lydianchromaticconcept.com

interesting....

and it sounds great

what's your voicing on the first Bb7 chord?

Yes from the Sibelius file.

The sound of your first Bb7 seemed to have a special quality to it. I could be wrong though - maybe I'm just too busy for serious listening.

So root b7 9 3 13 with the melody (13) on top.

Giant Steps is magical to me and I love listening to the progression..

teach me

one thing i notice is that you hear it differently and more easily at 152 in sibelius than on the mp3 which is faster

motherlode wrote:progressions are always written backwards

maybe you can explain this at your leisure...

short for now... followed by long... if you feel like it

Since the solos are vertically relating to the chord of the moment, and the bass is relating to a scale that spans several chords, would this be an example of Supra-Vertical Tonal Gravity?

I'm doing very well.... and glad to hear you are on the mend. We've missed you. You're so generous with your input and insight!

I see what you're saying - the fact that the bass line spells a scale is almost incidental, and to be used as basically a memory aid to the bass player, not an outline of the tune's harmonic plan necessarily.

To be honest, I'm not even sure exactly what Supra-Vertical means, other than it does not so strongly focus on one GCE like HTG and VTG do. So I wasn't sure if was an example of it.

Russel cites the Giant Steps solo as the quintessential example of a vertical melody, and yet pg 146 says that this theme is not VTG-concieved.

One really brilliant aspect of this composition is that it gets a kaleidascopic effect by virtue of the symmetrical Aux Aug scale, yet it's vertical harmonies are not based on this scale.

I lack the software. I'm just relying on your transcription.

Hey Mother, why don't you use a free site that supports the Scorch plugin?
-I myself have never been able to find any "free" sites that use it... So it might be a lost cause.

Scorch is a tad glitchy on FireFox...
-At least, last build it was.


=^_^=

The prospect of exchanging 'living' files is so exciting!!

Oh yes! I agree entirely! A while back I spoke about having a designated area for people here to upload their music... If someone finds a free site that uses the Scorch plug in (since I refuse to do that labor ) I would be more than happy to take any sheet and turn it into the .sib format.

Why of course I downloaded it! I'm just the silent type...
Nice use of color and labeling I might add! (I'm the lazy type too...) The use of absolute Aux Aug scales over this seems so confusing and fitting at the same time. I still have yet to see anyone play Giant Steps live but... The Jazz scene isn't too popular around here.

What I do with Sibelius is use it to analyze my music that I sequence elsewhere... A lot of the time I don't know what I am doing in a solo so... It's quite the useful tool.

(Personally I am terrible at sight reading also... That's why I am interested in Scorch files more than anything.)

motherlode wrote:That's what this is about.

Hey Motherlode, could you please email me - bob@robertappleton.com. I tried getting through to you on PM but couldn't. Alice Rusell and I have both been trying to reach you by email....



Thanks

b

Now that you've identified the purpose of this thread, I can see that It directly addresses the question I raised over in "Tritone Substitution".

Related to this, and in response to your first post in this thread, I found an interesting book in Google Book Search ( http://books.google.ca/books?id=tnmTMT6 ... #PPA113,M1 )

It refers to the Coltrane changes and attempts to explain these and other non-traditional resolutions for V7 chords. This is a good example of how cumbersome and not-insightful analysis can be using just the old "roman numeral" approach to progression analysis.

When you think in terms of parent scales and modal tonics, the vertical colors AND the resolutions make more sense - even non-traditional resolutions.

The 7th chord's AMG's on Chart A demonstrate that there are more options than simply going into a "mirror world" - a parent scale a tritone away. Coltrane leaped into tonal worlds that are a major third apart - an Augmented effect, without using any Augmented chords.

please listen to the end of this first http://www.youtube.com/watch?v=Q1Oi_PQG ... re=related

and then... solve the puzzle for us...

motherlode wrote:...progressions are always written backwards... Do you want the long answer -or- the short answer?

hope you're having some nice driving weather

b

wow. thank you... (much) more to think about...

There's a name for that process (inserting the V7 chord), but I can't think of it right now.

Are you thinking of "secondary dominants"?