[quote=0m3ga0n3;16885314]I'm horrible at improvisation. I play Trumpet. Suggestions?[/quote]

Learn your scales and play around them for a month, only playing scales and improvising. The only way to improve your improvisation is to learn theory (so that you have a basis of what works and what you should never do), and to improvise non-stop. Think about what you're playing though, don't just subconsciously play the same notes/rhythmic patterns ad infinitum.

why is this stickied?

Why the **** is this stickied?

its too gatdamn sticky up in this bitch

how do substitutions work?

i always here jazzers talking about that.

Any a fan of Thad Jones/Mel Lewis Orchestra? Played some 'Us,' at a jazz club the other day, they loved, but never heard of him before, I was shocked!

[QUOTE=embouchuregirl;17364853]how do substitutions work?

i always here jazzers talking about that.[/QUOTE]

Well, opening the doors to chord subs will lead you on a huge journey. Substitutions work by replacing the implied harmony with something new (yet that works with the melody). Most of the time, these chords will share some of the same notes as the chords before, but will have others that imply a new, interesting sound.

For example:

Tritone Substitutions: Lets say you are playing over a basic IIm, V7, I. In C, it'd look something like, Dmin7 G7 Cmaj7. Well, the dominant chord (V) spelled out would be "G B D F." If we decide to substitute that chord with a dominant based on its tritone (C#/Db), we'd get "C# F G# B." I'd like to draw your attention to the guide tones (3rds/7ths). Notice that, C#7 has the exact same guide tones as G7, the only difference being that they switched places (3-7, 7-3). Therefore, we could play the same progression, but sub in this chord for the G7 - giving a nice chromatic movement to the bassline.

Dm7, G7, Cmaj7 => Dm7, [B]C#7[/B], Cmaj7

Of course, the same can be done with almost anything, you just need to try everything that comes to mind, and hear what works. However, it is good to consider the root movement of your substitutions (random illogical progressions that work with the melody will indeed sound random. Therefore, substitutions are best used in areas that will enhance the piece, and not just to be 'out there')

Hi All of you,
( sorry for my english)

I would like to have some help for tune analysis.
The tune is called "Sunshine Song" ( Keith Jarrett from "Nude Ants")
In fact, i'm working to find the different tonal centers and the modulation trough the tune.
I' can't find what's happend in the middle of that song..Some chords progressions which are too complex to understand to me.
Somebody could have any idea about it ?

( I'cant publish any sounds or any score of that tune because there are copyrighted, but here is the basic chord progression)

| Gmi7 ___ | C7 ___ | Fmaj7 Cmi7| Bmi7b5 ___|

| Bmi7b5 E7 | Ami7 D7 | Eb/Db ___ | Gmi7b5 C7 |

| Bbmi7 Eb7 | Ami7 D7 | Abmi7 ___ | Db7 ___ |

| F#mi7b5 __| B7 ___ | Bb7sus ___| Eb7 ___ |

| Abmaj7 Ami| Ami7 D7 | Gmaj7 ___ | C#mi7 ___ |

| F#7 ____ | Bmi7 ___ | Bmi7 ____ | C7 D7 |




And here is the way that i would find different tonal centers.



_F maj______________________| G maj ______

| Gmi7 ___ | C7 ___ | Fmaj7 Cmi7| Bmi7b5 ___|


_________________ ??? _______ ??? ______
| Bmi7b5 E7 | Ami7 D7 | Eb/Db ___ | Gmi7b5 C7 |


_???_______???______???_________________
| Bbmi7 Eb7 | Ami7 D7 | Abmi7 ___ | Db7 ___ |


_???______________| Ab maj _____________
| F#mi7b5 __| B7 ___ | Bb7sus ___| Eb7 ___ |


_______| G maj _______________| Bmin ______
| Abmaj7 Ami| Ami7 D7 | Gmaj7 ___ | C#mi7 ___ |


____________________________| G min _____
| F#7 ____ | Bmi7 ___ | Bmi7 ____ | C7 D7 |



Thanks you for your help...

[QUOTE=Stig Caraveo;17360653]Why the **** is this stickied?[/QUOTE]

:eek: Because it's jazz(!)

Anyway, I had this question about tritone substitution; You know when you have II - V - I in, say C major, so you have Dm7, G7 and C maj7, am I correct in thinking that it is only the V7 chord that may be substituted (in this case for Db7), so C maj7 can NOT be substituted for Gbmaj7 and Dm7 can NOT be substituted for Abm7.

Also, does the melody have to be 'far out', so to speak to use a tritone substitution or are you allowed to use it anyway? For the sake of improvisation which scales work over say Db7 when used as a tritone substitution? Db mixolydian? Db bebop mixolydian? Db diminished scale? Or should you stick to these scales starting on G.

In composing,should the bass change note as well to Db, or can it stay on a G, while the piano is playing some Db voicing and the melody above sticking to G mixolydian or whatever.

Also can you apply all of the above to reharmonization in general?

Thanks a lot.

Of what I know...

Only the V7 chord can be substituted in that context, so there is a resolution to the tonic chord, in your example Cmaj7. The melody doesn't have to be 'far out' or really technical or so forth, it can be as simple as you want or as tough as you want, but you would have to check and make sure the notes used in the melody work over the substituted chord. The bass should ideally play the Db.

Tritone substitution works best with dominant chords because of the common tones. There are plenty of other substitutions, just look for common tones. E.g. a C6 (I6) could comfortably be substituted for a Fmaj 7 (IVmaj7)

C6 - C E G A
Fmaj7 - F A C E

Would work well with Fmaj9 too, I guess.

For the record this is all theory off the top of my head, not exactly sure how it sounds. Might be completely awful. I'd like to experiment with this, maj7 chords kick ***.

And yes, don't substitute for the sake of it, obviously only do this kinda stuff if it really seems to work better.

I need help understanding chord inversions.

I understand you just raise the lower note up an octave.

1357 becomes 3571 (first inversion) and then 5713 (2nd inv) and then 7135 (3rd inv).

but what about 1375 and 1537. what inversion are these? is the inversion name based off of the lowest bass note, making both of them root inversions?

i've compiled a list of all the inversions:
1357 3571 5713 7135
1375 3517 5731 7153
1735 3157 5137 7351
1753 3175 5173 7315
1573 3751 5371 7513
1537 3715 5317 7531

is it normal for a jazz musician to know all of these for all chords (substituting 3's and 7's for b3's and b7's etc)?

New member
 

Hi, I m new to this forum. I was wondering if anyone has ever heard of a jazz guitarist named Linc Chamberland? He died in 1987 and had only a few albums. I believe he was from Connecticut.

Joe

Resolved and unresolved chords...
 

Hi. I was researching some music theory, specifically in the area of the harmonized scale. I stumbled upon something that is totally new to me and I am not really sure if anyone uses this concept for chord progressions.

The article uses the C Ionian scale to make its point. The article indicates that in the 7 chords derived from the C Ionian scale, three chords do NOT have the F note in them and four chords DO have the F note.

Case and point. C Maj7 E minor7 Aminor7. There is NO F in these three chords and the other four chords DO have F in them.

Dminor7 FMajor7 G7 and Bminor7b5.

The article then proceeds to say that in the C Ionian scale the interval C to F is a Perfect fourth, it is also an Unresolved interval. The 4 chords that have the F in them are considered Unresolved. Even though G7 and Bminor7b5 do NOT have C, it still refers back to the C ionian root, C to F is unresolved.

The "hands on" practical application of this is explained as follows:

Take the typical II V I which would be Dmin7 G7 CMaj7. Based on the "F" logic, we have three chords. Unresolved Dmin7 Unresolved G7 and Resolved CMaj7.

As you probably know, CMaj7 Emin7 and Amin7 can all act as C. The remaining 4 chords can also be used as a sort of "Sub" for the II V I progression in this key. The Unresolved chords can all be utilized.

If you play a V IV III progression, it is still Unresolved, unresolved, resolved. G7 FMaj7 Emin7.

There are two more possibilities. You can play a II VII VI progression also.
Once again, unresolved, unresolve, resolved. Dmin7 Bminor7b5 Amin7.
(Bminor7b5 is basically G9, I love harmony.

The last option to play "Unresolved, unresolved, resolved is
FMaj7 G7 CMaj7

Maybe this is old news for experienced jazz players, but its new to me and I like how it gives me options, very cool indeed. Finally, something I "get". haha. Joe

I love jazz music, it make me relax.. even though i don't know the theory or what so ever but jazz is really a good music, it help you relax and think well.. :)

thats some interesting stuff joe, something ive seen a bit but never thought much about.

sad to see this thread full of unanswered old posts and spam. need more jazz up in here.

Kind of Blue 50th Anniversary Tour featuring Jimmy Cobb's So What Band
 

Kind of Blue 50th Anniversary Tour featuring Jimmy Cobb's So What Band
with Jeremy Pelt, Vincent Herring, Javon Jackson, Buster Williams, and Larry Willis
Sunday, February 13, 2011, 3:00 PM

Kind of Blue 50th Anniversary Tour
featuring Jimmy Cobb's So What Band
With Jeremy Pelt, Vincent Herring, Javon Jackson, Buster Williams, and Larry Willis


Presented by: Count Basie Theatre
Tickets: $39.50, $29.50, $19.50
(Discounts available for groups of 12 or more. Call the box office at 732-842-9000 to purchase group rate tickets)

If you own just one jazz record, Kind of Blue is the one. If you attend just one jazz concert this year, this is the one! 2009 marked the 50th Anniversary of Miles Davis’ album Kind Of Blue. Released in 1959, its new and spontaneous musical language stunned the world. Its influence goes far beyond jazz; it’s both the best selling jazz album ever, and #12 on Rolling Stone’s 100 Greatest Albums of All Time. Drummer and NEA Jazz Master Jimmy Cobb, the only surviving member from the original recording, leads an all-star band performing all five of Kind of Blue’s masterpieces, including "So What," "Freddie Freeloader," "Blue in Green," "All Blues" and "Flamenco Sketches," plus other classics by Davis, Coltrane, and “Cannonball” Adderley, and original compositions inspired by this era. Jimmy Cobb’s So What Band features Wallace Roney (trumpet), Javon Jackson (tenor sax), Vincent Herring (alto sax), Larry Willis (piano), and Buster Williams (bass).

Box Office
Phone: 732-842-9000
99 Monmouth Street
Red Bank, New Jersey 07701

http://www.countbasietheatre.org/calendar/show/show.asp?id=43246557

well its mine,s favorite

suck me love till it spunks on you

So i have this chord, give me ideas to make it a beautiful chord.

10 fundamental and basic theory lessons I found in youtube:
http://www.youtube.com/watch?v=BUx62mns3cg
http://www.youtube.com/watch?v=fjFxMgiDXu4
http://www.youtube.com/watch?v=M9QCPWizGo4
http://www.youtube.com/watch?v=mzrj8mSGxqo
http://www.youtube.com/watch?v=IXaIK8Dd0lg
http://www.youtube.com/watch?v=IXaIK8Dd0lg
http://www.youtube.com/watch?v=GvAR0uRAV5c
http://www.youtube.com/watch?v=SYok9iKBpag
http://www.youtube.com/watch?v=2ZdRMMyXBCg
http://www.youtube.com/watch?v=8x74Zhx8b6Y
http://www.youtube.com/watch?v=1VQcAInp__0
Enjoy!
Let me know if you have questions, if I can help you, I will.

Voicing
 

http://www.youtube.com/watch?v=WpIx3aTszm4

If someone could clear something up for me... Is there a difference between jazz and funk? If there is, what is it? Thanks.

Studying concept on a violin creates it a lot better to many individuals. Also if someone content some illustrations of how this comes into perform. Gradually (maybe per weeks time or two) I'll publish some factors with different 7th notes that assisted me understand this factors on instrument. I'm operating a lot this future weeks time and I'm sluggish so thats why I can't do it right away...

C7b9b13 STACKING 3RDS
 

[QUOTE=spastic;1896744]Thanks for stickying those, Ikik :thumb:




[COLOR="Blue"]Most all of the stacking is fine except for the C7 chord as a C7b9b13.
The note F should be avoided since it collides with the E. It ( the F )
is not a chord tone but if raised can be used as a "plus 11".