Voice-Leading by Bret Willmott

[Schnautze]

Hi,

I don't know if this is the right place but I'd like to comment Bret's last article.

As a beginner in Harmony I need some tips in order to understand this article.

What does he mean with Common-tones?

The progression is Gmaj7 E7 A-7 D7.....

Gmaj7: GBDF#
E7: EG#BD
A-7: ACEG
D7: DF#AC
D-7: DFAC

But in his article he starts with:

Gmaj7 :DEGB which is G6
E7: DEGB which is E-7....(??)

So, the common tones for Gmaj7 and E7 would be B and D and that's it, wouldn't be?

Another question, where are the notes "Chromatic lines" from? What does he mean? What's "repeated notes and whole step motion"?

Thanks

[szulc]

I see what you mean...
Does anybody here get this?

To me the common tones should be:

BD; E; AC; AC

[Schnautze]

Jesus...

30 views and nobody understands this article...???

Guni, is it possible to contact Bret directly?


Cheers

[Guni]

Hi guys,

It's not easy to get in contact with Bret but I will do my best to explain what he's doing in his article.

First you have to understand that his approach expands upon the usual chords, thus automatically including any available tensions - this is what causes the confusion. Also, his approach is based on rules one learns in arranging.

What does this mean?

Well, if you have a Imaj7 chord Bret does not only use the basic notes that are part of the chord but adds tensions due to the function of the chord. 9 and 6 are tensions for a Imaj7 chord (E and A for Gmaj7).

Now, trickier is the G for the E7. Better would be to name it F## (F double sharp) thus being the #9 of the E7 chord. E7 in the key of G major is a so called secondary dominant leading to the II chord (Am7). In theory the scale for this chord is mixolydian b9 b13.

Arranging teaches us that whenever there's a b9 we can also add the #9. And this is why we see the G (F##) as the top note of the E7 chord. In other words: E7 with the note g in the melody is E7#9.

Bret is using this example to demonstrate how tensions can be used as melody notes, not only chord tones.

Puzzle solved???

Guni

[Schnautze]

so let's see if I've got something...

you're saying, (sorry I need to speak out loud to myself like a child..):

in Gmaj7 I can pick up E and A because they are available tensions for Imaj7(9 and 13) and cool my next chord is actually an E "something" so E will be a common tone between both chords, makes sense. What it doesn't make sense to me is why F# is not a common tone so? Available tensions for E-7 or E7 would be 9, b13 and 9, 13 respectively... and the 9th of E is F# !!

Then for E7, first we have to assume that E7 comes from vi degree in Gmaj wich is E-7 and its 2ary dominant will be as you said E7 (like that story in the thread "Chords"), oK it makes sense to me.

What I still don't see clear is where those chromatic lines + repeated notes + whole-step motion come from,

F# would be the maj7th of Gmaj7 so I can use it as a chromatic transition to the b9 of E7 which is F and so on for the others notes... something like that??

or F# (in Gmaj7) would be a whole step motion to E (E7 root).

I think he actually writes down all the possibilities and then you have to try to see if it's nice or sounds bad.

I think I got the concept...pffuu!!

I need to rest...

Bye

Pd/ I like the last sentence when he says... "be patient! ...."

god...

[szulc]

Your explanation doe not completely clear this up.

Common tones to me means notes that adjacent chord have in common.

Chromatic motion (lines) means lines that move down or up in half steps.

Repeated note sshould mean the same thing as common tones.

I had voice leading class in college! This is not following any particular logic.

He is showing a G and D over every chord,
a d over Am7 is the 11 if you are going to include everything up to 11 there is only 1 note of the scale left out!

What are the rules he is uses here? Just add all 7th 9th and 11ths?

This requires much more explanation.

[Schnautze]

I agree with you James,

I understand the idea of common tones, chromatic lines, but it doesn't work with the notes he's written....no logic no....

We need more. I haven't tried (with the guitar) the voicings, have you? Does that make any sense?

If even people from college can't get this it's because there's information missing. I gave up, don't like that article.....

See you later

[Guni]

He is showing a G and D over every chord,
a d over Am7 is the 11 if you are going to include everything up to 11 there is only 1 note of the scale left out! Szculz, Bret isn't talking about scales here. The 11th is an available tension of a minor 7th chord.

I think when ya check out his voicings you see where this is going to - or is this even more confusing? Record a bass line with all the roots of the chords and try the voicings he is suggesting..

This technique of harmonising melody notes is actually closely related to chord soloing, which also includes a lot of arranging techniques. Maybe this is the problem..... I dunno

We need more....You are all correct when you say that there is a lot of information missing. The article includes things that we haven't covered yet anywhere on the site and it will be my duty to introduce them to you....;)

I gave up, don't like that article..... Schnautze, this is cool - don't sweat it. We'll cover that all soon. Maybe in the future you will go back and have another look (at least I do hope so:D )

.... although I think you pretty much got what it's about ....

Which line he wrote does not work at all for you?

Guni

[Schnautze]

yeah I know,

that's the thing, I think it's too advanced for me. I need to know more harmony in order to get this.

Which line he wrote does not work at all for you?

Well, it's like Maths... when you don't understand them you really hate them....if you know what I mean. I took me ages to understand the table of the example and still don't see all the notes as James says. But don't worry too much about me, this is advanced stuff and it will take me a while to reach that level. I only have been 1 year studying some theory in my own so I can't expect understanding this in only try...

It will be great to see those future reharmonization articles... I am really interested in chord soloing so.. I'll be back!....:cool:

cheers