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#1142705 - 04/20/05 03:29 AM Re: improv / ear playing  
Joined: Apr 2005
Posts: 527
Ronel Augustyn Offline
500 Post Club Member
Ronel Augustyn  Offline
500 Post Club Member

Joined: Apr 2005
Posts: 527
Bloemfontein,SA
I think one of the most important things is to listen to other jazz performers: tape CD, live performance? But get me right: not listening at leisure, but with a musical ear - concentrate! Try to be close to a piano, so that you try to figure out what chords they're playing. It'll be hard at the beginning, but as your ear develops, it'll just become easier and easier.

But good luck with the whole transformation thingy, eh?!

greetings


lallie
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#1142706 - 04/20/05 06:33 AM Re: improv / ear playing  
Joined: Jan 2005
Posts: 736
hgiles Offline
500 Post Club Member
hgiles  Offline
500 Post Club Member

Joined: Jan 2005
Posts: 736
Charlottesville Virginia
Quote
Originally posted by Sweep88:
The first ten years of my piano life evolved around the circle of fifths. But I've noticed from your posts that you automatically call your VI and II chords as minor. I'm simply wondering what the difference
is between our styles of jazz, therefore theory. Thanks
Typically II, III, and VI are minor chords (triads) in tunes written in a Major key. The simple reason is that the diatonic (belonging to the same scale as the local key) third above the root is a minor third away from the root.

I, IV, and V are typically major triads in tunes written in major keys. The diatonic third of these chords are a major third up from the root.

Okay, I am missing one - VII, a diminished triad. This has a minor third, but is NOT a minor chord because the fifth is diminished. All of the other chords have perfect fifths. What makes this VII distinctive is its diminished fifth. If a diminished triad is called for you should be voicing the fifth...

fingers has a pretty good chart of it. However he is calling VII half diminished, and V dominant. This is true when you take into account the sevenths and you are describing the quality of the seventh chord.

If your progression is C - A7 - Dm7 - G7, then from a theoretical perspective the A7 chord is not vi (minor) nor VI (major). It really functions as V of Dm. Or V7/ii.

Semantics really...


Haywood
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#1142707 - 04/20/05 06:48 AM Re: improv / ear playing  
Joined: Jan 2005
Posts: 736
hgiles Offline
500 Post Club Member
hgiles  Offline
500 Post Club Member

Joined: Jan 2005
Posts: 736
Charlottesville Virginia
Sweep88,
Theory is just our way of rationalizing what we hear. However, respective schools of thought don't always use the same language (chord symbols, etc).

Ultimately the theory is the same whether you're talking about jazz, classical, or pop music. It's a matter of translating in terms you understand what someone else might be illustrating.

The mathematical relationships between groups of notes are going to be the same whether you're playing pop music or Flamenco.


Haywood
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#1142708 - 04/22/05 02:10 PM Re: improv / ear playing  
Joined: Feb 2005
Posts: 190
Sweep88 Offline
Full Member
Sweep88  Offline
Full Member

Joined: Feb 2005
Posts: 190
Ohio
Hmmmmmmm........


I try to live, love and laugh as much as I can every day, because every day may be my last
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