala Wayne Shorter's harmony.)
can you tell me how to spell a Db Mixohexaoctophrytoionospicolli #7, 13,27 And do I include the flat 6? thanks 
ps. your world is baffling, yet strangely intriguing. Im afraid, very afraid!
ps. your world is baffling, yet strangely intriguing. Im afraid, very afraid!
Really not that scary! 
You just take the notes from a scale and give them numbers.
C is 1
D is 2
E is 3
F is 4
G is 5
A is 6
B is 7
Chords are built by taking the scale and skipping over every second note.
C E G gives you a major triad. That's 1,3 and 5 from the scale.
that's a thumbnail sketch, to get started.
When you practice scales, you can practice naming the notes, giving them numbers 1-7, and other stuff. The idea is to make it easier to play in other keys, talk to other musicians, write charts, transpose, transcribe (writing the notes you play or hear), and give you general music fluency.
Hope that makes it less scary. . .
You just take the notes from a scale and give them numbers.
C is 1
D is 2
E is 3
F is 4
G is 5
A is 6
B is 7
Chords are built by taking the scale and skipping over every second note.
C E G gives you a major triad. That's 1,3 and 5 from the scale.
that's a thumbnail sketch, to get started.
When you practice scales, you can practice naming the notes, giving them numbers 1-7, and other stuff. The idea is to make it easier to play in other keys, talk to other musicians, write charts, transpose, transcribe (writing the notes you play or hear), and give you general music fluency.
Hope that makes it less scary. . .
