[Dixielandjazz] Music theory

[Russ Guarino]

I was classically trained and can read music with the best of them.  I did not try to improvise until
very late in age, about 60.

Recent discussion about blues scales and modes has brought to my mind the puzzlement I experience
when I attend jazz camp and/ or  listen to lectures given by the "experts".

It has never been explained to me how the knowledge of these scales work their way into the improvise
product.  It seems to me that knowing the tones of chords is more useful.  And the scales of the key
of music being played.

For example I do not want to used the notes of the Bb scale when playing a tune in G.  Unless the
chord called for said notes.  So I see value of knowing both scales and chords.

Modes, after studying them for some time, simply tell you what note of a scale to start and end.  For
example, the Phrygian mode starts on the 4th note of the scale and ends on the third note.  [ F is
the starting tone in a C scale and ends on E, it would be written as a chord of FM7#4, it is a very
little used chord ].

The modes most commonly seen are Ionian, Dorian, Lydian, Mixolydian  & Aeolian.  But you would see
these chords/scales as C, Dm, F, G & Am.  Or, I, II, IV, V, VI.  All are using the C sales tones in
this example.

A diminished scale is the Locrian mode.  But it normally be written a B (slash)0 in a the key of C.

Here's a bit of information that explains a lot when you are finished with a solo and are wondering
some of it didn't sound too good..
In the Ionian mode, tone 1 & 4 don't sound too good
In the Dorian mode, all notes are good
In the Phrygian mode, notes 2 & 6 are dissonant
In the Lydian mode note 1 tends to be dissonant
In the Mixolydian mode, the 4th note may sound bad
In the Aeolian mode, the 6th step may be sour.
In the Locrian mode, the 2nd step is sour.

So, with this knowledge, go forth and kill 'em with your solos.

Or, do what I do, keep the scale tones in mind of the tune you're playing and try to play "sweet"
notes as you pass through the chords.  Know what scale tones belong to the chords your playing and
use them.  If you are in the key of C and a A chord comes by, realize that the scale has changed for
C to A and the tones have changed from C to C#, F to F# and G to G#, until the next chord comes into
view.

Also, know how to play diminished chords.  They are very rich.  For example if you have a sequence
of  C, C#dim, the first chord is C, E G and the next chord is C#, E, G, Bb C#  This is a nice sound.
At least this is the way I play it.

However, the best advise I ever got was "close your eyes and let the sound flow".

Much more can be said, but I digress.

Russ Guarino, Clarinet Maven.


BudTuba at aol.com wrote:

>
> In a message dated 3/11/2006 2:27:53 P.M. Eastern Standard Time,
> kwg28 at sbcglobal.net writes:
>
> I have  become quite interested in learning elements of music theory.  Been
> reading
> from books, from the internet, wherever----I find it  fascinating.  I now know
> something (stress that word) about the  mathematics of the tempered scale,
> functions of the various seventh chords,  basic harmony etc, etc.
>
> I do this because of curiosity, not because I  expect that it will
> necessarily improve
> my modest skill level on the  clarinet.
>
> Here's my question.  Can any of you that play  well enough to perform cite an
> example of some aspect of music theory that  has enabled you to raise your
> skill level?  Especially in the area of  improvisation.
>
> The best book I ever came across about music theory as it applies to jazz  is
> Improvising Jazz by Jerry Coker...here is a link to it:
> _http://aebersold.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=IJ&Category_Code=JERCOKBOO_
> (http://aebersold.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=IJ&Catego
> ry_Code=JERCOKBOO)
>
> This book treats the chord changes in a numerical fashion so that  regardless
> of the base key, you can use the changes.  He categorizes the  most common
> changes and talks about how group can learn to improvise  together.  I see that
> Don Mopsick has also treated the chords as numbers,  but Coker's book will put
> all together in one place for your benefit.
>
>
> Roy (Bud) Taylor
> Smugtown Stompers Jazz Band
> 'we ain't just  whistlin' dixie!"
> 585-415-3985  Cell
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz