[PD] pd-based procedural chord progression database..

[Chuckk Hubbard]

On 8/13/06, patco <megalegoland at yahoo.fr> wrote:
>
> In jazz music when we are accompagnating a melody,
>  we use voices, for example a chord with four tones
>
>  eg: C E G B
>
>  could be played with three other combinations:
>
>  E G B C, G B C E, and B C E G
>
>  The highest note of the voice would be the note used in the melody.
>  this example is one of the simpliest, we could also use the same way
>  with thirteen chords, with seven sounds instead of four sounds, then
>  there would have seven combinations for each chord.
>
>  In fact we can give any color we like to a melody, it just depend on
>  what kind of mode we are using for accompagnating it.
>


>  and then the automn leaves melody would sound more 'myxolydian'.

So when you say a mixolydian feel in lydian, are you saying put a flat
7 in the melody?

I don't understand this:
"we just have to insist on the pattern of the lydian arpeggio, for
having a lydian sounding mixolydian, where the chord would also tend
to be the fourth of the major scale with using the fifth note for the
bass."

Could you give me an example?  Zappa scores are hard to come by.
The fifth note of what?  F A C E G B is what I think of when you say a
lydian arpeggio.
I honestly didn't pay much attention in jazz theory class, I had a bad teacher.

Are you familiar with the "Gestalt" perception laws?  That the
simplest way of interpreting incoming stimuli tends to be what people
perceive.  This is an interesting way to look at what you're talking
about.  Is the simplest way to describe a harmony with letters the
same as the simplest way to hear it?  And of course it depends on
voicing, range, and changes.  I was going to link to a MIDI of Freddie
Hubbard's 'Little Sunflower', but I can't get Linux to play MIDI
files.  Maybe you know the tune.  Stacked 4ths used to outline a
melody...


Thanks.
-Chuckk