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

[Chuckk Hubbard]

I don't really know any good references offhand.  My degree is going
to actually be in "jazz composition," but I've never written jazz,
lol, and I didn't retain much from those classes (only due to a
criminally lazy teacher).  Jamie Aebersold is a standard; I know
jazzheads who curse his name, but these same people have spent a lot
of time learning to play the changes regardless.  You'll also never
run out of Aebersold CDs.
For some strange reason I can find no Wikipedia page devoted to jazz theory.
I guess the experts are all too busy smoking reefer and running with
fast women!  Hmph!

-Chuckk

On 8/13/06, Kyle Klipowicz <kyleklip at gmail.com> wrote:
> On the topic of all this music theory and harmonic discussion, I
> realized that I need to expand my knowledge of this area.  I've played
> piano/guitar/bassoon for some years, but never got deep into that rich
> area of chord theory that seems to be on topic right now.
>
> Is there any good (and free) online resource or lesson guide
> (preferably interactive) that I could train myself with?  I just
> started reading Machine Music by Robert Rowe, and this knowledge would
> help me follow that text as well as the current discussion.
>
> ~Kyle
>
> On 8/13/06, patco <megalegoland at yahoo.fr> wrote:
> >
> >
> > Chuckk Hubbard <badmuthahubbard at gmail.com> a écrit :
> > > maybe it would be possible to simply have a melodic part that
> > >occasionally receives information about harmonic changes before the
> > >harmonic part does
> >
> >
> > 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.
> >
> >  eg: in 'Autumn Leaves' the first note is the third of the first chord,
> >  then it gives a sad color (minor third), but we can give another color
> >  with using another chord, for example we could use G7 instead
> >  of  Dm:
> >
> >  Dm - G7 - CM7 - FM7 - Bm7b5 - E7 - Am becomes
> >  G7 -  C#° - FM7 - Bb7#5 -  Dm7 - Dm7M
> >
> >  and then the automn leaves melody would sound more 'myxolydian'.
> >
> >  Notice that some chords has to be modified for sounding better in that
> > weird
> >  harmonic context.
> >
> >  Patco.
> >
> >
> >
> >
> >
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