<br><br><b><i>Chuckk Hubbard <badmuthahubbard@gmail.com></i></b> a écrit :<blockquote class="replbq" style="border-left: 2px solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;"><marius.schebella @chello.at="">> maybe it would be possible to simply have a melodic part that<br>>occasionally receives information about harmonic changes before the<br>>harmonic part does<br><br> </marius.schebella></blockquote>In jazz music when we are accompagnating a melody,<br> we use voices, for example a chord with four tones<br> <br> eg: C E G B<br> <br> could be played with three other combinations:<br> <br> E G B C, G B C E, and B C E G<br> <br> The highest note of the voice would be the note used in the melody.<br> this example is one of the simpliest, we could also use the same way<br> with thirteen chords, with seven sounds instead of four sounds, then<br> there would have seven combinations for each chord.<br> <br> In fact we can give any
color we like to a melody, it just depend on<br> what kind of mode we are using for accompagnating it.<br> <br> eg: in 'Autumn Leaves' the first note is the third of the first chord,<br> then it gives a sad color (minor third), but we can give another color<br> with using another chord, for example we could use G7 instead<br> of Dm:<br> <br> Dm - G7 - CM7 - FM7 - Bm7b5 - E7 - Am becomes<br> G7 - C#° - FM7 - Bb7#5 - Dm7 - Dm7M<br> <br> and then the automn leaves melody would sound more 'myxolydian'.<br> <br> Notice that some chords has to be modified for sounding better in that weird<br> harmonic context.<br> <br> Patco.<br> <br> <br><p> 
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