Lets talk about big band..
When we listen to big band, usually we find that there are a lot of weird chords jumping around, pop out suddenly and vanish during the second stanza (although 1st and 2nd stanza are the same in melody). These may be tension notes, or tritone (for my limited music knowledge)!
Often, jazz players use tension notes, and are made up of 1-3-5 (basic chord notes) -7-9-and the sequence goes on till it repeats again (tension notes). The second rule they use is the root-elimination, 5th-elimination, 3rd-stays, 7th-stays and chosen tension note(s)-stays.
One funny thing occurs: Since there is no root, no 5th, the chord played (together with tension notes) will sound like some other chord, say:
C7: C-E-G-Bb....Eliminating root and 5th: E-Bb
F#7: F#-A#-C#-E......Eliminating root and 5th: A#-E or Bb-E.
Can you see that? So, instead of using C7, some composer tends to use F#7 to substitute C7, and you see these in many r&b songs. With the root and 5th retained, F#7 gives a more 'funky' feel to the overall composing!
If playing a progression like:
|C |Am |F |G7 |C |
it can be alter to
|C |Am |F |C#7 |C |
or
|C--Bb7 |Am--F#7 |F-F#dim7 G#7|G7-C#7 Bdim7 |C---|
or
|C-Bm7b5-E7-Bb7 |Am-A-C#dim7-D#7 |
|Dm9-F#dim7- |C#7-Bdim7-G13-G13b|C--- |
Just try la.. it's fun!
When we listen to big band, usually we find that there are a lot of weird chords jumping around, pop out suddenly and vanish during the second stanza (although 1st and 2nd stanza are the same in melody). These may be tension notes, or tritone (for my limited music knowledge)!
Often, jazz players use tension notes, and are made up of 1-3-5 (basic chord notes) -7-9-and the sequence goes on till it repeats again (tension notes). The second rule they use is the root-elimination, 5th-elimination, 3rd-stays, 7th-stays and chosen tension note(s)-stays.
One funny thing occurs: Since there is no root, no 5th, the chord played (together with tension notes) will sound like some other chord, say:
C7: C-E-G-Bb....Eliminating root and 5th: E-Bb
F#7: F#-A#-C#-E......Eliminating root and 5th: A#-E or Bb-E.
Can you see that? So, instead of using C7, some composer tends to use F#7 to substitute C7, and you see these in many r&b songs. With the root and 5th retained, F#7 gives a more 'funky' feel to the overall composing!
If playing a progression like:
|C |Am |F |G7 |C |
it can be alter to
|C |Am |F |C#7 |C |
or
|C--Bb7 |Am--F#7 |F-F#dim7 G#7|G7-C#7 Bdim7 |C---|
or
|C-Bm7b5-E7-Bb7 |Am-A-C#dim7-D#7 |
|Dm9-F#dim7- |C#7-Bdim7-G13-G13b|C--- |
Just try la.. it's fun!
5 comments:
interesting...
pls give me a practical session...then only I can manage it./
Ok!
so when we just alter the chords like that, when playing church song, and it wont crash with others?
It depends on how you play it and arrange it. Those gospel soul songs sang in US churches use a lot of these chords, it sounds nice. But in playing chinese worship song, and especially pop style, i think it'll clash.
Anyway, this is just music theory knowledge. Learn from wide variety, and can get ideas on how to rearrange a particular song to multiple style.
~whistle~
cheeem...
but i likee =D
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