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Type: Posts; User: ChrisJ

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  1. Replies
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    JonR is of course correct in his post. The most...

    JonR is of course correct in his post. The most common modes are altered and lydian dominant. I use locrian #2 exclusively on min7b5 chord (if the tempo allows). I also use the melodic minor scale...
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    Maybe you are thinking a little too much....

    Maybe you are thinking a little too much. Basically, if you understand the diatonic system, you will know what pentatonic scales will work. Your example is in the key of C minor, which is the same as...
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    There are several guidelines that you have to...

    There are several guidelines that you have to remember regarding symbols.

    1. add9 - this means there is no 7th in the chord. That's all. So an add9 chord is a 1-3-5-9 chord. If you added a 7th to...
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    This is true especially regarding the susb9...

    This is true especially regarding the susb9 chord. It isn't a good replacement for the standard iii chord. Sometimes sus4 chords sound OK for the three minor chords in the key but the susb9 chord...
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    Well, a chord generator is only as good as the...

    Well, a chord generator is only as good as the programmer. Here, look at the phrygian scale:

    E-F-G-A-B-C-D or
    1-b2-b3-4-5-b6-b7

    If we replace the b3 with the 4th, making it a sus4 chord, you...
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    5,544

    Targeting chord tones certainly isn't a big deal...

    Targeting chord tones certainly isn't a big deal in modal music. You're right there. Imagine playing over 100 bars of Dmin7 and worrying about playing D notes all the time.

    I meant just as an...
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    Hard to say. But if sounds mixolydian (or...

    Hard to say. But if sounds mixolydian (or whatever mode you are doing), you'll know.

    Regardless, the characteristic modal note won't sound that hot to lay on, if it isn't in the chord.

    I...
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    True. Let's see, what if we wanted to practice G...

    True. Let's see, what if we wanted to practice G mixolydian? Using your idea of basing the two chords on the ii7 and iii7 chords, we would play a Dmin7/G - Emin7/G. This would really give us a G9sus4...
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    5,544

    That's right, the IV-V of the home key over the...

    That's right, the IV-V of the home key over the mode's root note. Basically the IV and V are the chords of the slash chord and the mode's root note is the bass note of the slash chord.
  10. Replies
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    If you want a simple technique for practicing...

    If you want a simple technique for practicing modes. From Frank Gambale:

    Play a IV-V chord vamp over the modal root bass note. Usually this will work for a modal vamp. In other words:

    F lydian...
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    You are right. The way I see things: Ionian:...

    You are right. The way I see things:

    Ionian: major, definitive chord: maj7sus4
    dorian: minor with a major 6th, definitive chord: min6 or min13
    phrygian: minor with a b2, definitive chord: b9sus4...
  12. Replies
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    It is easy to see if you look at the chords and...

    It is easy to see if you look at the chords and compare (in major):

    I = C-E-G
    iii = E-G-B (looks like a C maj7 without the root right? C-E-G-B)
    vi = A-C-E (looks like a C6 chord without a 5ths...
  13. Replies
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    5,450

    It's fun to take one note and find 12 chords for...

    It's fun to take one note and find 12 chords for it with bass moving up or down chromatically (C for example):


    |--8--8--8--8---8---8---8--8--8--8--8--8--8-...
  14. It might be easier to relate everything to the...

    It might be easier to relate everything to the minor scale. The minor scale is spelled: 1-2-b3-4-5-b6-b7 or for the key of A: A-B-C-D-E-F-G.

    You could play it like this (but of course there are...
  15. Replies
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    If you play the scale against a G chord, you will...

    If you play the scale against a G chord, you will hear the scale want to resolve to a G note.

    And against an E note, you will feel like resolving to an E note.

    Scales in a vacuum don't stand...
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    I tend to like the one octave triad and 7th...

    I tend to like the one octave triad and 7th arpeggios, ie: 1-3-5 and 1-3-5-7, simply because they are easy to combine and superimpose. For example, you need to play over a Dmin7 chord for a bar, you...
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    For improv, it is sometimes helpful to think of...

    For improv, it is sometimes helpful to think of the major scale modes and their melodic minor scale modal cousins.

    mixolydian (1-2-3-4-5-6b7)/lydian dominant (1-2-3-#4-5-6-b7)

    dorian...
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    There is an artist signed to the same label I am...

    There is an artist signed to the same label I am that uses this kind of middle eastern singing against a western rhythm track. I like it:

    http://magnatune.com/artists/albums/shiva-ethnic/
    ...
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    I forget, you might be interested--someone asked...

    I forget, you might be interested--someone asked me how music education and students have changed over the years. I posted the answer on my blog:
    ...
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    Its all about the goal of the student really. I...

    Its all about the goal of the student really. I don't teach in a music store now but when I did 25 somewhat years ago, I had all different types of students. Most of them had no aspirations of...
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    Jazz is different than most styles of music...

    Jazz is different than most styles of music because there are usually various key changes and there are more chord changes per measure. This of course is a generalization but is usually the case.
    ...
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    A superimposed scales is just a scale with a...

    A superimposed scales is just a scale with a different root played over a specific chord.

    In this respect, even modes are superimposed scales, in other words, a C major scale superimposed over a...
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    There are all sorts of teachers. It is just like...

    There are all sorts of teachers. It is just like anything else, high school or whatever. Certain teachers work well with certain students. But it is funny because I manage a music college and not all...
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    I have also found that I can identify chords...

    I have also found that I can identify chords quite easily when the keyboardist voices the chords like a guitarist would.

    There is something to do with timbre as well. Things translate better to...
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    I tend to avoid the perfect pitch threads simply...

    I tend to avoid the perfect pitch threads simply because everybody is so stubborn and opinionated about the subject. Working with countless musicians over the years, professional musicians and...
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