New book in the works. Music theory simplifies for the professional and interested novice. Not a "dummy" book, but rather, a reference for chord/scale relationships and poorly explained concepts.
On consonance vs. dissonance. Subjective to one's cultural and listening background/experience.There is no taboo interval. It seems that the barriers of b9s and even major 3rd against minor chord are coming down with usage. These were the last "hold outs."
I can't wait for the book.I am looking forward to it. For you it will have to be a series of books. If the books contain 3/4s of what I have been learning from you, they could be game changers for many guitarists.
I've learned al lot from you Otis. You'll be getting the first copy. I'm in it "deep." The consonance/dissonance "thing" is an entire chapter. Should be an entire book, really. I'll expound upon this concept, as taught to me by the legendary Vuk Kulenovich, with my personal experiences and epiphony on the subject.
Yeah that's a great topic ........... since so many younger players seem to have an attitude "well it sounds right me" ............ NEWS FLASH Junior, the ii chord in B major is c#m not Db ........ rolls eyes!
JD, We need to teach the terminology and "jargon" so that they all understand. "Differentiation" as my wife says.So many mixed messages are given to students that they get overwhelmed. Their overload may lead to aggression. It's not necessary. "Simplicity is difficult"- Kitaro
I was asked about the concept behind the song, 'The Float,Reasoned." In short, from a technical point of view, it's based on the concept of multi-tonic systems,which I studied in Slonimski's work. Other artists have used it, most notably John Coltrane in his works "Giant Steps""and "Countdown,' and other songs. All of which use three independent keys in descending major 3rds, spelling an augmented triad. I kind of went crazy with it and did descending major thirds in all 12 keys, utilizing all 4 augmented triads. More importantly, the concept expressed to me the feeling of the cycle of life. Nothing ever truly resolves.Each individual has their own perception of "resolution" or what they feel as comfortable, or 'home."
For fun, I ask the riddle, how does this composition encompass the augmented concept, diminished 7th chord concept, and the minor and major scale relationships? All are used. All 12 keys are used as well.
Tip: Only 3 diminished 7th chords and only 4 augmented triads exist.
Hey Chris I find the whole modal improv very interesting and useful with normal chords but when it comes to two note chords (commonly found in metal) I find it more difficult to improvise. I feel weaker in fast chord shifts such as power chords. Although i can "shred" it theres only so many "patterns" or "runs" you can use before it sounds to mechanical. Is there any way to use modal improv practically with fast chord shifts?
A, "Two note chords?' Do you mean roots/fifths/octaves? Very ambiguous. If so, these are "genderless" meaning that they are neither major nor minor. Give me a specific example of your trouble with key, chord(s)etc. Ie. these are the chords, what do I play?
I mean roots and fifths ocassionally a two note chord with a root and major or minor 3rd combination. For example, in the key of E we could have something like a fast palm muted riff with 16th notes at a very fast tempo. Using root/fifth power chords: E5, F#5, G5, A5, G#5, G5, F#5. Metal and fast rock can have fast rock with chromatism. It seems harder to observe each chord individually with so much variation combined with faster transitions of the actual chords.
Don't make it too complicated. This is a fragment of the chromatic scale E F# G G# A. No key implied. I would have to hear it.It could be either major or minor. I would assume A or E minor, but don't over analyse. Metal is very simple. It's the music of 15 year old boys. That being said, I love it! I was once a 15 year old boy!
Really looking forward to the Burke Summerfest on June 26th with an amazing band that I am fortunate to be able to play with. We're headlining at 3:30 pm!
Mehran Mezani on bass Chris Keever on drums Harry Appleman on piano
Now that I'm in so deep, I understand why it takes real writers so long to produce. One thing leads to another. Just like music composition. Just another example how all of the arts are really the same. "Practical Application Music Theory" has spawned two other "handbook" type accompanists. One is specifically for guitar. The other is instrument neutral and addresses modern harmony and 21st century improvisational concepts. I was trying to avoid this but it appears to be imminent.
Hey Chris, this question has nothing to do with Jazz but everything to do with Classiscal Composition: I am working on an A tonal composition. I have created a hexachord out of half steps and augmented 4ths. I am now in the process of taking those notes and creating a Matrix. What I dont get is what to do with the Matrix. What is its purpose? Help me out here Neo. I am stuck in the Matrix =P I feel like my composition teacher left me kinda short sighted. Also, can this style of music be applied to jazz in any way?
Fuzzy, I am not The Oracle but the term matrix has been used to describe a "system." The system is usually symmetrical such as those based on minor 3rds (diminished 7th chords), major 3rds (augmented triads), whole steps (whole tone scale), all half steps (tone row), or alternating whole/half steps (diminished scale). In short, it's just a series of notes. What you do with it is totally up to your creativity. The concept is not specific to any style. I would recommend investigating Slonimski's thesaurus of scales and melodic patterns as well as tone rows which have been used by many composers. As an example of it's use in jazz, investigate the bridge to "Have You Met Miss Jones" which is thought to be where John Coltrane got his concept of descending major third key areas. He used this concept in several compositions including: Giant Steps, Countdown, and 26-2.
The concept of pure improvisation as it relates to what is in the sub-conscious came up in a lesson today. Every day I am more aware of the power of this sub-conciousnessness on my own improvisational tendencies. Here is a piece that I find deeply moving and inspirational. Thanks John! http://www.youtube.com/watch?v=a8...
Show on Thursday. Pure improvisation with no prepared material! Most of what is being passed on as "Jazz" these days is contrived. Pre-rehearsed lines and licks ARE NOT IMPROVISATION. Many known "players" are still playing Charlie Parker or Coltrane licks exclusively! Both improvisers were great because of their spirit and originality.
Regurgitation and tribute concerts, which are weak attempts to create an association with a master is an insult. As Pat Metheny said, this is "musical necrophilia," and not art. Be true to yourself if you dare!!
Fuzzy, I would need more information regarding the specific piece such as:melody, chord function,duration,etc. but as a short answer, Major chord structures can generally carry natural 9's #11's and 6's (usually called 13's on a dominant chord). Minor structures can generally carry natural 9's and natural 11's and if the chord functions as the tonic chord,6's. These are of course just the general rules. There are exceptions.
Book update: 21st Century Music Theory Volume I is in the editing process as we speak. Compressing what should be 1000 pages into 125 pages of useful material is a daunting task! More to come....
I have tried to avoid this for years. I am attempting to create pure, spiritual music. The improvised aspect of my music has been called into question by the military band academics that rule D.C. and also suck.
These drones don't understand jazz. They don't swing, don't feel, and can't really play more than a few Charlie Parker or for the hipsters "'Trane" exercises, even though they consistently stroke each other for all of their weak efforts.
They really don't get Bird or 'Trane. They know nothing about our art. They don't understand that jazz improvisation should come from their own personal experiences, not somebody else's. In fact, they can't create anything original at all .In short, they are technicians, and "shitty" musicians.
I must put aside my art and stoicism temporarily. I now set out to crush all of the so called "jazz guys" in the area at their own game. My goal is to set a new stage in D.C. for real musicians that have something to say.The old vocabulary of our adversaries is 60 + years old and I know it well. Peace, C
Posts
New book in the works. Music theory simplifies for the professional and interested novice. Not a "dummy" book, but rather, a reference for chord/scale relationships and poorly explained concepts.
ReplyDeleteI meant "simplified" lol!
ReplyDeleteOn consonance vs. dissonance. Subjective to one's cultural and listening background/experience.There is no taboo interval. It seems that the barriers of b9s and even major 3rd against minor chord are coming down with usage. These were the last "hold outs."
ReplyDeleteI can't wait for the book.I am looking forward to it. For you it will have to be a series of books. If the books contain 3/4s of what I have been learning from you, they could be game changers for many guitarists.
ReplyDeleteI've learned al lot from you Otis. You'll be getting the first copy. I'm in it "deep." The consonance/dissonance "thing" is an entire chapter. Should be an entire book, really. I'll expound upon this concept, as taught to me by the legendary Vuk Kulenovich, with my personal experiences and epiphony on the subject.
ReplyDeleteYeah that's a great topic ........... since so many younger players seem to have an attitude "well it sounds right me" ............ NEWS FLASH Junior, the ii chord in B major is c#m not Db ........ rolls eyes!
ReplyDeleteJD,
ReplyDeleteWe need to teach the terminology and "jargon" so that they all understand. "Differentiation" as my wife says.So many mixed messages are given to students that they get overwhelmed. Their overload may lead to aggression. It's not necessary. "Simplicity is difficult"- Kitaro
I was asked about the concept behind the song, 'The Float,Reasoned." In short, from a technical point of view, it's based on the concept of multi-tonic systems,which I studied in Slonimski's work. Other artists have used it, most notably John Coltrane in his works "Giant Steps""and "Countdown,' and other songs. All of which use three independent keys in descending major 3rds, spelling an augmented triad. I kind of went crazy with it and did descending major thirds in all 12 keys, utilizing all 4 augmented triads.
ReplyDeleteMore importantly, the concept expressed to me the feeling of the cycle of life. Nothing ever truly resolves.Each individual has their own perception of "resolution" or what they feel as comfortable, or 'home."
For fun, I ask the riddle, how does this composition encompass the augmented concept, diminished 7th chord concept, and the minor and major scale relationships? All are used. All 12 keys are used as well.
ReplyDeleteTip: Only 3 diminished 7th chords and only 4 augmented triads exist.
Very excited to hear that my former student, Cal Olivier, is having some success as a professional musician!
ReplyDeleteClassical melodic/jazz minor scales. This is the topic I'm writing about at the moment.
ReplyDeleteHappy birthday to my beautiful little niece Isabella!
ReplyDeleteMy baby is almost done with an extremely demanding Master's program. I'm so proud of her! She's working on a 4.0!
ReplyDeleteHey Chris I find the whole modal improv very interesting and useful with normal chords but when it comes to two note chords (commonly found in metal) I find it more difficult to improvise. I feel weaker in fast chord shifts such as power chords. Although i can "shred" it theres only so many "patterns" or "runs" you can use before it sounds to mechanical. Is there any way to use modal improv practically with fast chord shifts?
ReplyDeleteA,
ReplyDelete"Two note chords?' Do you mean roots/fifths/octaves? Very ambiguous. If so, these are "genderless" meaning that they are neither major nor minor. Give me a specific example of your trouble with key, chord(s)etc. Ie. these are the chords, what do I play?
I mean roots and fifths ocassionally a two note chord with a root and major or minor 3rd combination. For example, in the key of E we could have something like a fast palm muted riff with 16th notes at a very fast tempo. Using root/fifth power chords: E5, F#5, G5, A5, G#5, G5, F#5. Metal and fast rock can have fast rock with chromatism. It seems harder to observe each chord individually with so much variation combined with faster transitions of the actual chords.
ReplyDeleteDon't make it too complicated. This is a fragment of the chromatic scale E F# G G# A. No key implied. I would have to hear it.It could be either major or minor. I would assume A or E minor, but don't over analyse. Metal is very simple. It's the music of 15 year old boys. That being said, I love it! I was once a 15 year old boy!
ReplyDeleteReally looking forward to the Burke Summerfest on June 26th with an amazing band that I am fortunate to be able to play with. We're headlining at 3:30 pm!
ReplyDeleteMehran Mezani on bass
Chris Keever on drums
Harry Appleman on piano
Chris Galvan Quartet
ReplyDeleteJune 26th
Burke Summerfest 3:30
Killin band! for any pianist, bassist, or drummer wanting to hear the baddest dude on your instrument, come on out!
Harry Appleman-piano
Mehran Mizani- 6 string electric bass
Chris Keever-drums
Just got back on the book after a few weeks of craziness!
ReplyDeleteNow that I'm in so deep, I understand why it takes real writers so long to produce. One thing leads to another. Just like music composition. Just another example how all of the arts are really the same. "Practical Application Music Theory" has spawned two other "handbook" type accompanists. One is specifically for guitar. The other is instrument neutral and addresses modern harmony and 21st century improvisational concepts. I was trying to avoid this but it appears to be imminent.
ReplyDeleteHey Chris, this question has nothing to do with Jazz but everything to do with Classiscal Composition: I am working on an A tonal composition. I have created a hexachord out of half steps and augmented 4ths. I am now in the process of taking those notes and creating a Matrix. What I dont get is what to do with the Matrix. What is its purpose? Help me out here Neo. I am stuck in the Matrix =P I feel like my composition teacher left me kinda short sighted.
ReplyDeleteAlso, can this style of music be applied to jazz in any way?
Fuzzy,
ReplyDeleteI am not The Oracle but the term matrix has been used to describe a "system." The system is usually symmetrical such as those based on minor 3rds (diminished 7th chords), major 3rds (augmented triads), whole steps (whole tone scale), all half steps (tone row), or alternating whole/half steps (diminished scale). In short, it's just a series of notes. What you do with it is totally up to your creativity. The concept is not specific to any style. I would recommend investigating Slonimski's thesaurus of scales and melodic patterns as well as tone rows which have been used by many composers. As an example of it's use in jazz, investigate the bridge to "Have You Met Miss Jones" which is thought to be where John Coltrane got his concept of descending major third key areas. He used this concept in several compositions including: Giant Steps, Countdown, and 26-2.
The concept of pure improvisation as it relates to what is in the sub-conscious came up in a lesson today. Every day I am more aware of the power of this sub-conciousnessness on my own improvisational tendencies. Here is a piece that I find deeply moving and inspirational. Thanks John!
ReplyDeletehttp://www.youtube.com/watch?v=a8...
Schnittke- Symphony No. 8 (1/5)
www.youtube.com
1st draft of book is finished. Now editing!
ReplyDeleteShow on Thursday. Pure improvisation with no prepared material! Most of what is being passed on as "Jazz" these days is contrived. Pre-rehearsed lines and licks ARE NOT IMPROVISATION. Many known "players" are still playing Charlie Parker or Coltrane licks exclusively! Both improvisers were great because of their spirit and originality.
ReplyDeleteRegurgitation and tribute concerts, which are weak attempts to create an association with a master is an insult. As Pat Metheny said, this is "musical necrophilia," and not art. Be true to yourself if you dare!!
Check www.chrisgalvan.com for more info
Hey Chris, What are the common Alterations for Major 7ths and Minor 7ths?
ReplyDeleteFuzzy, I would need more information regarding the specific piece such as:melody, chord function,duration,etc. but as a short answer, Major chord structures can generally carry natural 9's #11's and 6's (usually called 13's on a dominant chord). Minor structures can generally carry natural 9's and natural 11's and if the chord functions as the tonic chord,6's. These are of course just the general rules. There are exceptions.
ReplyDeleteBook update:
ReplyDelete21st Century Music Theory Volume I is in the editing process as we speak. Compressing what should be 1000 pages into 125 pages of useful material is a daunting task! More to come....
Back online after a bad injury. More performance and book updates to come...
ReplyDeleteNow on the faculty at NVCC. I'm proud to be associated with such a fine music program. More to come....
ReplyDeleteI have tried to avoid this for years. I am attempting to create pure, spiritual music. The improvised aspect of my music has been called into question by the military band academics that rule D.C. and also suck.
ReplyDeleteThese drones don't understand jazz. They don't swing, don't feel, and can't really play more than a few Charlie Parker or for the hipsters "'Trane" exercises, even though they consistently stroke each other for all of their weak efforts.
They really don't get Bird or 'Trane. They know nothing about our art. They don't understand that jazz improvisation should come from their own personal experiences, not somebody else's. In fact, they can't create anything original at all .In short, they are technicians, and "shitty" musicians.
I must put aside my art and stoicism temporarily. I now set out to crush all of the so called "jazz guys" in the area at their own game. My goal is to set a new stage in D.C. for real musicians that have something to say.The old vocabulary of our adversaries is 60 + years old and I know it well.
Peace,
C
Hey Chris, I how is your cd audio set up? Is it 2.1 Stereo or higher?
ReplyDelete