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Topic: Please post any questions here.

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  1. #21

    Re: Please post any questions here.

    On the topic of the various types of Dominant seventh chords, I would like to understand better how and when they should be used. The lesson was quite clear about the types of melodies associated with each; however, if there are no clues in the melody (for instance when the melody is static at the end of a phrase), how does one decide when to use one type rather than the other? Is this entirely a question of personal taste, or are there other clues to suggest the correct selection?

  2. #22

    Re: Please post any questions here.

    if there are no clues in the melody (for instance when the melody is static at the end of a phrase), how does one decide when to use one type rather than the other? Is this entirely a question of personal taste, or are there other clues to suggest the correct selection?
    Often there isn't only one "correct selection" (depending on the harmonic context). The beauty of Jazz is that it isn't that formulaic. Predictability would essentially emasculate it, and remove what inherantly makes it so wonderful; the ability to constantly surprise and inspire new directions. That said, the harmonic context of a tune can sometimes help. For instance, let's say that you're looking at a tune like "So What". It's all in a Dorian mode using minor7th chords, and if you were to stick in a dom7 ar a maj7, it would be so out of context that it would sound "wrong". But in songs that use more conventional progressions, you often have several options depending on the function of the chord and what you're trying to accomplish at that musical juncture. Hope this helps.

  3. #23

    Re: Please post any questions here.

    I very much enjoyed lesson 6. Especially the last example showing different ways to move up a simple step.

    That being said, the last line of the example didn't play (the Bill Evans version). I would very much like to hear that one.

    Thanks for all the hard work,
    Rob

  4. #24

    Jazz Arranging and Rendering

    I know that this is supposed to be a Jazz Arranging class, irrespective of MIDI mock-ups or rendering, but I think that there might be a tremendous opportunity here (this is at least partly inspired by receiving my JABB order from the Go-Round today - thanks, Gary).

    What I'm thinking is that many of us who are learning the art of jazz arranging would benefit greatly from also getting some tips on the art of jazz rendering. This will help us hear more precisely what we are working on. (It would also be a great sales pitch for JABB).

    For instance, how about posting the MIDI file for selected, larger-scale examples from the class, such as Levitt or Leave It with some annotation about how and why things were done. There have been many posts from people that LOLI is the best JABB rendering they have heard to date, and I'm in that camp.

    So, how about it?

  5. #25

    Re: Please post any questions here.

    I do think that that's a great idea, but can we keep it in a seperate thread from this one? Those of us learning arranging for real instruments will get taken far off topic otherwise.

  6. #26
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    Re: Please post any questions here.

    This is a course on Jazz Arranging and not on sample mockups. It is important to learn the basics first. If there is interest after the course we can delve into mockups and provide MIDI examples.

    Best,

    Gary

  7. #27

    Re: Please post any questions here.

    "Some of this is discussed in the book, and I suggest that anyone exploring how the art of music works also have a rudimentary knowledge of the physics of the harmonic series. Without a simple background in that, it is much harder to figure out how musical structures function.

    Chuck"

    Prof. Israels makes a point here that is, in my view, one of the truest of jewels. With a background in the physics of the harmonic series, much of what was a mystery becomes, almost magically, intuitively understood.

    The natural harmonics describe something much closer to a "dominant seventh" scale (Mixolydian mode) than "major" (Ionian). It isn't static: it generates motion because it wants to "resolve." Chord progressions are more about "taming" the rhythms that are generated by the chordal relationships than anything else. Putting it loosely: any arbitrarily chosen chord can move to any other chord; where it might best move was discussed in a post above about "tonal centers." Why it might move there is the purview of the arranger/composer. Why it wants to move to certain other chords is the purview of the physics of the harmonic overtone series (and undertone series) and the physics of the instruments being used.

    I think it's extremely valuable for this text to emphasize the importance of the bass lines in harmonic and rhythmic contexts. Any arranger/composer can benefit from studying the materials . . . not just Jazz folks.

    Joe

  8. #28

    Re: Please post any questions here.

    Greetings to all from Panama City, Panama; I just stumbled into this course totally by accident. Curiosity got the best of me and started reading and getting into the forum questions. Im an amateur at all this, I only do it on my spare time and find this site and its members very informative, knowledgeable and professional. Looking forward to continue visiting and contributing.

    There is something I am missing, and is guided practice. Maybe I have not found it yet, but, shouldnt there be some "homework" after each lesson? something we can work on and share with the rest of the group? am I missing something?

    Also, what is the deal with the closed threads? is there a way to read them?

    Prez

  9. #29
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    Re: Please post any questions here.

    Quote Originally Posted by Ptyprez View Post
    Greetings to all from Panama City, Panama; I just stumbled into this course totally by accident. Curiosity got the best of me and started reading and getting into the forum questions. Im an amateur at all this, I only do it on my spare time and find this site and its members very informative, knowledgeable and professional. Looking forward to continue visiting and contributing.

    There is something I am missing, and is guided practice. Maybe I have not found it yet, but, shouldnt there be some "homework" after each lesson? something we can work on and share with the rest of the group? am I missing something?

    Also, what is the deal with the closed threads? is there a way to read them?

    Prez
    Prez,

    Welcome to the course and I hope you glean a great deal from it.

    We do not have "homework" in this course. We tried it in the Principles of Orchestration and homework was not popular.

    The Lesson threads themselves are closed and are sticky. You should be able to read them but not post in them. You can comment and start a new thread at any time.

    Best,

    Gary Garritan

  10. #30

    Re: Please post any questions here.

    Quote Originally Posted by cisraels View Post
    The 7th chord is the "triad" of the jazz language - the basic harmonic texture. Asking why there are so many of them in jazz is like asking why there is so much garlic and wine in French cuisine, or ginger in Chinese; it's simply an essential identifying characteristic of the style.

    Up until the devolution of popular music in the 1960s, it is pretty safe to say that an increase in harmonic complexity and density was a part of musical evolution. It is another discussion to explore the subject of why this seemingly natural evolution was stopped in its tracks when the baby boom generation reached adolescence.

    Chuck
    Mr Israels, I think you hit the nail , adolescence equals rebelion against the establishment and until then the establishment was harmonic complexity. And what do you mean by devolution? Decrease in quality or just going back to the roots?
    Regarding the course I really liked all the examples, its inspiring to see all this information released for everyone to see. Is there any chance of a "tips" lesson (books to read, recomended homework)?

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