Music Theory as an Alternative to Playing an Instrument

[Bndsmheowqhe]

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.

 

[Earing]

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

 

[JohnAdams]

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.

View attachment 31801

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

 

[Bndsmheowqhe]

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

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.

 

[sakrt]

I've found satisfaction in focusing on theory...."View attachment 31801

Hi, @Bndsmheowqhe. Out of curiosity, to what the horizontal L shape, as well as the long curves over the notes represent?

 

[Earing]

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

Start on the 2 chord.

 

[JohnAdams]

Start on the 2 chord.

Lol that's it?

 

[Bndsmheowqhe]

Hi, @Bndsmheowqhe. Out of curiosity, to what the horizontal L shape, as well as the long curves over the notes represent?

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.

 

[Bndsmheowqhe]

Lol that's it?

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.

 

[JohnAdams]

Major, Minor and Dominant.

What about diminished?
FYI I know all about key, chords, scales and modes.

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.

Yes! This is the stuff I don't understand as well.

MOAR!!!!

 

[Bndsmheowqhe]

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!!!!

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)

 

[Mister Muso]

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).