Chord Scale Theory And Jazz Harmony Pdf

chord scale theory and jazz harmony pdf

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The Chord Scale Theory & Jazz Harmony - Nettles And Graf..pdf

Scales and modes, are NOT the secret to learning to improvise. Recall back to when you learned the basics of math. Just like the times-tables, you must internalize the information and move far beyond it. Scales and modes fit into an overarching melodic and harmonic framework that help you to conceptualize melody and harmony in any genre of music.

This framework allows you to intellectually understand how specific notes relate to a given chord in terms of consonance and dissonance.

Now, a lot of people have explained the Chord-scale system , how to apply the scales, and how to practice them. The major modes are the 7 modes of the major scale. When you begin the scale on each different scale degree, it creates a different mode. Here are the modes of C Major:. Chances are, whenever you first picked up an improvisation book or went to a course, the first thing you were introduced to was the major modes and how they apply to chords.

The idea of applying a particular scale-choice, or mode, to each chord is not new, but has become the way to teach improvisation. From Wikipedia:. The chord-scale system is a method of matching, from a list of possible chords, a list of possible scales. The system has been widely used since the s and is generally accepted in the jazz world today. Essentially, learning to use the Chord-scale system significantly reduces the barrier to entry of jazz improvisation.

And when you learn to improvise, creating melodies over chord progressions in a seemingly spontaneous way, where do you begin? How do you go from not knowing what a chord is, to playing beautiful melodies over chords? Well, you have to give your brain a metal starting place to make sense of all the chord symbols that are going on….

Knowing a scale for a chord helps you view the chord in a linear fashion and helps you learn the upper parts of the chord in an integrated way. Knowing a scale for a chord gives you a very broad understanding of this.

With these two things, the Chord-scale system pushes you immediately onto your path of jazz improvisation. You can be up and running in a weekend! But unfortunately, as time goes by, the problems this system creates for you accumulate and can leave you feeling helpless about your success as an improviser. Every chord functions a particular way within a progression.

Let me explain…. There are two minor chords in these 4 measures, but they are functioning differently within the key center. The first F minor is functioning as a Vi chord in the key of Ab major:.

In this example, both the D and Db would sound dissonant if simply held, but the Db sounds more consonant within the overall scale on F minor in this harmonic situation.

The mode for a chord tells you the most consonant sounding upper structure notes in terms of the overall scale, and reorganizes all of those notes into a convenient scale.

You want to get out of the habit of just blindly applying a scale to a chord. You need to understand the why if you want to advance. This thinking of a parent scale is a shortcut that must be surpassed. The secret is mental rehearsal what we often call visualization. To practice forming the correct mental structures and surpassing the parent-scale-shortcut, you need to begin to think of the chord as its own entity rather than a piece of something else.

In other words, you must form a mental and physical on your instrument relationship with each chord. Run through , , and in your mind. Say the numbers in your mind and visualize playing each note in your mind, while simultaneously thinking of the chord, B half diminished. Take your time…. Once you overcome the parent-scale-shortcut and begin to form a direct mental connection to each chord, you want to further your mental study on chords, while adding in an aural element to the picture as well.

To achieve these two chord-tone goals takes a combination of visualization and ear training practice. Here are the baseline scales for the 4 chord-qualities you frequently encounter.

Major, dominant, minor, and half diminished. Diminished 7 chords are excluded because they obviously take the diminished scale. Using the Chord-scale system, we would find the mode that fits this chord— G Major 11 is the Lydian mode of D Major— but for most chords, this is overkill. This way of thinking works extremely well for major, minor, and half diminished chords because there are very few alterations that typically occur.

The common alterations are:. Minor: Major 7, b6 minor chord functioning as a Vi chord , b6 and b9 minor chord functioning as a iii chord. Often, this chord symbol implies a b9 and b5 same as 11 as well, so we need to be able to work those into our mental thinking.

We also need to be able to automatically know that the 11 and b5 are the same, and the b13 and 5 are the same. One thing to note is: You can only think in terms of baseline scales if you truly understand each chord-tone and have easy mental and physical access to each one. And one other caveat — You need to understand the subtleties in the way people notate chords. As seen in the dominant example above, often, chords are written in a way that one alteration implies others. As we saw before, If they write G7 9 5, this could also imply a b9 and At the very least, it should help you in certain situations.

Always try to simplify your concept into things that are easier for you to think about. Why think about two pieces of information when one will do? This is an easy thing to do once you overcome the parent-scale-shortcut, develop a strong mental and physical relationship with the chord-tones, and begin to think in terms of baseline scales. The absolute worst thing that the Chord-scale system does is promotes the idea that improvisation is mixing up notes of a scale.

Jazz Improvisation is about creating strong melodies over chord progressions in a spontaneous way, while speaking the jazz language. The Chord-scale system:. To turn the Chord-scale system into music, you must immerse yourself in jazz : listening , transcribing , acquiring language , and learning from your heroes.

Check your inbox or spam folder to confirm your subscription. I'm ready to improve fast. Skip to content. But this framework has huge traps that are easy to get caught in… Now, a lot of people have explained the Chord-scale system , how to apply the scales, and how to practice them. What are modes? But why? Why has modal thinking become so popular? From Wikipedia: The chord-scale system is a method of matching, from a list of possible chords, a list of possible scales.

Sounds like a great thing, right? How do scales and modes help us? The Chord-scale system has a significant purpose. When you start anything , you have to start somewhere. Well, you have to give your brain a metal starting place to make sense of all the chord symbols that are going on… Enter the Chord-Scale system. This tool gives you primarily two things: 1.

Let me explain… Take the first 4 measures of the famous tune All The Things You Are : There are two minor chords in these 4 measures, but they are functioning differently within the key center. The first F minor is functioning as a Vi chord in the key of Ab major: …and the second minor chord Bb minor is functioning as a ii chord in Ab major.

Try these simple mental exercises: Mental Exercise 1: Run through , , and in your mind. Here are few more tips to overcome the parent-scale-shortcut: Always think in terms of numbers Make up your own exercises like the ones you just did.

Step 3: Understand the chord and chord-tones both mentally and aurally Once you overcome the parent-scale-shortcut and begin to form a direct mental connection to each chord, you want to further your mental study on chords, while adding in an aural element to the picture as well. This is a huge problem. Each chord-tone as it relates to a chord: Should be easy to mentally access i. Should be easy to hear and sing i.

Play the basic root position chord in the left-hand and play the root an octave above in the right-hand. You have to listen closely and repetitively, but each chord-tone does have a distinct color as it relates to its chord. Step 4: Stop thinking in terms of dozens of scale choices and use baseline scales instead Ok. No need to think of a parent scale, scale choices, or even the name of a mode. So, for most chords thinking of baseline scales makes things super easy. What are the advantages of thinking this way?

You learn to access each specific altered tension as it relates to a specific chord, both mentally and physically You learn to use the natural and altered versions of a chord-tone within the same line. It gives you a supplemental way to think about dominant chords, rather than just scales.

You can combine the concepts. Once you know the baseline scales, you can just add small alterations to get the colors you want and focus on the melodic colors you wish to express One thing to note is: You can only think in terms of baseline scales if you truly understand each chord-tone and have easy mental and physical access to each one. Step 6: Understand that improvisation is NOT randomly mixing up notes in a scale The absolute worst thing that the Chord-scale system does is promotes the idea that improvisation is mixing up notes of a scale.

Related Lessons You'll Enjoy. Developing Musicality: Applying Scales vs. Applying Language. Keys to the Altered Scale. Improve fast with our Jazz Courses.

How The Chord-Scale System Has Failed You: 6 Steps to Freedom With Scales and Modes

If you haven't checked him out already, go to YouTube and search for Ed Bickert who got an amazing tone playing jazz on the Telecaster. In my experience, a light touch on a solid body guitar yields Well heck if we going there how about Molly and Lindsay on Lindsay's back porch Started once and quit. Then, a year and a half or so later while doing the patterns for jazz


Jazz harmony, as taught at the Berklee College of Music is based on the so called Chord Scale Theory. This method - furt.


The Chord Scale Theory and Jazz Harmony Analysis

Jazz harmony, as taught at the Berklee College of Music, is based on the so-called "chord scale theory. Emerged from practice and designed for practical use, it provides theoretical knowledge necessary for improvisation, composing, and arranging. Convert currency.

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The chord-scale system is a method of matching, from a list of possible chords , a list of possible scales. The system is an example of the difference between the treatment of dissonance in jazz and classical harmony : "Classical treats all notes that don't belong to the chord Non-classical harmony just tells you which note in the scale to [potentially] avoid In contrast, in the chord-scale system, a different scale is used for each chord in the progression for example Mixolydian scales on A, E, and D for chords A7, E7, and D7, respectively.

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Scales and modes, are NOT the secret to learning to improvise. Recall back to when you learned the basics of math. Just like the times-tables, you must internalize the information and move far beyond it. Scales and modes fit into an overarching melodic and harmonic framework that help you to conceptualize melody and harmony in any genre of music. This framework allows you to intellectually understand how specific notes relate to a given chord in terms of consonance and dissonance. Now, a lot of people have explained the Chord-scale system , how to apply the scales, and how to practice them. The major modes are the 7 modes of the major scale.


his book is a guide through Jazz Harmony and Analysis applying contem- Enjoy the journey through the world of chord Sc.


The chord scale theory and jazz harmony

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Embed Size px x x x x This method - further developed - is now available as a. Emerged from practice and designed for practical use, it provides theoretical knowledge necessary for improvisation,. Post on Dec views. Category: Documents 29 download. This method - further developed - is now available as a comprehensive textbook for the first time. Emerged from practice and designed for practical use, it provides theoretical knowledge necessary for improvisation, composing, and arranging.

There are a number of common chord progressions that you will find in virtually every jazz standard.

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