PlayJazzGuitar.com Forum

Sandemose · Joined: 08 Jan 2008 Posts: 163

I have a friend who told me about his favorite move over minor chords. He study at Gothenburgs concervatory of music and just got a scholarship to study in Paris (something something "Superiur" something something) and after that in Cuba for half a year or so.

What he does is that he from the minor chord plays major one whole step above. Like Dm7 - E major. What kind of minor chord or what kind of major scale, I dont know. I tried to play it. It sounded like shit to me. I didnt get it to work. Is this a common outside move in jazz in general?

I guess I have to ask him but he is hard to get in touch with.

Thanks,

Sandemose
_________________
"Its just a problem, we´ll deal with it" Ted Greene

Jens · Posted: Sun Aug 30, 2009 11:12 am Post subject:

Well, I didn't hear him play it.

One option could be: Dm7 from Amin harmonic, that gives you an E major triad and the chord Dm sound is Dm7(9,#11,13)

Jens
_________________
http://www.jenslarsen.nl

Sandemose · Joined: 08 Jan 2008 Posts: 163

Haha, thats right Smile

He plays with some of the badest musicians Ive heard so I guess it sounds cool when he doesnt it, and crap when I do it.

Great advice there! That might be a way towards the E major thing. The biggest problem probably is making the F# working over the Dm chord Smile

Thanks!

Sandemose
_________________
"Its just a problem, we´ll deal with it" Ted Greene

Jazzy · Joined: 14 Dec 2004 Posts: 1660 Location: Norway

One to look at this is quite simple: if you play an a minor triad over dm, you get a dm11 sound. And the e major triad is just the dominant to a minor. So if you think like this, you can pretty much make all triads work over everything, hehe... But this is just my way of thinking about it. I think it`s called backcycling or something.

It`s all about tension and release Smile

Sandemose · Joined: 08 Jan 2008 Posts: 163

Good thinking! I guess both ends meets at the end: the theoretical and practical. You can sort of justify a sound/move first theoretically, and working with it suddenly works practically as well. Man, I hated the #11 over major chords when I started playing. What a fool I was...

Sandemose
_________________
"Its just a problem, we´ll deal with it" Ted Greene

Volume Swell · Joined: 03 Jan 2008 Posts: 250

Well, you could kind of think of it as coming from a D-7b5. Say you're playing off of D dorian, if you think of it as modal interchange from C you can take the shape of the D-7b5, and then you could play the E Ab B as an E major triad. I don't know if that'd actually sound good but to me that works out.

Sandemose · Joined: 08 Jan 2008 Posts: 163

I think my friend plays:

E-F#-G#-A-B-C#-D#-E over the d-minor chord. I´d better ask him before anyone (me) gets hurt or something...

Thanks volumeswell by the way!

Sandemose
_________________
"Its just a problem, we´ll deal with it" Ted Greene

JakeJew · Joined: 30 Jul 2005 Posts: 2192 Location: Boston, MA

Not to mention you can probably train yourself to hear and use anything. If it's convincing and you're using it as a tool to make your statement, it doesn't much matter whether it's in or out.

The more theory I know and music I learn and play the more 'in' everything starts to sound. Ex, when most people first learn and play a diminished chord out of the context of a song it sounds pretty out, but I'm sure no one here finds dim chords particularly jarring or adventurous.

There are a lot of examples of this. Once you just start to hear things often they become more normal.
_________________
"Inspiration may be a form of superconsciousness, or perhaps of subconciousness - I wouldn't know. But I am sure that it is the antithesis of self-consciousness." - Aaron Copland

Volume Swell · Joined: 03 Jan 2008 Posts: 250

Generic Sobriquet · Joined: 03 Jul 2007 Posts: 804

Don't forget that to the average person most jazz sounds like not just dissonant, but discordant mess. And that's the straight-ahead stuff, nevermind the avant-garde. Likewise for something like Schoenberg or Shostakovich. Or dissonant rock. Most people's ears and brains just aren't accustomed to hearing it. It's not even necessarily about training, just exposure and acclimation.

Pick any three or four random notes on the fingerboard and I can guarantee you I can make it sound cool, especially once given context. But not to everyone; not to someone who's only ever listened to popular music. It's not grand leap from nursery rhymes to commercial radio.

And now, on to microtones.
_________________
lll
ll

Sandemose · Joined: 08 Jan 2008 Posts: 163

Generic Sobriquet · Joined: 03 Jul 2007 Posts: 804

Huh? I got rhythm?

EDIT: That was to your original notes.
_________________
lll
ll

Sandemose · Joined: 08 Jan 2008 Posts: 163

Haha, yeah, guess it was that tune. Dont know why. I was hacking some carrots, and came up with the notes and went to the computer and wrote it. But then I tried them and realized that it was to much pentatonic 1/2 step up, which is hip so I gave you those instead.

Sandemose
_________________
"Its just a problem, we´ll deal with it" Ted Greene

JakeJew · Joined: 30 Jul 2005 Posts: 2192 Location: Boston, MA

side stepping solves all problems
_________________
"Inspiration may be a form of superconsciousness, or perhaps of subconciousness - I wouldn't know. But I am sure that it is the antithesis of self-consciousness." - Aaron Copland

Generic Sobriquet · Joined: 03 Jul 2007 Posts: 804

You know, it's funny how the brain works. Those notes played in succession—Db/C#, F, Gb/F#, Bb—triggered familiarity of a little melody, including the rhythm. I couldn't spot it but for some reason my impression was it was some old tune. Then this morning while brushing my teeth it hit me. Turns out it's this tune that I listened to maybe twice about 5-6 months ago, then just got shelved away. Obviously, not old nor jazz. Weird:
http://www.youtube.com/watch?v=jZTU7vZpGcQ

Obviously, that's not in chord form. But I don't even actually know what you're looking for.
_________________
lll
ll