J D Sauser
From:
Wellington, Florida
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Posted 5 Dec 2023 8:13 am |
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| Tim Toberer wrote: |
| Justin Shaw wrote: |
As far as the diminished tuning idea: I think it's an interesting one, as it kind of makes everything equally difficult to play. You would really have to know your theory, and not just mentally, but internally. As mentioned it leans heavily on the Barry Harris ideas, rather than on modes. It would be a major project to get fluent in that tuning.
As far as using more pedals and no volume pedals: having two feet for pedal combinations opens up a tremendous number of options. Instead of pushing 1 or maybe 2 adjacent pedals, you can push any 2 pedals, and indeed any pair of 2 adjacent pedals. If you had 10 pedals on the floor that's a crazy amount of independent control. You wouldn't need any one pedal to have many pulls on it either. |
This is the chord theory I am using in a nutshell, assuming the user has a general idea of where to use these chords. Which I am still trying to figure out!
The pedal combo is how to arrive at this chord from a dim 7 chord always remembering that when you lower a note, you are creating a root, and that it will invert 3 frets up if you shift the pedal pattern down.
Minor 6th - Dominant 9ths - Minor 7 flat 5 = lower any one note - raise any 3 notes
Minor 7th - Major 6th = lower any two notes - raise any 2 notes
Minor 9th - Major 7th = lower any note and raise the note below it (or 3 above)
Minor 11th - Dominant 7 suspended = lower any note and raise the note above it (or 3 below)
Dominate 7th flat 5 - Dominant 7th flat 5 = lower any note and lower the note 2 above (or 2 below ) raise any note and raise the note 2 above or below it
Dominate 7th sharp 5 - Dominant 9th flat 5 = lower any note and raise the note 2 above
Dominant 7th flat 9 - Diminished = no pedals
For M7#11 chord I am using 7b5 shapes. Behind the bar pulls are used for keeping the melody going if it's not in the chord or for 13 and extended etc. There are other 3 pedal chords - Major/ minor 6, suspended and 11 types. At some point you need 3 feet!
Using the dim chord like this allows you to create shapes and patterns to aid memorizing all the various chord movements etc. I really missed this coming from guitar where chord shapes are such a helpful visual aid for learning. |
That's all true, but in music there are many ways to look at chords or scales or "devices" from different view points. A typical example is that you can play the vi-minor7th against a Major chord. OR you can play the biii-Major6th or 9th against a minor chord. Slash chords can be viewed as a triad-over a certain related or un-related bass. in the later, it MAY be easier to handle than to think of a SUS chord or IV/V or some other complex mumbojumbo. Not rarely enough, Tritone subs and Back-Door-Dominants are written out as the actual chord on chord sheets... is one not well versed to see what that "odd" chord really is doing there (functioning as WHAT?), this can be confusing.
Barry Harris advises not to play the ii-m in a ii-,V, I, but just the V (over the ii- AND the V). Pat Martino suggests playing only the minor over the ii-m and the V! Because both chords share the same notes... Two different theorIES... similar outcome.
Diminished:
In JazzBlues, often a #IVdim appears in the 6th bar (the second bar of the long IV)... really, all it is, is a IV Dom7b9th and it WILL want to resolve to a I (a fourth above.
So, what we learn from the fact that each of the 3 possible diminished has the M3rd, 5th and b7th of a Dom7th just with the root half a step sharp (b9th) of FOUR different Dominant chords, what we really need to take away that is USEFUL (after we grasp the concept) is that each of the 3 Diminished Chords can resolve to FORU different "I"-chords!
Without even lowering one tone to create a root (keeping it fully diminished as a Dom7thb9th, the root of the chord it resolves into is half a step up from the next note.
Let me put this into an example:
A Cdim7th will have C, Eb, F#, A
- C can be the b9th of B Dom7th... and it resolves to E-Maj or E-min (half a step up from the next Dim note Eb.
- Eb can be the b9th of D Dom7th... and it resolves to G-Maj or G-min (half a step up from the next Dim note F#.
- F# can be the b9th of F Dom7th... and it resolves to Bb-Maj or Bb-min (half a step up from the next Dim note A.
- A can be the b9th of G# Dom7th... and it resolves to C#-Maj or C#-min (half a step up from the next Dim note C.
I don't feel that I need to know the notes. I just need to know which one of the 4 notes of a Dim I regard as the b9th or lower a half step to become the true root of the chord I use it to function as a "V7th", and know that the root of the chord I want it to resolve it to is a half step up from the next note of the Dim.
To further simplify, I can and just "see" the root of my I-chord and know that a diminished with a note a half step below it will outline the chord I will uses as a V7th.
Yes, we can imagine morph any chord quality out of a diminished chord... we could too from a M7th or minor 9th or what ever. But it would better have a PRACTICAL purpose beyond a mere "mathematical" exercise.
... J-D.
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Was it JFK who said: Ask Not What TAB Can Do For You - Rather Ask Yourself "What Would B.B. King Do?"
A Little Mental Health Warning:
Tablature KILLS SKILLS.
The uses of Tablature is addictive and has been linked to reduced musical fertility.
Those who produce Tablature did never use it.
I say it humorously, but I mean it. |
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