By Bill Dobbins
This can be certainly now not a harmonic approach should you are searhing for ideas in which to write down track. quite this can be an method of unlocking the unlimited harmonic probabilities that are certain to the piano. This technique could be constructed in a private demeanour via an entire life with no ever hard the artistic chances. in fact, it's also acceptable to jazz composing and arranging. The ebook contains thousands of musical examples and 5 compositions by way of invoice Dobbins.
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Extra info for A Creative Approach to Jazz Piano Harmony By Bill Dobbins
We’ll start out with a common jazz progression: I- II-IV-V-1 42 (which happen to be the only chords that correspond to scale tones in the key of C). this gives us: Cm7-Dmin7(b5)-Fm7-Gm7-Cm7. From this base, let’s try to insert the remaining chords [bIII=EbMaj7, bVI=AbMaj7(#11), bVII=Bb], according to the rules of cadence. We can use Eb as a temporary tone center: EbMaj7 Fm7 Gm7 AbMaj7(#11) Bb7 Cm7 Dmin7(b5) = = = = = = = I II III IV V VI VII Since the VII (Dm7b5) can move to any chord except the II or the IV, and the I (EbMaj7) can move to any chord, we can safely slip the EbMaj7 (the I chord in our temporary key center) in between the Dmin7(b5) and the Fm7, yielding: Cm7-Dmin7(b5)-EbMaj7-Fm7-Gm7-Cm7.
MIDI can be thought of as an electronic player piano. The MIDI file contains definitions of what notes should be played, using what digital instrument sounds, and when to play them, but contains no actual sound data itself. ” Most modern PC operating systems are automatically configured to play back MIDI 32 files using your sound card. The MIDI files in the examples contain several repetitions of the chord progressions being illustrated. You can play the MIDI file on your computer and improvise your scales using it as a background.
In bar 2 we’re playing over a Cm(Maj7). In this context, the G is a 5, the F gives us a 4/11, and the Eb is now a minor third. Moving into the second half of the bar, the B gives us a major seventh, the C is the root note, and the final B is another major seventh. Bar 3 presents us with a C, functioning as a 4/11 in the context of the G7(b5). Finally, in bar 4, playing over an Eb7(#5), the B represents a #5, and the C is a 6th. nw c Table 4-11 Modes of the Neapolitan Major Scale M ode N am e L eading W h ole T one L ydian D om inant A ugm ented Intervals 4 L ydian b6 b7 2221122 5 A rabian 2211222 6 H alfD im inished b4 2112222 C 7(#5#9)-A b7(#11)-E bm in(M aj7)-D 7(#5b9)-G b7(#5)-E M aj7(#5)C 7(#5#9)-B b7(#5)-C 7(#5#9) 7 R avel bb3 1122222 C 7(#5b9)-D bm in(M aj7)-B b7(#5#9)-G b7(#11)-C 7(#5b9)-A b7(#5)E 7(#5)-D 7(#5)-D bm in(M aj7)-C 7(#5b9) 2 3 2222211 2222112 P rogression C M aj7(#5)-G #m in 7(b5)-C M aj7(#5)-A #7(#5b9)-D 7(#5)-B m in(M aj7)C M aj7(#5)-E 7(#11)-F #7(#5)-C M aj7(#5) C M aj7(#5)-D 7(#11)-A m in(M aj7)-G #7(#5b9)-F #7(#5#9)-E 7(#5)D 7(#11)-B M aj7(#5)-C M aj7(#5) C 7(#11)- F#7(#5b9)-E 7(#5#9)-D 7(#5)-B b7(#5)-A b7(#5)-G m in(M aj7)C 7(#11) C 7(#5)-G bM aj7(#5)-E 7(#5b9)-F m in(M aj7)-C 7(#5)-D 7(#5#9)B b7(#11)-C 7(#5)-A b7(#5)-C 7(#5) Table 4-12 64 Part III: Exotic Scales With One Augmented Interval An augmented interval refers to a pair of notes separated by three semitones.