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The Kurt Rosenwinkel Forum » Tag: major - Recent Posts http://www.kurtrosenwinkel.com/forum/ The Kurt Rosenwinkel Forum » Tag: major - Recent Posts en Wed, 27 Jul 2016 13:27:36 +0000 jarediledundee on "Modern Jazz Voicing" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-voicing#post-14122
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Wed, 03 Jun 2015 22:20:54 +0000
jarediledundee 14122@http://www.kurtrosenwinkel.com/forum/ <p>Ah I see, very astute observation, thanks for sharing! </p>
ludovikbt on "Modern Jazz Voicing" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-voicing#post-14121
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Wed, 03 Jun 2015 22:11:02 +0000
ludovikbt 14121@http://www.kurtrosenwinkel.com/forum/ <p>Thanks for the reply.</p> <p>Actually, what I meant was that these two chords contains every intervals between every notes (not only from the bass)<br /> If we take the first one ( C-D-G-B) for exemple:<br /> C - D 2nd, G - B 3rd, D - G 4th, C - G 5th, D - B 6th, C - B 7th, all majors ans perfect intervals except the 1 and the 8ve. </p>
jarediledundee on "Modern Jazz Voicing" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-voicing#post-14120
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Wed, 03 Jun 2015 17:22:08 +0000
jarediledundee 14120@http://www.kurtrosenwinkel.com/forum/ <p>Sorry if I'm misunderstanding your explanation, but I think those two chords do not contain the 4th, F (which some say is an avoid note).</p> <p>If you're looking for a way to play modal with just two chords, you might explore slash chords (also known as triads over bass notes). For example, if in the key of C you want to play every note within the scale within two chords, play a major triad from the IV then the V, while placing a C in the bass...F/C and then G/C</p> <p>You may also use minor ii and iii triads over C as well...D/C and E/C</p> <p>These give you a modal sound depending which note is in the bass...some notes will be redundant, and some will be common seventh chords you already know</p> <p>C Ionian:<br /> F/C then G/C or D/C then E/C</p> <p>D Dorian:<br /> F/D then G/D or D/D (D-minor triad) then E/D</p> <p>E Phrygian:<br /> F/E then G/E or D/E then E/E</p> <p>F Lydian:<br /> F/F then G/F or D/F then E/F</p> <p>G Mixolydian:<br /> F/G then G/G or D/G then E/G</p> <p>A Aeolian:<br /> F/A then G/A or D/A then E/A</p> <p>B Locrian:<br /> F/B then G/B or D/B then E/B </p>
ludovikbt on "Modern Jazz Voicing" http://www.kurtrosenwinkel.com/forum/topic/modern-jazz-voicing#post-14118
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Tue, 02 Jun 2015 21:18:40 +0000
ludovikbt 14118@http://www.kurtrosenwinkel.com/forum/ <p>Hi,</p> <p>I was recently playing with two voicings often heard in modern jazz : Maj7sus2 (In C : C - D - G - B) and Maj6/7 (In C : C - E - A -B). After analyzing the two of them, I realized that both chord contained every major and perfect intervals except the unison and the octave : 2 - 3 - 4 - 5 - 6 - 7.</p> <p>I think it's quite interesting since these chords sound great. Maybe that by knowing more about their structures, I might come up with new ones.</p> <p>Anyway, my question is, do you guys know other chords or voicings that could contain every major or every minor intervals ? Or simply a mix of the two ? I'd like your help to expand this concept.</p> <p>Thanks. </p>
thoeller on "Pentatonic "discovery"..." http://www.kurtrosenwinkel.com/forum/topic/pentatonic-discovery#post-3861
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Wed, 09 Feb 2011 14:53:37 +0000
thoeller 3861@http://www.kurtrosenwinkel.com/forum/ <br />
Anonymous on "Pentatonic "discovery"..." http://www.kurtrosenwinkel.com/forum/topic/pentatonic-discovery#post-1725
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Mon, 07 Jun 2010 03:23:34 +0000
Anonymous 1725@http://www.kurtrosenwinkel.com/forum/ <p>I did find that one a while ago---try it iver a F$-7b5 or D7 #11. After I stumbled on that one the other one I found was:</p> <p>--------------------------------------------------------------5------9<br /> ---------------------------------------------------5----8--------------<br /> ---------------------------------------6----7-------------------------<br /> --------------------------5-----7--------------------------------------<br /> ---------4----5----7--------------------------------------------------<br /> ----5------------------------------------------------------------------</p> <p>I&#39;ve heard Jam Hammer play this with The mahavishnu Orch. Sounds good over A7 but is sounds really cool over a G7#11<br /> I guess all of this info is just up in the air waiting for people to discover or re-discover it. </p>
Sandemose on "Pentatonic "discovery"..." http://www.kurtrosenwinkel.com/forum/topic/pentatonic-discovery#post-1723
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Sun, 06 Jun 2010 18:48:16 +0000
Sandemose 1723@http://www.kurtrosenwinkel.com/forum/ <p>Hi folks.</p> <p>I recently stumbled across something that never accoured to me, but probably did to people at this forum. Ive been working with pentatoncis recently and I started replacing the minor 7th with a major 7th instead. The basic pentatonic shape became like this:</p> <p>---------------------------------------5--8---<br /> --------------------------------5--9---------<br /> -------------------------5--7---------------<br /> -----------------6--7-----------------------<br /> ---------5--7----------------------------<br /> ---5--8------------------------------------</p> <p>I love the sound, and the playability of the shape. I think it sounds awesome over a F major chord (esp. over tune like Solar, with the #9 in the melody over the F major7 chord). It sounds great as a major7 #5 sound over Cmaj7#5, or why not over a G#7 altered. Anyone experimented with this before? Any cool applications to share?</p> <p>Best, Sandemose </p>