Different viewpoints...


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Posted by El Pájaro on June 13, 2001 at 08:06:55:

In Reply to: Re: Jazz Chord Progressions posted by Ed on June 12, 2001 at 12:40:10:

:
: Welcome to the Wonderful World of Secondary Dominance. Paige and Glenn have spelled it out pretty clearly, but I would like to add EXPLORE FUNCTIONAL HARMONY. It's not so much that you want to match a scale to every chord (and I gotta disagrre with EL PARIAH on this) as to start hearing/understanding chord function. Just looking at A7 might be confusing, but when you hear it, you hear a dominant chord.
: which needs to suggest some melodic choices to you in your head. I think EP's advice is a great way to destroy any kind of melodic continuity in either your line or in a solo. You don't play OVER harmony, you play THROUGH it. Your line should not only support the harmony (and soloist's note choices) but it should also move the harmony forward. If you just play from chord to chord to chord that'll never happen.


Hey there,
It looks like different viewpoints have been tossed here. When I made that suggestion, I was careful enough to stress it was NOT the only way to get through the changes, but just one possible approach.
And, by the way, I don't believe the chord/scale concept will necessarily "destroy any kind of melodic continuity". There ARE ways to smoothly and melodically find your way from one chord/scale to another -you just have to do the homework on this one. There's a motherload of recordings that prove this very point.
Buena suerte and keep your basses up front in the mix,

El Pájaro

P.S.: Man, spell my name correctly for once...




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