theory overload

anOmis
anOmis Posts: 223
edited January 2004 in Musicians and Gearheads
I've just spent a great couple of weeks overloading on theory. I've just moved house, and had to say goodbye to my piano teacher, but I've picked up some amazing stuff off the net. I'm into blues, and have found out about dim 7 chords that provide another neat way of moving from the IV back to the I (e.g. C-C7-C#dim7-G) and some great variations on the old 12 bar, particularly a 36251 turnaround/ending. This may be old hat to you guys, but has has been a 'eureka' moment for me.

I'm now trying to puzzle out tritone substitution chords. If anyone has any chord shapes/patterns/progressions (on piano) that would help with this, I'd love to hear them. Anything for another 'eureka' moment!
~~dont mind yer make up, just make up yer mind~~

~~its better to be hated for who you are than be loved for who you are not~~

F.ZAPPA
Post edited by Unknown User on

Comments

  • anOmis
    anOmis Posts: 223
    i guess not, this time either

    ohh guys you sure make me feel like i come here and take over YOUR space or the air that u breath..

    anyways..thank those 9 people who took their time and read what i had to ay

    peace
    ~~dont mind yer make up, just make up yer mind~~

    ~~its better to be hated for who you are than be loved for who you are not~~

    F.ZAPPA
  • FinsburyParkCarrots
    FinsburyParkCarrots Seattle, WA Posts: 12,223
    See if you can get books of Charles Mingus transcriptions. Another good place to start is with Coltrane: anything after about 1960, really. "A Love Supreme", live at Antibes 1965 demonstrates Coltrane's ability to build chords on chords, via harmonic, scalar pedal tones, using tritones and many forms of interpolation of harmony. All twelve tones in the scale could be used for chordal substitution and solo-building.
    Listen to his later versions of "Naima", with Pharoah Sanders, circa 1966.....
  • anOmis
    anOmis Posts: 223
    thank you so very much..

    i think i have sent u this via p.m last nite i ransposed my Louie Louie into C, then tritones mentioned applied.


    so my tip 4 any of you guys out there

    To stick a third in between C and F#, it would have to be an Eb. And that is the key to the conundrum. Filled out as real triads they become C-Eb-Gb(F#), F-Ab-Cb(B), G-Bb-Db(C#), and so on.

    So the whole pattern is a series of first inversion triads filled in with the minor sevenths.

    The tritones by themselves are crying out for their "missing" members to ground them to a real tonic (Ab). The ear has simply supplied that which it perceived as "missing."

    (sorry 4 my broken angelish)
    ~~dont mind yer make up, just make up yer mind~~

    ~~its better to be hated for who you are than be loved for who you are not~~

    F.ZAPPA
  • a_gherkin
    a_gherkin Posts: 77
    Originally posted by anOmis
    I'm into blues, and have found out about dim 7 chords that provide another neat way of moving from the IV back to the I (e.g. C-C7-C#dim7-G) and some great variations on the old 12 bar, particularly a 36251 turnaround/ending.

    que?
    Originally posted by FinsburyParkCarrots
    demonstrates Coltrane's ability to build chords on chords, via harmonic, scalar pedal tones, using tritones and many forms of interpolation of harmony. All twelve tones in the scale could be used for chordal substitution and solo-building.

    que?
    Originally posted by anOmis
    To stick a third in between C and F#, it would have to be an Eb. And that is the key to the conundrum. Filled out as real triads they become C-Eb-Gb(F#), F-Ab-Cb(B), G-Bb-Db(C#), and so on.

    So the whole pattern is a series of first inversion triads filled in with the minor sevenths.

    The tritones by themselves are crying out for their "missing" members to ground them to a real tonic (Ab). The ear has simply supplied that which it perceived as "missing."

    QUE?

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