Music Theory as an Alternative to Playing an Instrument

Discussion in 'General Chat' started by Bndsmheowqhe, Sep 7, 2019.

    1. Bndsmheowqhe

      Bndsmheowqhe Member

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      I've found satisfaction in focusing on theory since it's become increasing difficult to play an instrument. Schenkerian analysis alone is enough for a lifetime of study.

      Mluu05Cl.jpg
       
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    2. Earing
      No Mood

      Earing Member

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      Jazz is much to crazy, he'll play it when he's old, mamma let him rock 'n roll.
       
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    3. JohnAdams
      Festive

      JohnAdams Member Benefactor Hall of Fame

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      tell something about jazz I probably don't know. How do you construct a good progression using jazz chords?
       
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    4. AUTHOR
      AUTHOR
      Bndsmheowqhe

      Bndsmheowqhe Member

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      It's mostly ii V (I) progressions. Ex. D min7 - G7 - (C Maj7). They cycle through different keys frequently so that's the easiest way to navigate the modulations.
       
    5. sakrt
      No Mood

      sakrt Member

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      Hi, @Bndsmheowqhe. Out of curiosity, to what the horizontal L shape, as well as the long curves over the notes represent?
       
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    6. Earing
      No Mood

      Earing Member

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      Start on the 2 chord.
       
    7. JohnAdams
      Festive

      JohnAdams Member Benefactor Hall of Fame

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      Lol that's it?
       
    8. AUTHOR
      AUTHOR
      Bndsmheowqhe

      Bndsmheowqhe Member

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      The basic idea behind all of it is a reduction of the piece to a single statement of a descending 3 note melodic line (3-2-1) which translates harmonically into I - V - I. The L shaped lines at the bottom of the graph represents a harmonic reduction of the underlying progression in the phrase to an extended I chord that eventually cadences with the V - I at the end. The Dashed line represents different octaves of the same pitch at that level of analysis.
       
    9. AUTHOR
      AUTHOR
      Bndsmheowqhe

      Bndsmheowqhe Member

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      The ii V progression (even without the I) is enough to tonicize a temporary tonal center. Overall the song remains in the original key but shifts through temporary key changes as a way of enhancing the musical experience.

      Chords also tend to be viewed in 3 basic categories: Major, Minor and Dominant. For example C7#9 (The "Hendrix" chord) is a Dominant 7th chord with the 9th note in the scale raised a half step (D becomes D#) and can be used as a substitution for any other Dominant 7th chord with the same root.
       
    10. JohnAdams
      Festive

      JohnAdams Member Benefactor Hall of Fame

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      What about diminished?
      FYI I know all about key, chords, scales and modes.
      Yes! This is the stuff I don't understand as well.

      MOAR!!!!
       
    11. AUTHOR
      AUTHOR
      Bndsmheowqhe

      Bndsmheowqhe Member

      Tinnitus Since:
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      Diminished chords usually function as passing chords in jazz so they are less important. I tend to think of Major/Minor/Dominant as the primary colors. From there you just plug in whatever altered (# or b 5th or 9th) or extended (6,9,11,13) chords you like the sound of. Example: C major triad becomes C major 7 #5. D minor triad becomes D minor 9. As long as it's the same type (Maj min dom) and root you're free to mix and match as you see fit. After that you can even start to substitute chords with different roots if they are similar harmonically (Cmaj 7 /CEGB becomes E minor 7 / EGBD or C Dom7 / CEGBb becomes F#Dom7 b5 / F#A#/Bb C E)
       
    12. Mister Muso
      Creative

      Mister Muso Member

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      I used to enjoy coming up with brass parts when I had a wee horn section going in a band I was in once.

      Right now I'm getting by on just 10 minutes of piano playing at a time when I feel I'm having a "good" day (and using hearing protection of course).
       

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