II-V-I

ref:
http://chipinkaiyasjazz.blogspot.tw/2013/12/ii-v2-5.html (Chipin & Kaiya's Jazz)


notes:
15'3/7:
- 大調II-V-I : 最常見的行進
    IIm7 -> V7 -> Imaj7
- 小調II-V-I : 不是自然小調, 而是降3,7 (Dorian), 此結尾不是Im7也許7會讓人覺得不像在結尾
    IIm7b5 -> V7b9 -> Im
 ex : F#m7b5-B7b9-Em

- IIm7 -> V7 -> VIm7 : 其實是Aeolian的 IVm7 ->bVII7 -> Im7, 若以II->V->I來思考, 小調VIm7=大調Imaj7

- IIm7 -> V7 : 解釋為Dorian Im7 -> IV7

Morse code for rhythm

ref:
https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcQ7fjfTPDvDeLVTB-10X9cYmGI8dVv_f5vGVKvr7eEf7-VEN9_mgrBvjw
http://www.learnmorsecode.info/wp-content/uploads/2012/05/ditdah.png
http://cdn.instructables.com/FK4/OQH7/H2PEUKIKW92/FK4OQH7H2PEUKIKW92.LARGE.jpg
http://alt-sites.tripod.com/morse.html

  Swing feel is pretty hard to express or indirectly feeling for the one who has not got used to it before. So if some exist code may could assistant for it, it could provides significant Mnemonic for music study.

   Take the Swing pattern for example, it could be
[1] quarter note (3/3 )
[2] quaver rest + quaver note (2/3 rest + 1/3)
[3] quarter reset (3/3 rest)
[4] quaver note + quaver note (2/3 + 1/3)

  According to Morse code principle, there are Dah ( - ) & Dit (.)
If we treat the Dah as play and Dit as rest

  Then the above 4 pattern could translate to these simple words

[1] D ( - . . )
[2] U ( . . - )
[3] S ( . . . )
[4] K ( - . - )

  Easier? So it's pretty easy to compose a rhythm phrase in simple character.
Take form 4/4 for example

DDSK | KSUS | UDKS | .........................(any combination of the above 4 pattern)

  For 16-bit expression, the English alphabet is not enough.
Refer to other version, ex : Full version, Japanese....etc.
Thanks to knowledge, it's so awesome.

specialist
@Hsinchu
15'3/1

 

2006台中爵士音樂節CD

2006,台中爵士音樂節紀錄CD曲目,
很不幸地,  CD開始毀壞,
心痛....不幸中的大幸, 第1首有成功讀到iTunes

- The Walk of the Giant Tuttle
一首似東方味道的Jazz, 裡面有手伸到鋼琴裡的弦音

specialist
@Hsinchu


1.The Walk of The Giant Turtle
https://www.youtube.com/watch?v=N7BfFDal8bw

2.Arroyo
https://www.youtube.com/watch?v=xdh6wF-w3UA

3.Gathering

4.Blue Clef

5.Graceful lllusion

6.Paraty

7.Cafe

book : 爵士鋼琴和聲

src:

spreadsheet:
https://drive.google.com/file/d/0B543p5wfySTQa2Y0UzF4ei1KaUE/edit?usp=sharing



notes:

14'7/20 :
- Practice mode 基於251
--
左手: 根音,
右手: 原位,1轉,2轉,3轉
--
左手 : 根音 + 原位,1轉,2轉,3轉 ,
右手 : 根音(for Triads)或特色音(for 7th & 6th & tension)


- 和弦種類
-- Triads (Major , Minor, Diminshed[C0], Augmented[C+], Suspended 4th[Csus4])
-- 7th & 6th
--- Major 7th
--- Dominant 7th
--- Minor 7th
--- Minor 7th b5[Cm7b5](半減七)
--- Major 6th

-- Tensions 9th (Ch3)
--- Major 9th
--- Dominant 9th
--- Minor 9th
--- Major 69
--- Minor 69

-- Tensions 9/11/13 (Ch4)
--- Major 13
--- Dom 13
--- Minor 7th b5 b13
--- Minor 7th 11th
--- Minor 7th b5 11th

-- Altered Tensions (Ch5)

-- dom 7th b9
-- dom 7th #9
-- dom 7th b9 b13
-- dom 7th #9 b13
-- dom 79 b13
-- dom 79 #11

-- II V I w/ tension (Ch6)
---[1] major tone w/ natural tension
Pattern : IIm7(9) -> V7(9, 13) -> IM7(9)

--- [2] major tone w/ dom7 alt. tension  ( derived from [1] & change V7 tension to flat)
Pattern : IIm7(9) -> V7(b9, b13) -> IM7(9)

--- [3] minor tone ([TODO] why V7 is not in minor mode? but I is m7?)
Pattern : IIm7(b5) -> V7(b9,b13) -> Im7(9)

--- [4] IM to Im ( derived from [1] , but change IM to Im)
Pattern :  IIm7(9) -> V7(9, 13) -> Im7(9)

--- [5] Im to IM (derived from[3]  but change Im to IM)
Pattern : IIm7(b5) -> V7(b9,b13) -> IM7(9)


-- UST (Ch7)


-- Voicings in 4th (Ch8)
[Challo] : same as 5-Part Fourth Vocings mentioned in book : JazzPiano(Ch9, Ray Santisi).
[1] The point is to find 4th voicing w/ tension and most of interval is 4 , but 1 major triads is allowed.
Because 5 notes are play at same time, there will be 3 ~ 4 fourth interval show up
[2] In book : JazzPiano, the fourth voicings are categoried w/ 2 group : Diatonic fourth & Non Diatonic Fourth













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book : JazzCompositionTheoryAndPractice

src:

notes:



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