View Full Version : Link 2 JazzRef pdf
Just came across a good looking pdf jazz theory book. Haven't seen it all thru yet but clicking the pages drove me at thinking it's definitely worth taking a look at. Here it comes:
Ultra mega best regards,
oops... this time it has to work out better...
Jazz Ref Book (http://www.thereelscore.com/PortfolioStuff/PDFFiles/QuickJazzTheoryRefFinal.pdf)
10-31-2002, 10:17 PM
Great link, thanks!
Yep, I liked it myself after viewing the most of it ;)
Michael Morangelli wrote a great piece of material on chordal operations, harmonic movements etc. The whole work looks pretty much "complete" and answers a lot of questions regarding modal interchange implying alien chords. And that's the least of it.
Never heard of Mr. Morangelli before and I'm not promoting his stuff at all :D
Ultra mega giga tera best regards,
Thanks for the link. As soon as I have the time I'll have a read through- is looking really good at first glance ...
11-12-2002, 07:31 PM
I've read thru most of now, and when others have had a chance I'd like to have a little dialog about some of the notation and comments. There are at least 2 short paragraphs that totally baffle me, and I still don't get the superscripted 'maj7' notation when attached to a minor chord.
I'd really like to see this work redone in a more readable font!!
I've read the most of it now too and I'd like a chance to discuss it on this forum. I have found minMaj7 example on page 22. I guess it the point is that we mainly use harmonic minor not natural and the author just took it for granted that we consider Maj7 to be diatonic over I degree :confused: . Thus given A harmonic minor we would have augmented vii - g# which allows maj7 on tonic chord and Caug (third degree with augmented 5th) as well as V degree has M3 in it.
I've read the most of it now too and I'd like a chance to discuss it on this forum. I have found minMaj7 example on page 22. I guess the point is that we mainly use harmonic minor not natural and the author just took it for granted that we consider Maj7 to be diatonic over I degree :confused: . Thus given A harmonic minor we would have augmented vii - g# which allows maj7 on tonic chord and Caug (third degree with augmented 5th) as well as V degree has M3 in it.
There are some things that baffle me too. But I just forgot where I was when I last got puzzled - I should review it again to clear it all up. And yeah - the font takes much brain resources to read fluently enough to grasp the point on the fly :( Still the pdf is very useful and methodologically well built. I'm yet to read the part about modes and I'll be through.
Ultra mega best regards,
11-14-2002, 03:41 AM
A Minor Major 7th (R,m3,P5,M7)
i chord in A Harmonic Minor
(BDFA) ii Bm7-5 (Bm7b5)
(CEG#B) III CM7+5
(DFAC) iv Dm7
(EG#BD) V7 E7
(FACE) VI FM7
G#BDF viio G#o7 (diminished 7) ( I think this should be called m6b5, but who am I to argue with tradition)
B m3 D m3 F m3 G# m3 B
Dim 7 breaks up the octave into 4-m3 intervals.
Since each inversion has the same interval structure.
Bo7 = Do7 = Fo7 = G#o7
E7-9 (EG#BDF) if you toss the root this equals the above chords.
Dim7 can be used to modulate to other keys for instance from A H.M. to (C, Eb, Gb)H.M.
12-03-2002, 07:18 PM
Nice link, Zatz.
I peeked at it and will check it out later.
Thanks for sharing it.
glad you like it! Now as I've read it thru I can say it's really good.
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