Official Jazz Theory Thread

[NeverTheLess]

Hi, I was just wondering if there was any place I could get a beginners version, or something that may have examlpes along with it, as I am a new musician. any of your tips would be appreciated.

[NeverTheLess]

I also would like to compliment you guys on your superb knowledge. especially at such a young age.

[spastic]

Originally posted by TonyChoyIsGod
Hi, my name's Walker, I'm too tired to talk to Ian yet I will write up a Lesson so I can be hailed throughout the land.

That lesson took me half an hour to write, when during the day it would have only taken me 5 minutes.

[pyr0r0ck3r]

Circle of 4ths, that is, the next scale begins a 4th above the previous scale:

C -> F -> Bb -> Eb -> Ab -> C#/Db -> F#/Gb -> B/Cb -> E -> A -> D -> G -> C

Circle of 5ths, same as above, only the scale is a 5th above the previous

C -> G -> D -> A -> E -> B/Cb -> F#/Gb -> C#/Db -> Ab -> Eb -> Bb -> F -> C

If you notice, one is just a reversal of the other, therefore, in a Blues in C, the I IV V is

C F G

Basic Major Scale Theory

A Major Scale is not composed of 8 notes as much as it is composed of 2 sets of four, known as tetrachords. For example,

C D E F G A B C, the standard C major scale, is composed of the

C D E F
G A B C

tetrachords. When you look at the steps in betwen the notes, something interesting appears:
W = Whole Step
H = Half Step

C-----D-----E-----F
---W-----W----H---

G-----A-----B-----C
---W-----W----H---

The two tetrachords are tied together by a whole step, so the end result looks like

C-----D-----E-----F-----G-----A-----B-----C
---W-----W----H----W-----W----W----H---

Why is this important? Because it sounds the most "normal" to human ears. But why?

Play a from C to B and hold the B - you should notice that it feels incomplete, that there is something missing. Now play the C, and it will sound right - the B resolves or "pulls" to the C (note that there is a halfstep between C and B)

Now play C and play down to F and hold the F - you should notice the same thing, only backwards. Play the E, and you'll feel the resolution.

So what does this mean? That in the 2nd tetrachord, the resolution is from the 3rd to the 4th, and in the first tetrachord, the resolution is the opposite, from the 4th to the 3rd, or, in more general terms:

When playing, remember your two options for resolution are always (in terms of major scales): 7th (or derivation thereof, ie 15th) to tonic (either octave) or 4th to 3rd (or a derivation thereof, ie 11th).

Chord Symbols, what they mean

(C is root)

(Chord Symbol - Name - Which Notes of the Scale to Play - Scale Mode it belongs to (which degree the scale you start on))

C - C Major Triad - 1, 3, 5 - Ionian (1st degree)

Cmaj7 - C Major 7 - 1, 3, 5, 7 - Ionian (1st degree)

C6 - C Major 6 - 1, 3, 5, 6 - Ionian (1st degree)

C7 - C Dominant 7 - 1 , 3, 5, b7 - Mixolydian (5th degree)

Caug7, C+7 - Augmented 7 - 1, 3, #5, b7 - Phrygian (3rd degree) with a major third and a major 2nd (?)

Cm, Cmin, C- - Minor Triad - 1, b3 , 5 - Aeolian (6th degree)

Cm7, Cmin7, C-7 - Minor 7 - 1, b3, 5, b7 - Dorian (2nd degree)

Cmin6, C-6 - Minor 6 - 1, b3, 5, 6th - Aeolian (6th degree)

Cm7b5, C-7b5 - Minor 7 flat 5 or Half-Diminished - 1, b3, b5, b7 - Locrian (7th degree)

Co7, Cdim7 - Diminished 7 - 1, b3, b5, bb7 (6) - Lydian (4th degree) with a minor third (?)

Csus7 - Suspended 7 - 1, 4 (#3), 5, b7 - Mixolydian (5th degree) with an augmented 3rd (?)

See Previous Posts by Spastic for an explanation of Scale Modes

Dominant 7th Chord

In music, there is the basic idea of tension and release. One note/chord will build tension, then the next note/chord will release it. One of the most basic examples is the progression of the Dominant 7th chord (V7 chord) to the tonic chord (I). Whether arpeggiated or played as a chord, the effect is the same (for best results, play on a piano or guitar, or a similar chorded instrument):

G7
G B D F

resolves to

C
C E G

Theory on why this works:
*This is my theory, so it might not be correct*

The G7 chord contains the 4th of the C chord, so, therefore, when the G7 resolves to the C, there is a resolution from the 4th to the third. Also note that a G chord, without an F, will not pull to the C, but when the F is added, the pull is very noticeable.


Thats all for tonight, folks

[sternj20]

ok NONE of this makes ANY sense to me

[Maveryck]

Originally Posted by sternj20

ok NONE of this makes ANY sense to me

[URL=http://www.musicianforums.com/forums/login.php?do=logout]This will help you.[/url]

[sternj20]

Originally Posted by Maveryck

[URL=http://www.musicianforums.com/forums/login.php?do=logout]This will help you.[/url]

that just logged me out

[big_floyd_fan]

i think that was the whole point

[the_almighty_face]

Originally Posted by Zoroaster

Spastic:


I'm sorry to have to burst your bubble, but your grasp of music theory is as primitive as a rock. You fail to even touch upon the surface of enharmonic intervals; an imperative in jazz, and how it can be interrelated with tritone substitution. I suggest that you comprehend musical theory in its entirety beforehand you elevate yourself to the status of "Theory Guru".

P.S:
I have listened to your 'compositions' and I can only designate them with the term: pretentious. Your music is solely comprised of incoherent and dampening injections whose singular purpose is to impress upon the audience a sense of superiority. That, sir, is the mark of failure.

A dated argument I know, but what spastic is doing is giving a structured series of theory lessons to someone who knows the basics but needs to elaborate on their knowledge of theory if they want to expand into jazz. These threads of his have been totally invaluable to me, as have the suggestions, and probably also to dozens of other people. And youre talking about trying to impress a 'sense of superiority.' If you see something you think aught to be here, like enharmonic intervals, post an article.

Speaking of which, im not sure if triads and inversions have been covered, they are kind of important. I can probably get a fairly simplistic article done and up if you fancy sharing the thread.

[SillyPuddyonIce]

Ok... I don't know if this is the right forum for this... but ok. I need some notes translated from trumpet to alto sax. Then if you have time maybe explain how you do it as well. We'll figure out the octaves and other thing and change some stuff ourselves, but my friend and I are doing a little side project from our band since he plays sax. I need

G B D C F# A Bb and E

translated from trumpet to alto saxamaphone.

Thanks for further help.

[moghes69]

any one no how to make up some sick *** slap bass lines? any tips would help

[Obsolete]

Question about Minor 6 chords:

If you were to play a Cmin6 chord, would you be playing Aeolian or Dorian? I was told by my bass teacher to play as if it were Dorian, but the lesson a few posts above says play it in Aeolian. So, do I play CEbGAb or CEbGA? Thanks.

Oh, and good work on all these lessons, they're really helping out a lot!

[SillyPuddyonIce]

Never mind about my question I dont need it answered anymore.

[BirdsOfFires]

Obsolute - Dorian. It has an A in it, not an Ab.

[spastic]

Yep:

Cmin6, C-6 - Minor 6 - 1, b3, 5, 6th - Aeolian (6th degree)

That's wrong. For it to be Aeolian the 6th needs to be flat.


Haven't posted in a while but I can't let my theory thread down.

[TonyChoyIsGod]

Fag muffin

:-*

Ah, there's nothing like the Jazz Forum.

To make this worth while: I was quite close to going to see Sean Malone do a Stick performance this summer, but it's 549 miles away . Who knows though, I might still go

[BirdsOfFires]

Spastic, that's what... your first post in jazz in two months?

You've let us down...

[Amit]

Stupid and simple question...What exactly does "vamp" mean?

[BirdsOfFires]

"Not Found In This Thread - "Vamp""

[HaVIC5]

Originally Posted by Eggo

Stupid and simple question...What exactly does "vamp" mean?

A vamp is essentially a repeated phrase, chord, or very short chord progression that is used to introduce a song, or to solo over.