/jazz harmony/

The last thread had some great discussions
any jazz player here?
Lets talk about Dominant7 #5 chords and what we like to play over them

When dealing with this chord I usually stick to chord tones with approach tones thrown in here and there

Other urls found in this thread:

m.youtube.com/watch?v=HMsNqxIJ2x0
clyp.it/g4nfkinq
youtube.com/watch?v=h0S8oHR6RcA
clyp.it/ri14bewu
www57.zippyshare.com/v/W4buWFCM/file.html
twitter.com/NSFWRedditImage

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Well, that's four out of the six notes of the whole tone scale. Whenever you think that a whole tone "feel" would be appropriate, you can throw that out there.

true

Mainly I just use chord tones with some chromatics. Hang out on the 3 and 7 while accenting on the #5. Throw in some #11 because of muh lydian dominant (with a #5 of course)

>lydian dominant
this a favorite of mine

Well I don't think you'll hear that chord voiced that way too much in jazz. You'd usually voice it with an altered 9th as well, in which case, the altered scale is the obvious candidate.

You'll see the rootless voicing of this a lot
so it would be E G# Bb D# for a C7 (#9, #5)

That voicing is great because on its own it's very ambiguous and you can use it for a lot of things. If you think of E as the root it's just an EMaj7(b5) or #11. You can think of C or F# as the root and get dominant chord. Make Db the root and you've got a nice minor 6/9 voicing. Or one I've been experimenting with lately- make Eb the root and you've got a Ebsusb9 chord which can be a really cool sound.

yeah I just used this for the picture
usually I play it C Bb E G#

I'm not a composer or much of a serious keyboard or piano player, but all this masturbation over chords and theory seems pretty pointless without actual songwriting or links to your own performances as examples.

we are trading information and concepts
If you don't get it then go away?

>asking how to play dom7#5 chords is bad unless you actually rec yourself playing them
why?

I think there's a lot more to songs, and even just chords by themselves, than their voicings. I feel like it distracts from the whole point of it all.

I also get the strong impression this is a blind leading the blind kind of thing. Much like /prod/.

>this discussion goes over my head so I'll assume that it's masturbation and pointless

ftfy

see

There is always this guy in real life and the internet, always. He plays either below average or just not very good, goes on about emotion and feelings of music, then throws a tantrum when you start to chat away about theory with your fellow music friends and takes the
>muh emotion
>music is magic
>you don't need that stuff, I do fine!
Moral high ground.

This is why I left the guitar world after 8 years of playing and been on piano for 3, guitarfags are literally cancer when it comes to learning something other than muh blues scale.

I know all about how to deal with chords with augmented or diminished extensions and have a lot of ways of dealing with them, but I wan't to be better at them regardless. How do I find all the popular chords in jazz so that I could practice them more effectively and memorize as much as possible about them?

>tfw sometimes cant think of what to do for certain chords so I just go chromatic

Feels bad

>C+7
Just play mixolydian with a #5 lol or whole tone

Well, the first step is figuring out what chords are popular by opening a Real Book or something and getting the basic knowledge of songs.

Whenever you see an alt chord that is an opportunity to play any kinda wonky seventh chord with any alteration. I'd suggest torrenting Band in a Box and messing around with alt chords.

What kind of chords? It's not hard when you get a hang of it. The hard thing is doing it fast and mixing multiple scales together

For dominant 5ths and diminishes I always just throw the harmonic minor scale out.

Getting a little one.

A little old

The first problem with that is the real book has simpler chords than what the actual songs tend to use. Such as "Sugar" or "There'll Never Be Another You", but I'll definitely go through my real book and write all the chords I can find and take some notes. Thanks.

Harmonic minor on V7 outlying Phrygian Dominant and Harmonic minor on iim7b5 outlying Locrian #6. CERTAINLY not my go-to but I can see it.

I just use half-whole dim, or the lick that's more popular than "The Lick" we all know.

Ex. B7 or B half-dim, it's DCFEbAbGbBA in all eights.

It's a neat little lick I use in "Have You Met Miss Jones" all the time.

>Lets talk about Dominant7 #5 chords and what we like to play over them

it substitutes for a minor an Aug 2nd above it

>have you met miss Jones

That's my jam, no one sings it like Robbie though.

m.youtube.com/watch?v=HMsNqxIJ2x0

Here's a pretty bad improvisation of Oleo, I tried my best to not screw up but I still did.

clyp.it/g4nfkinq

That's really good m8

Impressed

Lol somehow I'm still the worst in the thread. Sounds great man. I'd post myself playing over Silver's Serenade but I'm too embarrassed

do you have Muppet fingers?

nice improv, just needs better timing in some parts

Don't mean to discourage, but those rhythms were consistently early.

Your soloing sound decent enough though, but I'd try more to center your soloing on ideas rather than scales. Just come up with a pattern. A good way to do this is just use the maj (or min) blues scale over the A sections and use the dom scales on the B just to stay somewhat grounded in the changes and time if not just good practice.

By patterns I really mean ideas.

Naw. I'm hella bad. If you post, I'll post tomorrow when it isn't 4 AM .

That song is so sick. That little turnaround reminds me of youtube.com/watch?v=h0S8oHR6RcA

I guarantee I'm worse. I've only been seriously playing jazz for two years and play through a $100 guitar and have latency issues on my computer. Thankfully I've never had the opportunity to play for an audience. Not doing that til I'm at your level.

clyp.it/ri14bewu

Those chromatic mediant m9 chords are the shit. Horace is by far my favourite. Gregory is Here and In Pursuit are some of my other favs

What does that even mean??

Yeah I know about the rhythm part, that BPM is slightly faster than what I'm comfortable with, so it's really a hard attempt at the entire song. I know about the pattern thing but I'm so caught up with trying to keep with tempo, I just didn't make too much effort to come up with new patterns on the fly.

>What does that even mean??
He's saying you can cook like hell on the guitar

(You)
>What does that even mean?

well you know, do you have fingers like a muppet?

You know what I've noticed recently? Every single song with min 3rd intervals is sick. The Amin7 chord to the Cmin7 chord in recorda me. The Bbmaj7 to the Gmaj7 in a milleu of different titles like Hello Old Friend - Greg Foat or A Sharp One for B# - Megalodon Edible

That interval has amazing qualities.

Naw, that guitar guy wasn't me, I was gonna post some sax stuff later.

Oh you are saying I'm a three finger player?

It was very good

:)

I think he might be saying you use too many triads? Idk. His joke was so bad that his criticism is automatically discredited.

I think he's saying Animal on Guitar

So... Okay...

Anyone here ever mess around with Dorian #4?

Nop. Interesting concept though. I love 7#11 chords though--mostly lattering them in solos like D F# A C E G# B

Dm7 - E7 - Dm7 - Db7 is great solo Dorian #4 over.

So any good books on improvisation that utilises Chord Scale theory?

WHAT DO YOU GUYS THINK ABOUT WHEN PLAYING OVER CHANGES? LIKE ON A SPECIFIC TUNE SAY A JEW CHORDS FROM IT THEN PLEASE TELL EM HOW YOU GUYS APPROACH IT

PLZ JAZZ ANONS

>A JEW CHORDS
a few chords hah oops

Anti-semite. People like you are destroying this world.

I'm not saying you don't need music theory or that it's not important. I'm saying talking about it in this way feels like masturbation.

>jew chords

Reminder to get involved with the weekly /Blindfold Test/ threads every Friday and Saturday.

Link for this week:
www57.zippyshare.com/v/W4buWFCM/file.html

This week's theme is Big Band

It was a simple typo relax.

:^)

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