alright there - i don't know if this is going to be useful to anyone, BUT:
there's a really good book called Jazz Theory (or something similar) by Mark Levine - big book, costs about £30/40 but is a COMPREHENSIVE guide to anything u need to know (and a lot u don't)
it's really well written and helpful.
one thing it emphasises is that harmony (in western music) is all the same - obviously in d+b the harmony is generally far more static (ie hovers around one key) than, for instance, in all those show tunes that are a big part of the makeup of jazz (stardust, autumn leaves etc.) - but it uses all the same principals.
i like to think that i understand most of it - so can help out any specific questions (or scan relevant pages in - only have paper copy)
I only posted this cause i've seen a few posts about this kind of thing.
TRY this one -
over a minor triad (i say triad instead of chord becuase that implies a basic 1-3-5 structure without additional 7th or 9th or anything - even if u flip the notes from the triad around) use a MELODIC minor scale. sounds funky.
MELODIC MINOR (in jazz) goes
Root (i.e. key note)
2nd
Minor 3rd
4th
5th
Major 6th
Major 7th
(Root)
So C minor melodic you could play a C minor triad (C - Eflat - G)
and the scale would be
C - D - Eflat - F - G - A - B - C
Maybe when i get producer rights i'll do an audio demo...
a lot of jazz music does that. it's a conflict. minor chords over major melodies. or is it the other way?
all of music is about contrast and repitition.
i love harmonic minors. that's the middle east sound. it use to be called, what's translated from latin, the devil in music, and was punishable by death!
this was back when most music was written by the church in middle europe.
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This post has been edited 1 time(s), it was last edited by Halph-Price: 11-03-2007 21:33.
how important would you say it is to use music theory when writing a melody as opposed to just messing about till something nice comes out? I know theory is very useful for progression etc, but.... ya know
Originally posted by Halph-Price
i love harmonic minors. that's the middle east sound. it use to be called, what's translated from latin, the devil in music, and was punishable by death!
this was back when most music was written by the church in middle europe.
To be precise, it's the tritone interval which was considered the diablus en musica, not the harmonic minor
In fact, the harmonic minor scale is the technically correct form of minor in all conventional western harmony (a direct result of hymn and devotional music), as it has the raised 7th. It's raised because it's the leading note to the tonic.
Devotional music in the late middle ages/early renaissance was modal, with a siginificant use of dorian
This post has been edited 1 time(s), it was last edited by boot: 11-03-2007 23:59.
Originally posted by boot
don't forget, melodic minor is different ascending and descending
when descending, the seventh is no longer raised, it returns to natural
yeah, that's true in classical music really - in jazz and most contemporary music u just use the ascending form.
i believe, but might be wrong, that the melodic minor (raised 6th and 7th ascending, flattened 6th and 7th when descending) was "invented" to be easier for singers than the HARMONIC minor, which (due to the the combination of minor 6, major 7) has a <tricky to sing> interval of a minor 3rd.
anyway.
Harmonic minor is a more 'eastern' sound
Melodic minor (ascending) is a more 'spiky', jazz sound
