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So, using your proposed Mixolydian modal progression, with voice leading harmony chords.
CMaj = C, E, G
Amin = C, E, A (triad inversion of A,C,E)
BbMaj = Bb, D, F
Gmin = Bb, D, G (triad inversion of G,Bb, D,)
Have fun
Example, if you had to move between the following two chords:
CMaj = C,E,G
Amin = A,C,E
You move the C to A (a big move)
Move E to C (a big move)
Move G to E (a big move)
or you could have better voice leading by using the following inversion of the Amin chord: C, E, A
You move the C to C (No move)
Move E to E (No move)
Move G to A (Small move)
That's all there is to voice leading really, but it can get more complex.
I think of the first position as a banjo (utelising the open strings and detuning).
The 4 nps scales as two saxophones.
Jimmy Bruno's Five Piano's as a means of visualising the white notes on the fretboard
then much less importantly as moveable chord-melody tools
Then the country-harp - where you play hammer-ons or fretted harmonics in the same scale an octave up.
there's the lap-steel sounds of Lee Hodgson's lovely bend-combo's (I set in a CAGED framework)
the endless "bunkai" of Ted Green's Chord Chemistry
I can extemporise some of each of them, my love of the sounds they create means I stick with them whenever I'm not franitcally learning the latest tune our singer has created - playing it without capo and sneaking in sweet notes when he's not looking...
Limitation is a good thing, according to Ted Green, Wes Montgomery know 80 chords in all (Ted really knew hundreds if not thousands, intimately enough to use them for solos or chord solos too) - but every possible way of using them... so inversions and synonyms - but importantly - as sounds first - the labels REALLY don't matter, so choose two shapes and play em on different frets till you find a combination that works and you don't know why.
When you've done, successfully, ONCE, you will fundamentally understand the difference between chords and voicings.
Miles Davis played the Trumpet - range 2 octaves (equivalent to one of those CAGED patterns... just one - utterly understood, the different weight of the notes depending on the context, the notes in between ... Davis improvised by taking his solo last and pulling together all the nice sounds from the other player's solos - ahead of any theory he listened, he appreciated and he reproduced.
Do the Math on this one:
It is easier to recognise the function of a played note (only twelve), hear the type of chord (major, minor, dominant - only three) - than it is to discern bullshit musical theory (limitless) - people, eager to learn will be seduced by the "hormonal pentacostal third inversion of the phrygian major - maj 9 maj 13 scale-mode-note-cluster*" because it looks (not sounds) woo..
Do yourself a favour: buy Mick Goodrick's Advancing Guitarist - and you'll learn the real musical terms, and fun ways to understand them, without the mysticism, from a reknowned professional musician who treats you as an equal
* AKA pentatonic minor.
Learning some base 12 maths and vocab - which is all theorey is, is simple compared to the donkey work of practising chord changes... not nearly as rewarding either.
For instance - Ted Green's Modern Chord Progressions pt1 has about 20 chord progressions on the first page - he's light on talky-talky, after practising them for about 6 weeks, the progressions and the chords were sneaking into lots of my improvisations... I was not consciously thinking "hey C-7b9 will logically fit, there" no, I was thinking "how did that get there? it sounds good!" - I rarely stuffed in a crap sounding chord as long as I left my ego out of my playing. All I had to do was keep practising and keep my ego out and I was entertained and melodic too.
Prior to martial-arts training I would not have had the self discipline to set aside ego, submit to a process for an extended period of time with no assurance of results.
So, if we're playing tennis: A little knowledge is a dangerous thing
Thing is people obsess over notes because that transfers well to a forum or before that usenet, the whole wizard of Oz - don't pay attention to the man behind the curtain thing... there are rhythmic modes and they make the most boring of scales interesting ... but everyone's on about the notes.
There's a great demo where Victor Wooten of playing the wrong notes and making a great solo, then playing the right notes and sounding shit, notes have nothing to do with it (in my opinion it's groove).
Of course in sparring it's a lot about not getting into a rhythm as that's predictable...
I'd really recommend Victor Wooten's Groove Workshop.
would you mind marking my homework??
I'm playing with simple chord progressions based on modes to assist my learning.. I've tried to include the flavour notes in the chord as well including it in my melodies whilst retaining the tonal root.
Progression 1) A, A, Dsus4, D : D Mixolydian?
Progression 2) Gm, C, Dm, C : G Dorian?
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
A quick glance:
A = A C# E
D = D F# A
Dsus4 = D G A
D Mixolydian = D E F# G A B C
No C# in D Mixolydian.
G major diatonic chords = G maj, Amin, Bmin, Cmaj, Ddom, Emin, Fm7b5 (note: Dom chords in a major scale = Mixolydian)
which if you start from D gives you Ddom, Emin, Fm7b5, G maj, Amin, Bmin, Cmaj.
But a big factor of any scale is the 5th, the reason we have a melodic minor is because the V (fifth diatonic) chord is better if it's a dominant - so the chances are pretty strong that whilst the math may be pleasing on the eye - the progressions may lack real movement and be less than captivating to the ear.
Theory is there to explain what you're doing, not determine what you're doing.
How is progression 2?
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
Progression 2) Gm, C, Dm, C : G Dorian?
Gm = G Bb D
C = C E G
Dm = D F A
G Dorian's 6th "E" is the Character note that creates tension in a chord or solo.
IMHO, the problem I find with the Dorian mode's character note is that it doesn't add that much tension. This is why excessive noodling in Dorian over a minor chord is very common and can get tedious very quickly, so I feel it's good to add some added playing dynamics.
A C9 chord substitution will be tastier of course... in progression 2
I feel I'm getting closer... sorry for the entire blogjack and constant questions lol
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?