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Post by michaelm on Jul 13, 2014 22:14:41 GMT
Just for kicks...
What is "proper name" of the chord that "us guitarists" play that we commonly refer to as C7?
C maj has a 1,3,5 of C, E. G. So C7 would be C, E, B flat. Yet when we fret the B flat, we lose the fifth (G), leaving C, E, Bflat, C and E (unless you can manage both the G on the sixth as well as C on the fifth with one finger - which I can't!).
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Post by creamburmese on Jul 14, 2014 2:48:23 GMT
That's a good thought! - Someone more knowledgeable than me answered this on another forum - quote" In jazz, when you begin adding extentions above the 7th, you also begin running out of fingers. The 5th is the first note to be omitted, followed by the root. A 7th, 9th, etc., chord without the 5th is not notated differently, since it is a common practice." Emily Remler said something similar about the 5th being not necessary in one on of her bossa nova youtube videos. For me, less fingers is always better! (and there's no way I can fret the C and the G for C7 with one finger either!
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Akquarius
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Post by Akquarius on Jul 14, 2014 19:05:59 GMT
Clear as mud, right? Well, at least not as foggy as it would have been 4 weeks ago
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Post by vikingblues on Jul 16, 2014 7:32:46 GMT
Someone more knowledgeable than me answered this on another forum - quote" In jazz, when you begin adding extentions above the 7th, you also begin running out of fingers. Don't know about running out of fingers, but I think I'm running out of brain cells. So much of pure theory in music leaves me as baffled as the Times Cryptic Crossword I'm afraid - unless I can see the theory as sounds and as patterns and shapes on the fretboard if just doesn't seem to makes any sense at all for playing. The problem is with me though, not with theory. I think my short term memory has no spare capacity any more so I can't take in much that's new - as soon as I read something the thought has gone. I think my short term memory has no spare capacity any more so I can't take in much that's new - as soon as I read something the thought has gone. Also I think my short term memory has no spare capacity any more so I can't take in much that's new..... Mark
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Post by creamburmese on Jul 16, 2014 19:10:17 GMT
That's very funny....
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Post by dawkins on Sept 20, 2014 20:08:30 GMT
Love music theory even though I find it hard. I have been learning theory for about two years now and it still throws interesting concepts to try and wrap my head around.
For me though, one of the best revelations was learning how the majors have relative minors and the implications that this has for soloing over chords. And how useful it is to know about dominant 7ths, Major 7ths and how often they are used and to what effect.
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Post by dawkins on Sept 20, 2014 20:14:27 GMT
That's a good thought! - Someone more knowledgeable than me answered this on another forum - quote" In jazz, when you begin adding extentions above the 7th, you also begin running out of fingers. The 5th is the first note to be omitted, followed by the root. A 7th, 9th, etc., chord without the 5th is not notated differently, since it is a common practice." Emily Remler said something similar about the 5th being not necessary in one on of her bossa nova youtube videos. For me, less fingers is always better! (and there's no way I can fret the C and the G for C7 with one finger either! It's also surprising how many Jazz players simplify what they do and approach the guitar in the same way as everyone else: that it is a pattern friendly instrument and as such to be exploited by systems such as CAGED. I had a jazz lesson recently (and I didn't continue because I just don't care too much for jazz) but the teacher was very keen to point out that the ability to visualise patterns is something that should be developed as a priority. My own guitar teacher told me that he once went to a theory seminar given by Joe Pass. He said his opening gambit was along the lines of "Don't ask me anything about modes because I have no idea what they are" And also, it appears that in Jazz many of these head warping chords can be named in many ways even though it is the same chord. The reason I don't like jazz is simply that my ears have never 'tuned' into all the 'outside' notes that are played. Perhaps this is my failing but I simply find that notes from outside the key usually do not sound musical to me. I do accept though that this is not the case for everyone.
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Post by creamburmese on Sept 22, 2014 13:43:34 GMT
I am venturing into uncharted territories - now taking an official music theory class - I missed the first 2 classes which may have been crucial but I guess I'll never know Nugget I'm trying to wrap my head around is that the chord on the fifth note of the scale contains 2 of those tones that are dissonant (7th and 4th) - i.e. with respect to the tonic not with respect to the 5th chord - thus the 5th likes to resolve to the first. I THINK that's what he said anyway,,,,,
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