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The Kurt Rosenwinkel Forum » Tag: Modal - Recent Posts http://www.kurtrosenwinkel.com/forum/ The Kurt Rosenwinkel Forum » Tag: Modal - Recent Posts en Fri, 29 Jul 2016 12:03:01 +0000 Floatingbridge on "Dodecaphonic Triads (Scary title mh?)" http://www.kurtrosenwinkel.com/forum/topic/dodecaphonic-triads-scary-title-mh#post-4538
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Sat, 07 May 2011 01:28:50 +0000
Floatingbridge 4538@http://www.kurtrosenwinkel.com/forum/ <p>GREAT </p>
Gia5 on "Dodecaphonic Triads (Scary title mh?)" http://www.kurtrosenwinkel.com/forum/topic/dodecaphonic-triads-scary-title-mh#post-4400
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Thu, 21 Apr 2011 06:22:21 +0000
Gia5 4400@http://www.kurtrosenwinkel.com/forum/ <p>Nice, Sandman, that&#39;s an accurate analysis...<br /> But for some reasons it&#39;s not the way i look at this, particular or general, use of triads...<br /> there&#39;s a whole theory for the use of triad pairs, some nice books (and some great lines from Kurt&#39;s solos too),<br /> where you can use these pairs for ALL the kind of sounds you want to obtain, maj, min, dom, alt, aug, etc etc..<br /> but also, to me, there&#39;s the incredible strenght and power of the sound of a triad, wich can be, for this nature, overimposed<br /> basically wherever you want, if done with the right intention...George Garzone makes an interesting use of triads in a chromatic way,<br /> a kind of mix of the Liebman&#39;s book stuff WITH the triads...if you have the chance, take a look on the web, or his website...<br /> So, back to what i posted, being these triads covering the whole chromatic palette, i would not try to use them ON this or THAT chord,<br /> even after a deeper look like the one you did...but on any(almost) chord, sure of a constant in &amp; out effect, with the authority<br /> that only triads, pentatonic and fourths can give, IMHO. (after all, if you use them on G7, with that tensions,automatically Bb7,Db7 and E7<br /> comes out, the same for minor chords..)<br /> Just my perspective.<br /> I don&#39;t think, finally, that these two combinations sound super-good. I wouldn&#39;t use them for more than 20 seconds in a solo. But have two qualities, freshness for the ears, and geometry for the hands..it&#39;s nice to look, freely, while practicing, the hundreds of ways you can<br /> chain one in another...and learn triads fingerings better on your guitar too ;) </p>
sandman on "Dodecaphonic Triads (Scary title mh?)" http://www.kurtrosenwinkel.com/forum/topic/dodecaphonic-triads-scary-title-mh#post-4397
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Wed, 20 Apr 2011 19:26:26 +0000
sandman 4397@http://www.kurtrosenwinkel.com/forum/ <p>I was just reading over your post, great use of Slonimsky by the way great work. Although I&#39;ll need to verify at an instrument whether this stuff would actually sound good, it seems these triad groups should work on dominant chords, particularly the dim/min/maj/aug group. Continuing on your example, given the the triads C dim/ G-/ Emaj/ F+ these could be used over a G7 chord. These triads may make for an interesting grouping . The explanation will be in this format: Triad name = root of triad (function in the context of a G7 chord), third of triad (function in the context of a G7), fifth of triad (function in the context of a G7).</p> <p>C diminished triad = C (11), Eb (maj 6 of G), Gb/F# (maj7 ;<br /> G- = G (R), Bb (#9), D (5) ;<br /> Emaj = E (maj6), G#/Ab (b9), B (3) ;<br /> F+ = F (7), A (9), C#/Db (b5/#11) </p> <p>now really the only guy that doesn&#39;t fit so hot on the G is the C dim triad. But it may sound good as a pick up for the other 3 triads. As in the C dim may act instead as a D7 altered (7, b9, 3) moving to the G7. Or, just play a B dim triad, and call it a day.</p> <p>as for the C, D, Ab-, Bb- </p> <p>I think this stuff would sound good on a D7, or one of its cousins</p> <p>For D</p> <p>7,9,11<br /> R, 3, 5<br /> b5, 6, b9<br /> #5, maj7, #9</p> <p>I say, why not use it in a standard?</p> <p>(pardon any mistakes I may have made) </p>
Matt on "Dodecaphonic Triads (Scary title mh?)" http://www.kurtrosenwinkel.com/forum/topic/dodecaphonic-triads-scary-title-mh#post-4360
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Sat, 16 Apr 2011 21:49:48 +0000
Matt 4360@http://www.kurtrosenwinkel.com/forum/ <p>these would sound killer as out phrases on static chords. </p>
mrzzajjazz on "Dodecaphonic Triads (Scary title mh?)" http://www.kurtrosenwinkel.com/forum/topic/dodecaphonic-triads-scary-title-mh#post-4342
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Thu, 14 Apr 2011 04:38:09 +0000
mrzzajjazz 4342@http://www.kurtrosenwinkel.com/forum/ <p>Thanks for the interesting info. Great stuff! :) </p>
Gia5 on "Dodecaphonic Triads (Scary title mh?)" http://www.kurtrosenwinkel.com/forum/topic/dodecaphonic-triads-scary-title-mh#post-4337
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Wed, 13 Apr 2011 19:17:03 +0000
Gia5 4337@http://www.kurtrosenwinkel.com/forum/ <p>Hi guys, I&#39;d like to share with you something I&#39;ve been briefly workin&#39;on, that i sometimes use to &quot;freshen up&quot; my ears.<br /> Maybe you&#39;ve already figured it out, but for the ones who didn&#39;t, here it is:<br /> Some months ago I was reading the introduction of the Slominsky Thesaurus, in my third of forth failed attempt to<br /> practice something from that book, and i noticed something that at a first read i didn&#39;t.<br /> While explaining the mechanism, the terms and the concepts, often in a mathematical way, the author wrote that there<br /> was the possibility of using two major and two minor triads without repeating a single note, and the same thing was possible<br /> with four triads of different nature, diminished, minor, major and augmented.<br /> Simple math of course, 12 notes...but i didn&#39;t know wich triads to use to get the result.<br /> I took a paper and started to figure it out,just for curiosity (and speculation, I suppose).<br /> Here they are:<br /> Two major triads a tone away, and two minor triads a tone away where the first one is a minor 6 away from the first<br /> major triad. For example C,D,Ab- and Bb-.<br /> I think of them as I, II, bVI- and bVII-.<br /> The second possibility, the one with four different triads is, for ex:<br /> C°,G-,Emaj and F+. The order is diminished/minor/major/augmented just for alteration purposes I guess,<br /> the same order named in the book, but for a quick thinking I like to think at them as<br /> I°,IIImaj,IV+ and V-.<br /> I started to play them a little and find them very geometrical in a sense,you can play any inversion you want, and after<br /> the last note move up or down a half-step and you&#39;ll find a note to start the next triad, tons of possibilities.<br /> Of course it&#39;s mental, of course i wouldn&#39;t play this on &quot;But not for me&quot; or &quot;Blue Moon&quot;, but it&#39;s refreshing for the ears<br /> (of course,being a serial combination of 12 different notes) and challenging to the hands.<br /> It&#39;s playable too in some semi-free situations or advanced chromatic languages.<br /> And it&#39;s a way to &quot;improvise&quot; dodecaphonic series. Freaky.<br /> I hope this can be helpful or, at least, interesting to you.<br /> Thanks for reading,<br /> Best regards,<br /> G.</p> <p>P.S.<br /> sorry for my english ;) </p>