What is Jazz - Part 5 - Chord Progressions - Billy Taylor

[withinthecube]

Based on the ads for such a great video, we have not progressed much

[amazingwave]

That was fucking amazing.

[souzabluesplayer]

Wow, great video!

Great musician!

[TheDanceofjoy]

hey i am new to all this theory but i really like the chord progressions such as shown in these videos. can any 1 suggest me where should i begin to improve my listening and observation. Thanks

[indaplace2b]

Holding C as the top note and going backwards to each root I practise this a lot on the Saxophone in arpegios ==> (1) C maj, (2) C#maj7, (3) D min7 (4) Eb9 {add#11,13} (5) Eb13 {b5} (6) F min 7, (7) F# maj 7#11 (8) Gmin11 (9) G# maj (10) A+7#9, (11) Bb9, (12) B7b9

[SIRONEDRAGON]

very cool ideas

[arrniel]

wow that was nice

[funckyjunky]

Norbit !

[crazypianolady]

Amazing!

[osensei2987]

It just seems that Jazz harmony and Impressionism have a great deal in common. So Debussy was definitely hip! I wonder if he smoked the reefa?

[osensei2987]

One I find useful works well for tunes that you already know the melody line to is this: 1. Look at the notes in the melody 2. Any note you pick from the melody is going to be some type of 1, 3, 5, 7, 9, 11 or 13th of the chord. For example a melodic tone can represent any of the following: root, min/maj 3rd, dim/aug 5th, dom/maj 7th, b9, 9, or #9, 11th or aug 11th b13th or 13th Given this information you can construct the rest of the chord. If you don't like the sound, try again.

[SamuelLeeWang]

so when you use that note to construct the rest of the chord, where do you put that note?

lets say you put that note close to the root, will the melodic line be lost?

[osensei2987]

It doesn't matter.  The melody doesn't not have to be at a higher pitch than the rest of the chord! Movement or melodic curve will take care of itself. Think about it. If this were not so then there would be no such thing as a trombone solo. And all vocal melodies would have be written only for sopranos.

[osensei2987]

For example I take the note F! So I'm going to start deciding! First I'll decide that the F is an 11th of some chord! That leads me to a C11 but also a Cmin11 are possible. Now I'm going to decide that the F is an augment 11th of some chord the leads me to either a B7#11 or a B Maj 7#11. If I decide that F is the raise 9th of some chord then that leads me to D7#9. But you also have simple choices like F is the min 3rd of Dmin7. This is how you experiment to find different sounds!

[SamuelLeeWang]

thank you so much for the response!

how did you know so fast that the F was the 11th of either C11 or Cm11?

What do you mean by "Now I'm going to decide that the F is an augment 11th of some chord the leads me to either a B7#11 or a B Maj 7#11. "

how did you linke F to an augment of

11th?

Can you also explain the last segment? I'm very lost... thanks!

[osensei2987]

There is only a finite set of possibilities. If we determine that a given note from a melodic line is part of an underlying harmony then the note by definition must be some "type" of the following:

Root, 3rd, 5th, 7th. 9th, 11th, or 13th

or

1,3,5,7,9,13

Know take these relationships and add the fact that the may also be raised/augmented or lowered/diminished. Once you understand this set of finite possibilities then you list looks like this: (see next post)

[osensei2987]

Now this list looks like this: Root, b9th (same as the min 2nd) 9th (same as the major 2nd) +9th (same as the min 3rd) Maj 3rd 11th (same as the perfect 4th) +11th (same as the dim 5th) perfect 5th, b13th (same as aug 5th) 13th (same as the Major 6th) min 7th Major 7th Perfect octave (see next post)

[osensei2987]

If a note belongs to a chord then it must have one of the above relationships to it's root. So if the note is F# for example I just pick one of the relationships from the list. Lets say the 9th! The I ask if F# is the 9th then what would be the root? The answer would be E. What type of E chords do I have? Major, Minor, and Sus! The pretty much narrows the possibilities down to Em9, E9, EMaj9, Em9b5, E9b5, E9#5, EMaj9b5, EMaj9#5, Esus9 (same as E11).

[osensei2987]

Naturally, the situation I'm referring to is that of composition or arranging. I'm assuming that I have a melody line that has no harmony associated with it because composition is taking place. But if I was playing an established piece of music I would play the chords that I was given and only deviate slightly based on what the idiom would tolerate.

[garrettmillerdrums]

Brilliant.

[baloniousdunc]

It helps if a piano player explains the chords while he plays them and you can watch his hands- for example when he is talking about the upper partials he is refering to the 9 the 11 and the thirteenth of the chord. However you can also think in terms of stacking chords poly tonaly. for example a c7 chord-CEG Bb and a D triad above it. I think this is one of the things Parker found interesting in the music of Stravinsky.

[heru1966]

Wonderful stuff....great to hear the masters break down what they do. Thank you.

Imani

[Tuppington]

not much help for me but cool nonethelss.

[lilbits]

Ty For sharing this. Blessings

[DebJen7]

I'm speechless.I wonder if he gives lessons? Where and how much per session.Thank you.