[url]www.wholenote.com[/url] has a pretty extensive section of jazz lessons (scales, some chord progressions and "little jazzy riffs"). All the lessons are made in tabs so you can easily figure them out. this is really a useful site, for beginners and advanced people.

(if you wanna know anything about modes/scales just search the database at wholenote, and you will definatly get a lot of results)

go check that out, and if you still dont understand it; just come back here again - someone will surely help you out! :thumb:

yea..i been there before, it helps a bit, but takes me a while to finger the chords and stuff....thanks, i got some stuff from there...

any one else got ne scales or riffs?

Spastic: How long hav you been playing/learning?

I've been playing guitar for almost 3 years now, and although I've always studied theory (mainly learned some scales), I really started learning theory about a year and a half ago.

i have a questin about a chord symbol:

what does this mean: G/C?


is it a cmaj chord with g as a bass note? or is it a combination of both chords? or something else all together?

Almost got it, but it's a Gmaj with a C in the bass.

ahh, okay thanks :)

Which is actually Cmaj9 with no 3rd. And that's the way I think of it. It's easier for some people to think G/C, however. It just depends on how you learned.

My name is Mason, btw. I'm a 23 year old jazz pianist from Pittsburgh. Nice thread you have here.

Mason

[QUOTE=masone81]Which is actually Cmaj9 with no 3rd. And that's the way I think of it. It's easier for some people to think G/C, however. It just depends on how you learned.

My name is Mason, btw. I'm a 23 year old jazz pianist from Pittsburgh. Nice thread you have here.

Mason[/QUOTE]

hey man, welcome. id probably play the G triad or something, but add an E somewhere so it sounds like its a G major and a C major at the same time.

i like to analyze with Lydian Chromatic Concept of Tonal Organization, in which each small phrase is analyzed as a certain chord in a certain lydian scale, changing chords and scales but the same degree [ie, D7 (II in C lydian) to E7b5 (II in D auxiliary diminished lydian)

different lydian scales are (all degrees are relative to major):
Lydian : I II III +IV V VI VII
Lydian Augmented : I II III +IV +V VI VII
Lydian Diminished : I II bIII +IV V VI VII
Lydian Flat Seventh (Dominant) : I II III +IV V VI bVII
Auxiliary Augmented : I II III +IV +V bVII
Auxiliary Diminished : I II bIII IV +IV +V VI VII
Auiliary Diminished Blues : I bII bIII III +IV V VI bVII

the tonic of the phrase is based on the type of chord:
Chord Type - Chord Degree That Is the Tonic
Major/Altered Major - Tonic
Seventh/Altered Seventh - m7
Major With 3rd in Bass/Minor +5 - m6/+5
Minor Seventh b5/Major with +IV in Bass - o5/+4
Major With 5th in Bass - P5
Minor/Altered Minor - m3
Major With 7th in Bass/Seventh With b9 - m2
Seventh +5 - M3

Those are the basics, as complicated as they are.

Can we get a mod to delete this stuff?

This is a good thread i didnt go through all of it but maybe someone should post some stuff on harmonic movement (Where you imply different chord tones). Also its great that all the scales and stuff are listed but you cant just play a scale over a solo! Ive seen many a player(including myself) just go up and down scales and it sounds horrible. ALl the great jazz guitar players used simple arpeggios and made lines, created movement, used space.

Of course, but those arpeggios come from scales. Musicians should understand the connection between scales, chords, and arpeggios. They are pretty much one and the same.

[QUOTE=spastic]Of course, but those arpeggios come from scales. Musicians should understand the connection between scales, chords, and arpeggios. They are pretty much one and the same.[/QUOTE]
123

you have to know the scales before you can improvise in them. thats why we stress the fact that scales are mandatory to learning to improvise. but you definatly cant just run up and down scales when soloing. that is all the math with no feeling.

One question, is a dominant 7th a 1 3 5 and a flat 7 or sharp 7

Flat 7.

Sorry it took me so long to delete all those, I don't read this thread much. I'm also sorry I can't do anything more than that ugly "soft-delete" deal.

JAZZ-MUGHAM !?
listen here [url]http://www.safarov.net[/url]

I would like some explanation of time signatures. I know 19/8 means 19 8th notes in each measure, and 3/4 is 3 quarter notes in each measure, but...:

I need to know how to find the time signature in songs, and how to make songs using time signatures.

oh i have a quick question.
does a 9, 11, or 13th chord indacate that a dominant 7 should be play if its written like this
C13 - A13 - F13 - D13

[QUOTE=ZEROthirtythree]I would like some explanation of time signatures. I know 19/8 means 19 8th notes in each measure, and 3/4 is 3 quarter notes in each measure, but...:

I need to know how to find the time signature in songs, and how to make songs using time signatures.[/QUOTE]


tap your foot.. find a beat
then use your best judgment.

if its your songs.. make sure it timed perfectly.. with a metronome these work in any time i think

[QUOTE=quatre07]oh i have a quick question.
does a 9, 11, or 13th chord indacate that a dominant 7 should be play if its written like this
C13 - A13 - F13 - D13[/QUOTE]


yes those chords would be dominant. a major 13 would look like this: Cmaj13

[QUOTE=jazzfunkboy]yes those chords would be dominant. a major 13 would look like this: Cmaj13[/QUOTE]
thought so thanks,
now what does G-7 mean??

Gmin7

Dashes mean minor, triangles mean major, little circles (like degrees) mean diminished, and a little circle with a line through it means half-diminished (min7b5).

I apologize if a similar question has been asked or answered at some point but there was something that confused me... In one of those lessons at the beginning I read this...

"Sometimes chords will list alterations in its usual tensions, and it is very important to pay attention to these. For instance, sometimes you will see a C b9 b13. This means that the normal tones (1, 3, 5, 7) willbe dominant, but the tensions will be b9, 11, b13. So, a C b9 b13 will be played like C E G Bb Db F Ab."

The construction of this chord confuses me. I know in C major there are no sharps or flats, so the normal tones would be C E G B of a 1 3 5 7, I think... and then the b9, 11, and b13, tensions are added the chord would be... C E G B Db F Ab. Again I apologize and that Bb might be a typo or something but is C E G B Db F Ab the correct tones for that C b9 b13?

The chord I was listing was a dominant chord. It actually should have been written C7 b9 b13, which means the chord tones would be 1 3 5 b7 b9 11 b13, or C E G Bb Db F Ab. If the chord was a major chord, then you would be correct (although a b9 and b13 on a major chord would be very odd, but hey, it could happen).

[QUOTE=Charlemagne]I apologize if a similar question has been asked or answered at some point but there was something that confused me... In one of those lessons at the beginning I read this...

"Sometimes chords will list alterations in its usual tensions, and it is very important to pay attention to these. For instance, sometimes you will see a C b9 b13. This means that the normal tones (1, 3, 5, 7) willbe dominant, but the tensions will be b9, 11, b13. So, a C b9 b13 will be played like C E G Bb Db F Ab."

The construction of this chord confuses me. I know in C major there are no sharps or flats, so the normal tones would be C E G B of a 1 3 5 7, I think... and then the b9, 11, and b13, tensions are added the chord would be... C E G B Db F Ab. Again I apologize and that Bb might be a typo or something but is C E G B Db F Ab the correct tones for that C b9 b13?[/QUOTE]

when a chord is listed as dominant it means the seventh is flatted. so the major 7 of a C chord (B) would become (Bb).

i also have a question on this passage. the word "tensions" in this sense means added tones that are out of key, right? sort of like its what gives that chord its color?

[QUOTE=MikeJump]tap your foot.. find a beat
then use your best judgment.

if its your songs.. make sure it timed perfectly.. with a metronome these work in any time i think[/QUOTE]

Thanks, I'll try.

Quick Question: What is the highest note on a 24 fretted guitar? I know the lowest is E2.

[QUOTE=ZEROthirtythree]Thanks, I'll try.

Quick Question: What is the highest note on a 24 fretted guitar? I know the lowest is E2.[/QUOTE]


E6.

(Not to be confused with the chord. :p)

[QUOTE=jazzfunkboy]when a chord is listed as dominant it means the seventh is flatted. so the major 7 of a C chord (B) would become (Bb).

i also have a question on this passage. the word "tensions" in this sense means added tones that are out of key, right? sort of like its what gives that chord its color?[/QUOTE]


Color is a better term than out of key, but you have the idea.

I am glad i found this site, i have many questions haha, but i read through this thread and i thought it was very helpfull. Here's my first question. I learnt the basic, Dorian and the rest of those major modes, i gues you would call them. But i saw thta there are many more different types , and some were to (2cn degree) and (5th degree) what dose that mean? So what is a degree? and is dorian and phrygian in one group and for example the harmonic minor in a different group with an entire different set of modes to accompany it? if so where would i find out what modes go with other modes? thanks in advance bro

oh yeah and do you still use AIM?

I still use AIM, although not that frequently. My screenname is still FreeMusicNo1, and I am still willing to help people out with questions.

The degree refers to a tone in a scale. For instance, the third degree of C major would be E. And yes, the major scale, melodic scale, and harmonic scale all have different modes. The harmonic scale and its modes aren't that common, but the melodic minor modes are. In the beginning of the thread I listed the modes of the melodic minor scales in terms of degrees, so you should be able to figure out patterns from those in all different keys.

replying to first page:

Whats this berklee thing you all are talking about?

The summer camp?

EDIT: I guess I might as well bring this up now. this thread seems appropriate.

I'm in the jazz band at my school. I'm having some trouble though. I usually just play 7th chords even if the chord chart mentions alterations like 13s and stuff. I think I wind up playign a lot of wrong chords this way.

The Jazz band teacher told me to just play the "shells", which i guess is just the 3 and 7? What abotu when the chord is just major or minor and not a 7th chord? What abotu when its a 6th chord? How do you all go about playign shells? I think I know how to do it, but it seems like it would take forever to learn how to do it for even one song.

The Jazz teacher also complains that I play too low on the neck. I guess this is cause I use root 6 and root 5 chord voicings maybe?

Basically, do you have any tips for playing guitar in jazz band?

ok now for the whole chord progression thing. if i want ot make complicated chords in a progression how do i do that, still use hte scales and modes? and if and when i get a progression how do i determine which chord ot use as the mood scale?
for example: A major, C#min, some weird chord, low to high(x4545x, and another low to high(x5767x) how do i find what chords to progress too, and what scaes to play on top of this progression, do i jsut pick any chord i want and then play the scalle to that, and last question. if it tuns out to be that weird 4545 chord what freakin scale would that be?
this is where i am getting stuck and frusterated
thanks to anyone who knows

The chord progression there is:

Amaj (577655)
C#min (x46654)
C#m7b5 (x4545x)
Dmaj7 (x5767x)

Play those chords, in order, four times, and after the final Dmaj7, play the Amaj chord one last time (to "resolve" the progression).

So the whole thing should look like:

Amaj, C#min, C#m7b5, Dmaj7,
Amaj, C#min, C#m7b5, Dmaj7,
Amaj, C#min, C#m7b5, Dmaj7,
Amaj, C#min, C#m7b5, Dmaj7,
Amaj.

As for scales, this is a bit more complicated. There are two options:

1. Play an A Major Pentatonic scale the whole way through (A B C# E F#)

2. If you feel like something a little more advanced, use an A Major scale over the Amaj chord, and the C#min chord. Then switch to an A Mixolydian scale over the C#m7b5 chord. Then back to an A Major scale over the Dmaj7 chord (and the final Amaj chord).

This is what those scales look like, in the order that you should play them:

A Major (A B C# D E F# G# A)
A Major (A B C# D E F# G# A)
A Mixolydian (A B C# D E F# G A)
A Major (A B C# D E F# G# A)

The only difference is that in the A Mixolydian scale, there's a G instead of a G# (this is because the C#m7b5 chord over which you're playing the A Mixolydian scale has a G, and not a G#).

If that scale changing business is too much to keep in mind though, just stick with the A Major Pentatonic scale.

I m still learning everything and anithing about music and all of you helped me a lot.

I m playing bass in a band so my practice is just fine but my theory is 00000000000000000000000000000000000000000000000000000000- therefor this site means a lot lot lot.........


[COLOR=DarkRed][SIZE=7]thanks[/SIZE][/COLOR]

thanks maverick, but heres teh real problem. now how can i find more chords to add? Can i just pick the F# and then make it a aug or a b7b5, how do i know when and how to make it a more colorful chord?

Well, if you want to find chords to add to the progression, just look at the key of the song. The progression is in the key of A major, which is A, B, C#, D, E, F#, G#.

To build a chord that's going to fit into an A major progression, just pick one of the notes of the scale to use as your root note. For example, F#.

To help you get your head around the process of chord building, organise the notes of the A major key that I typed out above, except use F# as your starting point instead of A. That means, instead of having A, B, C#, D, E, F#, G#, you have F#, G#, A, B, C#, D, E.

They're the same notes, just in a different order.

Now, think of those notes like this:

[b]1st - F#[/b]
2nd - G#
[b]3rd - A[/b]
4th - B
[b]5th - C#[/b]
6th - D
[b]7th - E[/b]

Now, just take the 1st, 3rd, 5th, and 7th, and you have your basic jazz chord. In this case, the F# minor seventh chord (F#m7).

If you want more "colour", add one or two (or all) of the other notes. They're the 2nd, the 4th, and the 6th, but in jazz circles, they're called the 9th, the 11th, and the 13th. It's easy to understand why:

[b]1st - F#[/b]
2nd - G#
[b]3rd - A[/b]
4th - B
[b]5th - C#[/b]
6th - D
[b]7th - E[/b]
8th - F#
[b]9th - G#[/b]
10th - A
[b]11th - B[/b]
12th - C#
[b]13th - D[/b]
14th - E

That should give you some idea of how chords are built in jazz. Just find the key of the song (A major in this case), pick a root note (F# in this case), and then go through the steps of re-arranging them so you can see what notes make up the basic jazz chord (1st, 3rd, 5th, 7th), and what notes you can use as your extensions (9th, 11th, 13th). :)



Finally, if you want, you can experiment with alterations. That is, taking one of the notes of the basic or extended jazz chord, and changing it up or down one semitone. A typical example would be to take the basic F#m7 chord (F#, A, C#, E), and altering the 5th by flattening it one semitone. This changes the chord to an F#m7b5 (F#, A, C, E). Also common is taking, say, an Amaj chord, and altering the 5th by sharpening it one semitone, changing an Amaj7 (A, C#, E, G#) to an A+maj7 (A, C#, E#, G#).

But those are fairly tricky chords to compose with, and because they use notes that aren't in the key of the piece, they're kind of tough to solo over.

what is a cadence

This is what I got from dictionary.com about "cadence"...

"[I]Cadence - A progression of chords moving to a harmonic close, point of rest, or sense of resolution."[/I]

So I'm guessing that its [I]basically[/I] a resolved chord progression...