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  • Theory ideas

    The Tal clip got me motivated to practice some Tal harmony. So I promise the ideas you give me I will actually do. I won't just start this thread to blab. So I picked this tune cuz it's all quarter notes (and half notes). I want to play a different chord or chord voicing of the same chord for each melody note to try to learn to play like Tal. What are your ideas about what chords to use for where the written chord stays the same? Play a different voicing of the same chord? Or play the V of the chord? Or some other wisdom you have? What say you. I promise I will friggin do it and not just blab about it.

    It wouldn't let me post the lead sheet. Here's the link:

    https://musescore.com/static/musesco...che=1531731464
    Originally posted by NegativeEase
    I'd wager that Clint can best GuitarStv at Wat and WAAAT... but not Watts.

    I think in the International System of Units (SI) a "WAT" is defined as a derived unit of 1 Clint besmirchment per hour

    and WAAAT is defined as a derived unit of 1 Clint kilojoule of described Nirvana transgression per post.

  • #2
    Re: Theory ideas

    I got none
    "Less is less, more is more...how can less be more?" ~Yngwie J Malmsteen

    I did it my way ~ Frank Sinatra

    Originally posted by Rodney Gene
    If you let your tone speak for itself you'll find alot less people join the conversation.


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    • #3
      Re: Theory ideas

      Wow, where to start ...
      a) those chords are suggestions, not laws
      b) where you place your voice leading within the chord will have a huge impact on the chord voicing you use

      I would advise taking it slow. Take one measure, learn the top line, then work through the chord inversions under it. Transpose the melody up an octave if you have to in order to keep it easier.

      Then start trying different voicings of those chords. Don’t forget about passing tones and the very basic stuff, like contrary motion.

      Good luck! Take your time and post your progress. I’m sure Mincer will be along with some sage advice as well.
      Why don't you take your little Cobra Kais and get outta here?!
      My collaborative PROGRESSIVE ROCK PROJECT, As Follows.

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      • #4
        Re: Theory ideas

        I spent some time learning chord melody...all theory you seek is there.
        Originally posted by Bad City
        He's got the crowd on his side and the blue jean lights in his eyes...

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        • #5
          Re: Theory ideas

          The 2 ideas I have would be to use the same chord but change it either a little only by the top melody note or more and change other notes in the chord. The other idea would be to do a cadence between the written chord and another chord such as the 5 of it or possibly another choice.
          Originally posted by NegativeEase
          I'd wager that Clint can best GuitarStv at Wat and WAAAT... but not Watts.

          I think in the International System of Units (SI) a "WAT" is defined as a derived unit of 1 Clint besmirchment per hour

          and WAAAT is defined as a derived unit of 1 Clint kilojoule of described Nirvana transgression per post.

          Comment


          • #6
            Re: Theory ideas

            The last challenge I tried similar to this one was trying to play anything and everything with straight Drop2 voicings. Then looked up Rick Beato's channel for reharmoization videos but lost him at around the two minute mark. My fault, not his.

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            • #7
              Re: Theory ideas

              I can't stand the term drop 2. It infuriates me lol! Just describe the ****in voicing in what ****in inversion it's in. My teacher said he likes describing the voicing by which note is on top which I thought was cool. Since a bass can be filling in the bass notes. I experimented with my ideas and they sounded good. Also forgot about simple tritone subs. Those worked great for if the chord lasts 2 beats. Rick kind of sucks at explaining things sometimes lol. This one vid on alternate scale concept he described as melodic minor pentatonic modes. But he didn't build the scale from a 'pentatonic melodic minor' he built it from the full melodic minor and then did a terrible job explaining how he assigns the scales.

              https://www.youtube.com/watch?v=LZpz2gpSdSM
              Last edited by Clint 55; 06-23-2020, 03:42 AM.
              Originally posted by NegativeEase
              I'd wager that Clint can best GuitarStv at Wat and WAAAT... but not Watts.

              I think in the International System of Units (SI) a "WAT" is defined as a derived unit of 1 Clint besmirchment per hour

              and WAAAT is defined as a derived unit of 1 Clint kilojoule of described Nirvana transgression per post.

              Comment


              • #8
                Re: Theory ideas

                Originally posted by Clint 55 View Post
                I can't stand the term drop 2. It infuriates me lol! Just describe the ****in voicing in what ****in inversion it's in. [/url]
                As I understand it, drop2 means that you're "dropping" the second highest note of any 7th chord an octave lower making it basically the bass note in the voicing. Thus a single 7th chord has four drop2 voicings derived from the root position and its three inversions. So based on this a root position CMaj7 drop2 describes the chord and voicing to me pretty accurately. But this is just my understanding, which might not be correct considering my level of noobness...
                Last edited by nexion218; 06-23-2020, 06:02 AM.

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                • #9
                  Re: Theory ideas

                  Ok well that makes sense. Kind of useless tho for guitar since you just choose whatever notes that it's possible to grab in that area of the neck with your desired melody note.
                  Originally posted by NegativeEase
                  I'd wager that Clint can best GuitarStv at Wat and WAAAT... but not Watts.

                  I think in the International System of Units (SI) a "WAT" is defined as a derived unit of 1 Clint besmirchment per hour

                  and WAAAT is defined as a derived unit of 1 Clint kilojoule of described Nirvana transgression per post.

                  Comment


                  • #10
                    Re: Theory ideas

                    Well, there's gotta be some use for it, whole lotta cats are using those voicings.... But I get your drift. The reason I had the challenge to use the voicings exclusively was that I wanted to learn them very thoroughly. Of vourse, if it wasn't just an excersise, but and actual attempt at making music, I'd priorotize musical purpose or function over the preference of whatever voicing.

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                    • #11
                      Re: Theory ideas

                      What I think of when I go to make a voicing for playing a tune is first, what melody note do I want on top, next is how bass heavy do I want it, and last is how altered to I want to make the voicing. From just a bar chord triad to all color and altered notes. After that, there's not much more I can do and still be able to grab the chord. I'm not gonna think, Oh I need it to be drop 2!! Because it's drop 2! When ur playing piano, you have to develop the same intuitive approach to building your voicings because there are infinite ways to voice a chord and it just has to suit what you're playing. I'm not gonna think 'I better use drop 2!!!'
                      Originally posted by NegativeEase
                      I'd wager that Clint can best GuitarStv at Wat and WAAAT... but not Watts.

                      I think in the International System of Units (SI) a "WAT" is defined as a derived unit of 1 Clint besmirchment per hour

                      and WAAAT is defined as a derived unit of 1 Clint kilojoule of described Nirvana transgression per post.

                      Comment


                      • #12
                        Re: Theory ideas

                        I'd try playing around with upper extensions and just listen for what sounds good (picking an extension with a note that's a half step away from the next chord you're going to play, or picking chords with tones that closely follow the melody line in the same register usually sound good for example). Brush up on your 7ths, 9ths, 11ths, b13s, 13ths, #13s, and the like. Even just going with a simple sus2-maj-sus4 kinda thing will still have a strong tonic feel, but give you some motion.
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                        • #13
                          Re: Theory ideas

                          Originally posted by Clint 55 View Post
                          What I think of when I go to make a voicing for playing a tune is first, what melody note do I want on top, next is how bass heavy do I want it, and last is how altered to I want to make the voicing. From just a bar chord triad to all color and altered notes. After that, there's not much more I can do and still be able to grab the chord. I'm not gonna think, Oh I need it to be drop 2!! Because it's drop 2! When ur playing piano, you have to develop the same intuitive approach to building your voicings because there are infinite ways to voice a chord and it just has to suit what you're playing. I'm not gonna think 'I better use drop 2!!!'
                          Sounds like we agree on this one.

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                          • #14
                            Re: Theory ideas

                            So I put my foot in my mouth about the drop 2 voicings. I now fully understand the term and why they work well for guitar. My teach is having me work all the drop 2 voicings for maj7 min7 and dom7 on strings 1-4. :P Me liking to use bassier voicings still holds true tho.
                            Originally posted by NegativeEase
                            I'd wager that Clint can best GuitarStv at Wat and WAAAT... but not Watts.

                            I think in the International System of Units (SI) a "WAT" is defined as a derived unit of 1 Clint besmirchment per hour

                            and WAAAT is defined as a derived unit of 1 Clint kilojoule of described Nirvana transgression per post.

                            Comment


                            • #15
                              Re: Theory ideas

                              LOL My absolute fave is the major 3-7-1-5. To me, it has an unusually dark sound for major.

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