![]() The goal is to offer a unifying theory that may account for all tonal harmony, in its traditional practice, as well as embrace modern concepts in a coherent logical manner. This principle is extrapolated from theories of acoustic phenomena and early tonal behaviour. Central to my hypothesis is the suggestion that a fundamental octatonic system of organization forms the basis of a coherent explanation of harmony. ![]() In the following thesis I intend to propose a different view that may facilitate the way jazz harmony is analysed and understood. Xmin7 is always Dorian, in a form of mechanical isolated recipe that takes no consideration of the context in which it appears. The relationship between chords and scales is left purely to the recognition of the chord symbol i.e. ![]() Though this method explains the construction of chords from a diatonic scale and provides semi-adequate pitch groups that will fit over a sounding chord, it does not begin to explain anything about harmonic analysis or the intricacies of harmony itself. This is done so that the improviser can know what available notes he/she has at his/her disposal when improvising over a given chord. Jazz harmony today is explained in terms of relations between scales and chords. ![]()
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