Part I of my triad investigation for the diminished chord.

I hope we all apply the triads for a chosen key and play them on the instrument. Sing solfege aloud, play them on the instrument or follow them internally will help in learning - just apply it to your song.

It’s deep, Dorris Day’s phrasing. The rhythmic motifs and variations I mean

Cross posted to here since it’s relevant to jazz theory

If someone calls “Autumn Leaves” with no context you’re playing it in G minor, right? Green Dolphin Street is Eb major? Countless others. I get that you should practice in 12 keys and be able to play standards in other keys if necessary but most recordings and performances stick to the “traditional” keys when I would have expected there to be some change over time. Is it just the utility of having a certain key that most people learned the tune in so you can just go or is it just people learning from iconic recordings?

私はジャズにおけるコードトーンと非コードトーンの関係を整理していて、それで考えさせられました。テキストで書くとき、例えばC、C#、D、D#のような半音階シーケンスや、その移調版D, D#, E, Fは、普段どのように記譜しているのでしょうか?各ノートを文字名と臨時記号で書き出すだけですか?それとも標準的なテキスト記譜ではこうした構造パターンを捉えきれないと感じますか?

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Sobre el material y recurso completo: Este análisis forma parte de mi e-book en español "Teoría del Jazz: Para Crear tu Propia Voz". Es una guía práctica ilustrada con gráficas, teoría escala-acorde, sustituciones tritonales, conducción de voces y análisis sección por sección de estándares del repertorio.

Si les interesa profundizar en el tema o apoyar este proyecto de educación musical en español, pueden conseguir el libro digital aquí: https://jorgeluisreed.myshopify.com/products/teoria-del-jazz-para-crear-tu-propia-voz-ebook-pdf

¡Espero que este desglose les sea de mucha utilidad! Cualquier duda sobre las gráficas o la conducción de voces, la platicamos en los comentarios.

GUYS I made this synth for the HackClubs Stardance Challenge, Please do give it a try
https://mohdaltaaf.github.io/HandGestureMusic/
(Its a github link safe and secure)

There are a multiple different modes, if you dont know how to play music try out the third mode , it is such that every note you play sounds coherent!
If you know ball and can want to play chords, there are literally ALL chords in the second mode!.
Do check it out and upvote if you like it!

YEs you can try to play jazz with it too

In this tune the head is 28 bars long, but I am having trouble hearing if they are following that form or not (I'm thinking not, but want some 2nd opinions).

Anyone have an idea? The album (It's Time by Jackie McLean) is often described as straddling hard-bop and free jazz.

I was listening to David Russell's performance of Francisco Tárrega's Fantasía de Marina and noticed a striking similarity to Shinzou wo Sasageyo from Attack on Titan.

Both seem to feature a similar descending melodic pattern that creates a sense of urgency, almost like a countdown or an approaching cavalry charge.

My theory is that this descending pattern might be the underlying musical idea behind parts of Sasageyo, developed through different harmonies, rhythms and orchestration.

Compare the passages:

• Tárrega – Fantasía de Marina (6:52)
• Attack on Titan – Shinzou wo Sasageyo (1:14)

Interestingly, Tárrega's piece is itself based on themes from Emilio Arrieta's 19th-century opera Marina.

Am I hearing a genuine melodic or harmonic connection, or is this simply a common descending musical pattern? I'd be interested in a music theory perspective.

Disclosure (Rule #9): This post was written with AI assistance. The musical observation and comparison are my own.

I would love to be able to figure out the chord progressions of a lot of the Fusion stuff that I’ve been listening to recently. I was wondering how I can learn to figure them out including the voicing and chord extensions etc.? If anyone has any good tips or resources to help that would be great! Thank you! :)

TLDR: As an improviser, viewing the ii as a sustained V7 is a much better way of approaching the 2-5 in a 2-5-1. Outline the minor chord is a flavor, both a dominant in relation to the tonic.

Sometimes we must challange the building blocks of our own systems to gain some insight, which I believe I have and wish to share. The diatonic 2-5-1 is not what we are taught.

We all know the descending tritone shell in a circle of fifth, where the chords all have a dominant quality. Its a clear voice leading movement creating and resolving tension along with the bass that fall a fifth. In my view this is what we should have as a basis for analysis of a 2-5-1.

For a 2-5-1 to Cmajor we should think D7 G7 C7. What we do in a regular diatonic 2-5-1 is that we cram these chords into a major scale, but this also alters their functions. For a 2-5-1 to C we apply the C major ​as the scale we cram this movement into

D7 -> (F# -> F) -> Dm7

G7 fits as is

C7 -> (Bb -> C) -> CM7

This in turns alter the defining voice leading movement. From

(F#, C) -> (F, B) -> (E, Bb)

To

(F​, C) -> (F, B) -> (E, B)

This modifies the sound and in my opinion the function of for the 2 in particularly.

We​ change the voicing leading by loosing movement to having one semitone movement per chord change plus a decending fifth in bass, C -> B, F -> E.

This also turns the 2 from having a tritone with a tension (C, F#) to sounding more resolved with a fifth/fourth (C, F). So when I listen to the movement 2-5, I dont hear a tension pulling the 2 to the 5 as I do when the 2 is dominant, but the it feels natural.

In my opinion the function of the 2 has changed completey here, the only important movement is C -> B. Example, rootless 25 voicing

Dm9 (F A C E)

G13 (F B C E)

What Dm9 here does it acting like a suspended dominant. We literally have

G13sus/D -> G13.

In other words we have a suspended dominant to a regular dominant over a falling fifth in bass movement​. This could change your view on how to play over 2-5 as a 5sus - 5 which simplies everything. And it is your choice to sustain a dominant, hence its 5 - 5 - 1.

If you wish you can of course outline the minor chord but IMO this a flavour but should NOT be taught to be the standard way! It teaches the 2-5 the wrong way.

If you wish to break the diatonicism, playing D7 G7 will outline the actually 5-1 to the dominant (V/V to V for the pedantic), but Dm G7 is merely a sustained dominant which is an optional flavour.

What does this mean for the minor 251?

Dm7-5 has the same origin as the Dm, D7, cramed into another scale, harmonic minor, becoming D F Ab C. It looses one of its voice leading movements but retains the other one (C -> B). By the same logic it acts the same as the Dm to a G7, its

G7sus(-9)/D -> G7-9 -> Cm6 (or mM7)

And again sustaining is optional, so playing G phrygian donimant language over both is perfectly fine.

Another consequence of this that we reveal that the important notes defining this chord are Ab and C (not the third). The Dm7-5 is in fact functionally Fm6/D, which is why a voicing like D G Ab C works equally well. And why if you wish to distinguish the 2 you play Fmelodic minor.(