Chords amp Scales TCC GG Preparata SCALES amp MODES And Chords amp Onto our Path to Improvisation SCALES MAJOR DIATONIC SCALE That of C par excellence in that it is composed by 8 notes the eighth being the repetition of the first an octave apart ID: 708309
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Slide1
Jazz Guitar 4 Beginners:Chords & ScalesTCC~ GG PreparataSlide2
SCALES & MODESAnd Chords…
…& Onto our Path to ImprovisationSlide3
SCALES
MAJOR DIATONIC SCALE: That of C, par excellence, in that it is composed by 8 notes, the eighth being the repetition of the first (“an octave apart”)Slide4
DEGREES OF THE SCALE1st
: Tonic:
The most important degree; from the Greek
ton
ós, which means “tension of a string, sound” ~ gravitational center of the tonality
5
th
: Dominant:
After the Tonic, this is the most important degree of the scale; in brief, it is said to be “dominant” because of its centrality and of its “dominating” presence
4
th: Subdominant: as implied by the name, this degree is of minor importance; “lies below” the dominating 5th…Slide5
DEGREES OF THE SCALE II3rd
: Characteristic, Modal, or Mediant:
“Mediant” as in a median position between tomic and dominant; “modal” in that it defines the mode, the “mood” of the scale/tonality: major or minor (or absence therof)
7
th: Leading tone, of “sensitive
”(sensibile
)
:
the function of this degree is to “guide” the tonic, which lies half-a-tone above it. Than
ks
to the sensitive, the scale acquires a completeness that allows it to “conclude” (rersolve) onto the eighth note), which the 7th attractes to itself “irresistibly,” in order to reieterate the scale an octave higher.Slide6
DEGREES OF THE SCALE III6th
:
Submediant
,
Superdominant (lying above the dominant): This degree is valued by some for its central function, between the Subdominant (4th) and the Tonic (1
st
); others appreciate its importance for generating the first relative minor of the Tonic
2
nd
: Supertonic:
This is the least important degree of the scale (yet not irrelevant for it has its God-given place in the sequence), which derives from its position (a tone higher than the Tonic)Slide7
TONALITYVery, very brieflySlide8
…”In the Key of…” Each Major Tonality has a relative Minor tonality associated with it (the relative minor) & vice versa (relative major)E.g., C major A minor (6th, “Natural”)
Consequently: the tonic of the realtive major of a Natural Minor Scale is the 3
rd
degree of the NMS
In the long evolution of Harmony
from
the Greeks to our times, by way of the Middle Ages, these two “modes’ were the two essential patterns
retained to
define what is known as the “Bimodal/Dual Tonality”
These 2 modes contained, in synthesis, all the
principal characteristics of the
7 modes.Slide9
Poly-modal Tonality
In the 1960s, the publication George Russell’s The Lydian Concept of Tonal Organization for Improvisation marks the end of bimodal tonality and a return to medieval tonality, in which each of the seven modes forms a “pole” (a gravitational center of the Diatonic Major Scale…Slide10
The Greek Modes& Guitar fingerings
Fingering 1:
F Ionian
Fingering 2:
G Dorian
Fingering 3:
A Phrygian
Fingering 4:
Bb LydianSlide11
The Greek Modes& Guitar fingerings II
Fingering 5:
C
Mixolydian
Fingering 6:
D
Eolian
(Natural Minor)
Fingering 7:
E LocrianSlide12
The Greek Modes& SIMPLER Guitar fingerings I
F IonianSlide13
The Greek Modes& SIMPLER Guitar fingerings II
G Dorian
A Phrygian:
Start at the 5
th
fret(A)
FIFTH FRET
Bb Lydian:
same fingering, starting on the second note of the Phrygian Mode (Bb)Slide14
The Greek Modes& SIMPLER Guitar fingerings III
D Aeolian
E Locrian Slide15
CHORDSMinor 7, Maj 7, 7th
, Augmented, diminished, etc. Several positions, formsSlide16
MINOR 7TH FORMS
Bass:
Or with index playing 3
rd
on the 5th string, 2 frets back
.
Intermediate:
Generally, with a barre
High
Other form:
E.g., Cm7Slide17
DOMINANT 7TH FORMS
Bass:
E.g., G7
.
“Full” & Intermediate:
E.g., G7
High & other formsSlide18
MAJOR 7TH FORMS
Bass:
.
Intermediate:
High
Other important form:
Variation on the Intermediate
Slide19
SYNOPSES Slide20
13th, Minor b5th (Semi-Dim.) Slide21
C DiminishedSlide22
Augmented ChordsSlide23
The Intervals in the 7 Modes
Ionian:
Maj7, 9…
1 2 3 4 5 6 7
(9) (11) (13)
.
Dorian:
m7
,
m9, m11
1 2
b3
4 5 6
b7
(9)
(11
) (13)
Phrygian:
Maj7/b5
1
b2
b3 4 5
b6
b7
(b9
)
(
11)
(b13
)
Lydian:
Maj7#11
1 2 3 #4 5 6 7
(9) (#11) (13)
.
Myxolydian
:
Dominant chords, 7, 9, 13…
1 2 3 4 5 6 b7
(9) (11) (13)
Aeolian:
m7#5, m11#5
1 2 b3 4 5 b6 b7
(9) (11) (b13)
Locrian:
m7b5
1 b2 b3 4 b5 b6 b7
(b9) (11) (b13)
.Slide24
A PICTURE IS WORTH A THOUSAND WORDSA complex idea can be conveyed with just a single still image, namely making it possible to absorb large amounts of data quickly.