POP AND JAZZ CHORD PROGRESSIONS #2

PREREQUISITE: Knowledge of the Scale-Tone Seventh Chords and the major scales.

In the last post, POP AND JAZZ CHORD PROGRESSION #1, we discussed how certain chords types tend to gravitate to others. I borrowed from (and took a liberty here and there :-\ ) Randy Halberstadt’s ‘Cosmos’ metaphor for theory discussion.

We focused in on just one of the twelve planetary systems within our harmonic galaxy with the sun being the center —the major (I) chord in the key of ‘C’. We learned that each sun has planets, (green) that surround and are pulled/gravitate toward it—these are the ‘Scale-Tone 7th Chords’—with the (V) planet (G7) having the strongest gravitational pull. Let’s zoom out and take a look at a larger picture; the pop & jazz harmonic galaxy which contains twelve solar systems; representing the twelve key centers. Below is a look at that galaxy. Here's a PDF DOWNLOAD of it for a larger look.

Without getting to scientific, technical, or philosophical, mostly because I can’t :-/ —keep this thought in mind. There is a motion, rhythm and vibration at every point in the entire universe. And what makes music pleasurable are those mechanisms that we hear and feel.

THE CYCLE OF FIFTHS

Looking below, we see that our harmonic galaxy moves counter-clockwise from sun to sun in perfect 5th intervals—what we call the Cycle of 5ths.

It is the natural order of all things musical.

This is your foundation… your everything for learning chord progression/movement, how they pull/gravitate to one another. This chart shows how key centers/solar systems move toward each other.

But, as you will see very soon over the next posts, each key center has its own cycle of 5ths. This is where you begin to put to use how chords move within the key of a song. And I will demonstrate how that will work with many familiar tunes.

Here’s what you need to know, and do, to get the cycle burned into the brain.

Even solar systems/key centers gravitate to one another. If you just have to know WHY it moves in 5ths, you can do a google search for the ‘overtone series’ for an explanation. This is your foundation, your everything for learning and using chord progressions/movement, and how they pull/gravitate to one another. Here’s and exercise for moving around the cycle of 5th galaxy.

BACK TO THE TWO MOST IMPORTANT INTERVALS

We said the two most important scale-tones in any chord are the 3rd & 7th? Even though we only discussed them pertaining to the (V) chord in the last post, which created the tri-tone interval, it does not mean that every 3rd & 7th tone of every chord is a tri-tone. Yet they are still the primary tones for all... chord recognition.

Now there may be sharpie or two out there that will tell me that there ARE chords other than the (V) chord that contain a tri-tone—and you’d be right. But for my purpose right now, I’m only talking about the most important one (the dominant 7th)—with the strongest pull home.

Why I segregate the (V) chord from others will become an ah-ha moment when I talk about chord substitution. OK.... on to the exercise. Let’s move from key center to key center, sun to sun, using only 3rds & 7ths (Are ya still with me? I know, this is a longy)

In the previous post you downloaded and practiced the (V) to (I) exercise. Right? :-) Well, here for the purpose of learning the 3rd and 7th scale-tones on (V) dominant 7th chords only, we’re going to take the (V) planet of every sun, (key center), and move it around the cycle of 5ths using the 3rd and 7ths tones in the right hand and the root/bass note in the left. Download the large PDF here before you go blind.
For any techies out there, some of the spellings are not enharmonically correct. It’s for simplicity sake. And for those that don’t know what I’m talking about... fa get a bout it. Just do the exercise.

Tri-Tone (V Chord/Dom7th) Practice

Through All The Major Key Centers

Here’s the galaxy representation of the above exercise. Check out the green planets. Stop squinting, you’re gonna hurt those eyes. Get the large PDF here.

Ok... one more exercise. We’re going to cycle around just the key centers (the suns) using the same format. Take a look below and also get the large PDF here.

Ok.... I think you’ve had enough. Good job. I hope that this is making some sense to you. I suspect I might be overdoing it a bit. Maybe I’m entertaining myself at the same time learning about all this graphic stuff? Can’t go back now... “straight ahead”, as one of my favorite music teachers used to say.

In the next post, I’ll be covering one of the moon’s that pull toward the planets. This will cycle us back to the first post on the subject. Then, we will have a complete understanding and working modal for the most important chord progression in pop & jazz harmony.... the (II) (V) (I) progression. And....

There will be many, many examples of how all this is used in tunes. I’ll be showing and recording a ton of sound files along with PDF’s so you could follow along. Thanks for listening!

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POP AND JAZZ CHORD PROGRESSIONS #1

PREREQUISITE: Intermediate/Advanced: Knowledge of the 'Scale-Tone Seventh Chords'  This will be a series of posts.

CHORD PROGRESSION(S):

If I have to give it a definition, I would say that a chord progression is a series, or sequence of harmonic (chord & root/bass line) movement in a particular order that "feels and/or sounds right"—a system of movement (voice leading) that seems to make sense to our innate understanding of western music.

It is something that every aspiring pianist (musician) should be skilled in - that is, the understanding of, creating of, and even altering of existing chord progressions (movements) to create new ones. Once again, this is not about HOW the chords are voiced (chord quality) but, how they move and attract to one another.

Randy Halberstadt, is a top flight multi-dimensional pianist who has been a major figure on the Pacific Northwest jazz scene for many years. In his very popular book, ‘Metaphors for the Musician’ Randy explains chord movement through the use of his ‘Solar System’ metaphor. I think it’s ingenious and have asked Randy for permission to borrow parts of his system to incorporate in my teaching of the subject. RANDY’S WEBSITE

I have put some twists on it though. I haven’t made it better, that would be impossible. I’m just putting a few twists and turns on it for my purpose. I highly recommend this book for intermediate and even advanced jazz players. I’m envious of Randy’s amazing and creative mind that has approached the wide spectrum of modern piano playing with such creativity, clarity and innovation.

Put those other books down for a while and dig into this amazing approach. There will be many surprises not seen even in the other industry standard publications. I will be doing a complete and thorough review of Randy’s book very shortly.

Below is a picture of the complete ‘C major Solar System’. I will break it into smaller pieces using it many different ways, then, building it back up to its complete form step by step.

So take a peek at it, but don’t try to decipher or make any conclusions about it yet. I will take you on this fantastic journey slowly. Here’s a PDF DOWNLOAD of the chart.

For the time being, if you have to, you can associate the I chord (the sun) to the key of ‘C. It is the center of our C major solar system—which is only one of the twelve planetary systems in the harmonic galaxy. The planets, (green) that surround the sun,

are pulled

(gravitate)

toward it. These are the ‘Scale-Tone 7th Chords’. But let’s start at the beginning when first there was the sun—and the planet with the strongest gravitational pull towards it… the (V) planet. (G7)

First Steps In Learning (Understanding) Chord Progressions

In order to create, understand, and use chord movement/progressions to sound great or create your own sound, the first step in my opinion is to know the two most important notes (scale-tones) of any chord—and they would be the 3rd and 7th scale-tones of all chords. They are the two most important tones for chord recognition.

When you play a tune with the proper sequence of chord progressions, chord movement, (and good phrasing), a natural flow/pull is created - you take your listener on a journey with you. They get caught up in the flow, the pull toward other chords. They might demonstrate this by singing, humming, clapping, snapping fingers, tapping a toe, dancing, laughing or crying.

Tension and Release

Many times the feelings created in others while listening to music is caused by 'TENSION and RELEASE'. The beginnings of creating 'tension and release' in your music is knowing how one chord/planet naturally moves/gravitates to one another using the 3rd and 7th intervals.

There is NO RELEASE without first TENSION.

Tension and release is found in every part of our everyday life - physically and mentally. In nature, a beautiful warm sunny day (release) feels even more magnificent after a long dark, loud, rainy storm. (tension)

How much better do you feel (release) when the headache (tension) is gone? (release) Why does making up with a loved feel so fantastic (release) after a disagreement? (tension) When watching a frightening scene (tension) in a movie, how do you feel when is done with? A big sigh of relief? (release) There are thousands of tension and release mechanisms that exist.

The Five to One Chord Progression

One of the most common and important examples of tension and release in music is the V - I chord progression/movement. The (V) chord/planet has the strongest gravitational pull to the C Major (Sun) key center. We will discuss why when I post about the ‘Cycle of Fifths’.

G7 (V) to Cmaj (I). Let’s take a look at why and how this works. It is essential to know every V to I progression/movement in every major key center. (solar system)... There are (12) of course.

Look at the graphic below. In Bar 3, notice the 3rd and 7th scale-tones of the G7. (B-F) Play just the B-F in the right hand and notice how un-settled, un-final it sounds by itself. Not until it is resolved to the Root and third scale-tones (C-E) of the (I) chord does the tension release.

From B to F is precisely 3 whole steps in its scale. In a Dominant 7th chord, this is known as a ‘Tri-tone interval.

Looking at the Tri-tone and resolution in reverse.

The 'Tri-Tone' Interval, the B and F tones are exactly one half step away from (they surround) the Root and 3rd of the (I) chord tightly—which is a 'Major Third' interval.

So, ALL of the above is simply about how the 3rd & 7th scale-tones of a V chord, (tri-tone-tension) resolve smoothly to the R & 3 scale-tones of a I chord (major 3rd-release).

So, to summarize…

1. The V chord has the strongest gravitational pull to the key center (the sun). The V to I chord progression.

2. Why? because of the tri-tone contained within the V chord closely surrounds the R & 3 of the I chord… or key center (the sun).

Here’s part of a PDF download I made for you to practice this around the Cycle of Fifths. Download it and take it for a spin.

The next post in this series discusses the Cycle of Fifths

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The Scale-Tone 7th Chords - PRACTICE #1

I've created this post in response to Rob's question regarding practicing the Scale-Tone 7th Chords around the cycle of 5ths remaining within the key you begin.. If you do not know what the cycle of 5ths is, I suggest you read the post 'Cycle of 5ths - Introduction and Theory'.

First: Take a quick look at the Scale-Tone 7th Chords post on this subject.







Ok, as we know, the cycle of 5ths, if we start on 'C' will be...
C--F--Bb--Eb--Ab--Db/C#--Gb/F#--B--E--A--D and --G.

So, if we started playing the Scale-Tone 7ths Chord From C,

we can see that if we follow the traditional cycle of 5ths pattern we run into a little trouble trying to stay in the key of 'C'. What follows the IV chord in the chart below is a Bb chord which steps out of the key of 'C'. Now this is ok if you wanted to practice your major 7ths around the complete cycle covering all (12) tones of the keyboard because as you can see it continues to Eb, Ab, etc.







In order to stay in the key of 'C' we need to make a small adjustment to the cycle. Let's change the Bb above to the VIII (Bm7b5) of 'C'. Then we will continue going through the cycle until we get back to the (I) chord. So the Bm7b5 is not a true 5th interval after the Fma7, but this adjustment is acceptable for the purpose of practicing the Cycle of 5ths within a key signature.








So the Cycle of 5ths pattern from with a key signature is this:
I---------IV-------VIII------- III----- VI----- II-------V,------and back to I
Cma7--Fma7---Bm7b5---Em7---Am7---Dm7---G7-------------------Cma7

Practice your Scale-Tone 7ths in a cycle of 5ths pattern starting with different keys. Here they are in 'F' and in 'G'.

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Blues Scale Theory Clarification

Prerequisite: Some familiarity with the Blues Scales. Let me say that this is not a 'how to create and use blues scales, or over what chords they're used, or the use of Blues Scales in tunes—that's coming soon.

Over the years I have come across tons or material teaching the Blues Scale. There are varying opinions where to start, what they're called, how they're fingered. etc. Some individuals even ad or detract notes from the scales—which might be misleading and confusing to the person learning the Blues Scales. In short; from the overly simplistic to overly complex. I hope to clear the confusion now except for the fingering which will be part of 'Learning the Blues Scales' post. (coming soon)

Ok... a student buys a book on the blues or a scales book and may see any one of the following configurations of a blues scale.





This configuration might be labeled the 'C Blues Scale'. Or, It might be called the
'C minor Blues Scale'.

Maybe this is what they'll come across first.





This configuration might also be labeled the 'C Blues Scale'. Or, it might be called the  'C major Blues Scale'.

Then what usually follows are instructions to learn them in all keys. The student now proceeds to learn 12 minor blues scales and 12 major, with all kinds of fingerings—thinking of them as separate entities. (not necessary as we'll soon see) Or, there are some examples of their use in playing the blues or how they can be used against various chords in other types of tunes.

What's very rarely mentioned is the fact that they (the major & minor blues scales) are related. That when looked at from a different perspective, they are actually the same—one scale, with the same fingering. When we know this, we only have to learn only 12. And for the hobbyist, 3 or four will suffice.

Let's see what I'm talking about: Take a look at the configuration of what some call the 'A' blues scale—or, 'A' minor blues scale below.





Do you know your basic scale theory regarding 'relative minors'? If yes, and we call the configuration of the above blues scale 'A minor', and you think of 'A' minor as the 'relative minor' of/to 'C' major, the magic begins. So, we understand the 'A' and 'C' are related, right?

If you do not know your 'relative scale' theory, just think either a 'step and a half up' from 'A', or a 'major 6th down from 'A' takes us to 'C'. So, we understand the 'A' and 'C' are related, right?

OK, take a look at the pic below. 1A is the 'A' minor configuration shown in the graphic above. 2B, the major blues configuration of 'C'; they're the same scale. We just bumped off the 'A', and begin playing from the 'C'—the relative major to 'A'. Of course, this works in reverse.

Or, if you began, or learned the blues scale in the major configura- tion, (C), you would just begin playing from a step and a half down, or a major sixth above, arriving at 'A'.

Marry up these two scales and think of them as one scale. You'll see the benefit in future posts on playing the blues.

Starting on 'A', just one scale - two in one.






Starting on 'C', just one scale - two in one.






LET'S TAKE A LOOK AT ANOTHER ONE.
2A is the 'C' minor blues scale configuration. Follow the above explanation and you arrive at the 'Eb' major blues scale... or, the opposite.

Or, if you began, or learned the blues scale in the major configura- tion, (Eb), you would just begin playing from a step and a half down, or a major sixth above, arriving at 'C'.

Again, marry up these two scales and think of them as one scale.

Please remember so there's no confusion. This is not about how they're used in tunes or what chords they fit. That will depend on other factors; what key are we in, chord quality etc. (All for future posts).

If I was put into a corner and forced to say what the most common vernacular musicians and teachers use regarding the blues scales; I would say that when hear or read the words, "hey, play a 'C' blues scale here", the minor configuration is what is meant.

And if just the minor form is mastered, you will automatically know all the major forms. (a major 6th below or minor 3rd above) So when you study various periodicals that may refer to the major form, or talk to musicians who use major form vernacular for various reasons of there own, (theoretical or personal) you will have a clear understanding and easier way to know the scale.

Here are the more common blues scales that should be married up.... two in one.
E minor blues scale / G major blues scale
A minor blues scale / C major blues scale
D minor blues scale / F major blues scale
G minor blues scale / Bb major blues scale
C minor blues scale / Eb major blues scale

If you have any questions, either use the 'comment' link below or feel free to contact me personally. If I could help you further or solve any confusion, I'll do my best.

And as usual. there will be complete Piano Blues Booklets covering various blues subjects in depth sometime in the near future.

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