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Thread: Jazz Arrangement for classical music

  1. #1
    Registered User Joe Pass Jr's Avatar
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    Jazz Arrangement for classical music

    For a while I have been interested in creating Jazz arrangements for some classical peices so i could jam on them and see what kind of new sounds i can get from them. So tonite I began but quickly hit a brick wall. My chord theory knowledge is growing but in context to classical music i know very little....

    the peice i was interested in doing was Air on the G string... A beautiful tune if you ask me.
    http://www.wussu.com/classtab/jsb1068a.txt

    The Chart i have created. for the A section.

    Cmaj | Cmaj/B | Am | Am/G
    Fmaj | Gmaj | Dmaj |Gmaj/F
    Emaj | Dmaj | Dbm | Amaj
    Dm | Dm/C | Bmaj | G
    Cmaj | Cmaj/B | Am | Bm/F#
    Gmaj/ Cmaj | F#m | Gmaj | G |

    Basically it sounds ok at the moment, im still experimenting of course,,, but if anyone could suggest better chords to use or voicings ect... also, that F#m doesnt seem to be correct at all but i dont know what else to do!?!?!

    This could be a big ask since one might have to learn the peice to really help... if so .. LEARN IT!!!! Its easy Seriously though... Im stuck and want to stir up my 'Classical is not jazz, and if its not jazz its not music' teacher next performance.
    Last edited by Joe Pass Jr; 04-01-2006 at 07:15 PM.
    Its not the techniques you use, but the music you make.

  2. #2
    Jazzman Poparad's Avatar
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    Respell that Db as a C# and it should make more sense. C# E A as an A major chord in first inversion (A/C#). If you look at the next couple of notes, there's a Bb added in there, so it's really like A7(b9). It's then followed by a Dm chord (creating a V - i). You might say it's a Dm-maj7 because of the C#, but I'd just consider that a passing tone.

  3. #3
    Registered User Joe Pass Jr's Avatar
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    Woah, nice response time Popard although next time you check you will see i was altering the post as you responded

    Thanks though, that helps
    Its not the techniques you use, but the music you make.

  4. #4
    Jazzman Poparad's Avatar
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    Ok, well I still say that Dbm is supposed to be A/C#. At the very least, you should respell it to C#m as it fits with the key much better than Dbm.

  5. #5
    Registered Abuser widdly widdly's Avatar
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    Interesting stuff. If you want some more ammo to stir up your "'Classical is not jazz, and if its not jazz its not music' teacher", there is an album by the Modern Jazz Quartet where they play a lot of Bach and Bach inspired music. You would probably find it enlightening.
    ________
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    Last edited by widdly widdly; 04-11-2011 at 08:26 AM.

  6. #6
    Registered User Joe Pass Jr's Avatar
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    Sounds interesting, thanks for the heads up!
    Its not the techniques you use, but the music you make.

  7. #7
    Detroit VidKid's Avatar
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    Analyzing "classical" progressions, from all periods, is a great way to learn new progression movements. Many great jazz/rock/modern composers "rip/borrow" classical progressions and adapt them to their own style with extensions, alt. chords, riffs, etc.

    Just start with any great classical composer (Bach, Mozart, Vivaldi, Beethoven, Stravinsky, Wagner, Mussorgsky,Tchaikovsky, etc,) and learn how they modulate to other keys, develop the melody through motives, create interesting cadences, voicings, etc.
    D/L Midi files here http://www.classicalarchives.com

    You may want to try D/F# instead of F#m for your final cadence.

    VidKid
    Yesterday's dissonance is today's consonance, while today's atonal is tomorrow's consonance-Liebman

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