music theory – Page 14 – Modern Music Theory Improvisation and Application

Modern Jazz Fusion Chords:How to create them from scales

Posted on May 10, 2024May 20, 2024 by Modern Music Theory and Application

Hi Guys,

Today, a look at how to create colourful and interesting jazz/fusion chords:

Because, we are dealing with jazz/fusion we will manipulate a scale in modal form. This will be C Mixolydian:

Now, let’s add one note above each note of the mode and create 3rds. [Here we can hear the mode in double stops].

Now, we will add another note a 5th above the root and create triads.

We have now harmonised the Mixolydian mode.

As you will hear it doesn’t sound very jazzy or have a fusion-esque sound.

So what do we do?

Well, we will add another note and manipulate the chord “Voicing’s”. Let’s exploit 4ths, flattened 5ths and Major 3rds.

Ascending Chord Scale:

Descending chord scale:

THE DORIAN MODE:

Now, we will apply this to the C Dorian Mode which has another flat note, this being Eb.

C Dorian Chord Scale : Harmonisation idea:

CREATING MUSIC:

Now, let’s play these chords in a sequence and make a bit of music from them:

EXAMPLE: Notice-Motifs and melodic movement from the chord voicings:

Melodic minor quartal harmonisation

Finally, to really get that “Fusion” exoticism let’s now exploit the melodic minor scale:

Below, we have the A melodic minor scale: Notice it’s just like the A Major scale but with the 3rd flattened: [In this case C natural]

Again, we will try out some ideas to harmonise the scale with some interesting chord voicing’s:

Here is a really nice set of chords built from from the scale.

jazz-fusion-guitar-chords-lesson-melodic-minor

From here it’s a good idea to play re-harmonised chords from chord scales in sequences like:

ii V7 I

Vi ii V I

iii Vi ii V7 I

IN CONCLUSION:

This was just a basic look at how to create interesting chords from scales and modes and how to create interesting and unique voicing’s.

At the end of the day it really comes down to your own ears and imagination and sense of creativity. But, this is how easy it is to create chords from scales and then put them into sequences for composition and re-harmonisation.

FREE PDF DOWNLOAD:

chord-scale FREE DOWNLOAD

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

“Minor-isation”For Backing Track Improvisation:

Posted on April 30, 2024May 10, 2024 by Modern Music Theory and Application

CLICK SUBSCRIBE!

“Minor-isation”or the minor topic.[Backing Track]

Hi Guys,

Today, a quick look at applying minor-isation for improvisation over a backing track:

This is a very useful way to play over ambiguous harmony or Jazz fusion chord progressions, slash chords and sometimes illogical movement/chord shifts.

So, what do we do? and how does this work?

ANSWER=Employ the minor key for everything!

Let’s say we take this chord FMaj#11 – we will go to chord iii of F Major and use that for our improvisational point. In this case it’s A minor.

minor-topic-pat-martino-minorisation-track

Let’s apply the same principle to DbMaj7#11

If we apply chord iii we have F minor:

This time we will apply it to B Maj7#11

Chord iii being D#minor [Although I have notated it enharmonically with Eb minor as some people find that easier to visualise on the guitar fingerboard]

BARS 9 TO 12

In bars 9 to 12 you will see slash chords. For these we will go to chord Vi. So for instance on Db/Eb we will use Bb minor.

Bars 9 to 11: Chord Vi:

And on C/D chord Vi will be A minor:

We could also use chord iii as we did in the first 8 bars:

Bars 9 to 11: Chord iii Employed:

LAST 4 BARS

For the last part we will employ chord iii of Db Major throughout: This of course being F minor:

Here is the chart for the full backing track and you will see how all of this works:

IN CONCLUSION:

This is just a basic example of how “minor-isation” can be exploited to create really fluid improvisation especially on the guitar in a modern smooth jazz fusion context:

FREE PDF DOWNLOAD:

minor-isation Download

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

Polytonality:For Concerto/Orchestral Writing

Posted on February 27, 2024March 16, 2024 by Modern Music Theory and Application

CLICK SUBSCRIBE!

Polytonality: For Concerto/OrchestralWriting lesson

Please watch the video above for detailed analysis:

Hi Guys

Today, a quick look at composing with Polytonality for orchestral and concerto writing.

What is Polytonality?

Polytonality is the use of two or more keys at the same time:

Example 1:

Db Major/C Major [Basic root position]

poly-tonality-orchestral-composing-chords-example

In this first example we have 4 bars of Polytonality with Eminor/DbMajor and EbMajor/CMajor

This then resolves itself with a “Tonal” diatonic cadence of B7/D# to Em:

This method is really useful because we can use the polytonal approach sparingly with it’s thicker and richer harmonic texture whilst then then playing its opposite it with the thinner aspect of diatonicism.

This way the Polytonal nature of the music compliments the diatonic cadences and visa versa.

Example 2:

Polytonality-Orchestral Example

This example explores “Implication”. In this case it is implying the melodic minor but avoiding the cliche by employing the richness of Polytonality:

From here, we will again employ diatonic harmony for a cadence.

To complete this short orchestral example we will go back into Polytonality with another melodic minor implication by employing Dminor/DbMajor:

Here is the chart:

poly-tonality-orchestral-composing-example

Example 3:

Polytonality-Orchestral Example

In this final example we will just “Reverse” the chords. This time it is DbMajor/Cmajor which is then played the other way around with CMajor/DbMajor.