I don't really know any good references offhand. My degree is going to actually be in "jazz composition," but I've never written jazz, lol, and I didn't retain much from those classes (only due to a criminally lazy teacher). Jamie Aebersold is a standard; I know jazzheads who curse his name, but these same people have spent a lot of time learning to play the changes regardless. You'll also never run out of Aebersold CDs. For some strange reason I can find no Wikipedia page devoted to jazz theory. I guess the experts are all too busy smoking reefer and running with fast women! Hmph!
-Chuckk
On 8/13/06, Kyle Klipowicz kyleklip@gmail.com wrote:
On the topic of all this music theory and harmonic discussion, I realized that I need to expand my knowledge of this area. I've played piano/guitar/bassoon for some years, but never got deep into that rich area of chord theory that seems to be on topic right now.
Is there any good (and free) online resource or lesson guide (preferably interactive) that I could train myself with? I just started reading Machine Music by Robert Rowe, and this knowledge would help me follow that text as well as the current discussion.
~Kyle
On 8/13/06, patco megalegoland@yahoo.fr wrote:
Chuckk Hubbard badmuthahubbard@gmail.com a écrit :
maybe it would be possible to simply have a melodic part that occasionally receives information about harmonic changes before the harmonic part does
In jazz music when we are accompagnating a melody, we use voices, for example a chord with four tones
eg: C E G B
could be played with three other combinations:
E G B C, G B C E, and B C E G
The highest note of the voice would be the note used in the melody. this example is one of the simpliest, we could also use the same way with thirteen chords, with seven sounds instead of four sounds, then there would have seven combinations for each chord.
In fact we can give any color we like to a melody, it just depend on what kind of mode we are using for accompagnating it.
eg: in 'Autumn Leaves' the first note is the third of the first chord, then it gives a sad color (minor third), but we can give another color with using another chord, for example we could use G7 instead of Dm:
Dm - G7 - CM7 - FM7 - Bm7b5 - E7 - Am becomes G7 - C#° - FM7 - Bb7#5 - Dm7 - Dm7M
and then the automn leaves melody would sound more 'myxolydian'.
Notice that some chords has to be modified for sounding better in that weird harmonic context.
Patco.
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