This is the talk page for discussing improvements to the Chord-scale system article. This gives us a chord system compatible with the parent scale from which its built.
The chord-scale system is a method of matching, from a list of possible chords, a list of possible scales.
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Simply put, a chord scale is revealed when you build a chord on each degree of a scale.
The system is an example of the difference between the treatment of The chord-scale system may be compared with other common methods of improvisation, first, the older traditional chord tone/chord arpeggio method, and where one scale on one root note is used throughout all chords in a progression (for example the The scales commonly used today consist of the seven The chord-scale system provides familiarity with typical chord progressions, technical facility from practicing scales and chord The chord-scale method's 'vertical' approach...is 'static,' offering little assistance in generating musical direction through the movement of chords. As I have mentioned in the past, all music theory can be broken down into notes and intervals. The Chord-Scale System looks at individual chords in isolation and allocates scales to each individual chord. The (diatonic) Major Scale has 7 notes, but there’s no reason to restrict ourselves to only 7 notes. Highly regarded soloists in those styles typically imply the movements of chords...either by creating lines that voice-lead smoothly from one chord to another or by confounding the harmony pull through anticipating or delaying harmonic resolution.Essential considerations of a style such as Charlie Parker's, including "rhythm, phrase shape and length, dynamics, and
We absolutely can! The chord-scale system is a method of matching, from a list of possible chords, a list of possible scales. There are two sides of the same coin.So, then these are the scales that you would use to improvise over these chords.Below is a table of all the Major and Melodic Minor modes and their equivalent chords (plus two extra scales)Notice that both scales contain all the notes that comprise the CMaj7 chord. The system has been widely used since the 1970s and is "generally accepted in the jazz world today". For example, if we are going from a C–7 with an Aeolian scale to an Ab7 chord, the most likely choice would be an Ab Lydian b7 scale. But...Swing- and bop-era songforms operate teleologically with regard to harmony. This is not a forum for general discussion of the article's subject. We do Indeed, it’s often preferable to choose the scale outside the key of the chord progression in order to give a more harmonically complex and jazzy sound.Many Jazz musicians would use the C Lydian mode over the CMaj7 chord precisely because the chord progression is And so hopefully you now see, chords and scales are really the same thing. However, the majority of older players used the chord tone/chord arpeggio method. The chord-scale system is a method of matching, from a list of possible chords, a list of possible scales. Ask questions, get answers. In the next lesson we will explore this topic in much more detail.While all my lessons are free, if you find them useful please consider donating to help keep them coming. Чтобы нивелировать недостатки метода Chord Scale я создал для вас 2 практических дополнения, которые позволят вам получить комплексный подход при обучении! ; New to Wikipedia? The reasoning would be as fol-lows: the C Aeolian scale contains a Bb, D, and F, which are respectively the notes 2, #4 and 6 in the Ab Lydian b7 chord scale. Welcome! Scales can have fewer or more notes (all the way up to the Chromatic Scale with 12 notes).If you keep all the notes of a scale the same but change the tonal centre, you create a new scale or Scales and chords are interrelated. A scaleis simply some subset of the 12 notes of an octave, and have two components: 1. the notes they are comprised of; and 2. a tonal centre (or root note). : Put new text under old text.
When thinking in terms of keys (rather than modes) we can say that the CMaj7 chord can be derived from both the key of C Major and G Major (C Lydian).Of course, if we look at the whole chord progression and see that the CMaj7 chord is preceded by a G7 chord, we can pretty comfortably deduce that the CMaj7 chord is in the key of C Major (rather than G Major). And things like scales and chords are just abstractions from the 12 notes of the octave.While this begins to explain why you can use multiple scales over the same chord, this only scrapes the surface. 3. If you keep all the notes of a scale the same but change the tonal centre, you create a new scale or mode. The Chord-scale system has several prominent short-comings: It glosses over the relationship between chord function, modes, consonance/dissonance, and upper structure chord-tones It promotes “shortcut” thinking rather than a deep understanding of chords, progressions, and chord-tones sive chord scale. The system has been widely used since the 1970s and is generally accepted in the jazz world today. However, the majority of older players used the chord tone/chord arpeggio method. Scales can have fewer or more notes (all the way up to the Chromatic Scale with 12 notes).
Hence the importance of knowing the older chord tone approach.
So, a mode is a scale created by establishing a new root note within a … For example, the major scale has 7 degrees, and we can therefore build 7 chords from that scale, one chord rooted on each degree. The (diatonic) Major Scale has 7 notes, but there’s no reason to restrict ourselves to only 7 notes. Because the CMaj7 does not have a 9th, 11th or 13th we do not know what key it is in, and therefore we can use both scales over this chord.
The system has been widely used since the 1970s and is "generally accepted in the jazz world today"..
They are both comprised of the same limited number of notes. Click here to start a new topic. But that doesn’t mean that we cannot use the C Lydian mode over the CMaj7 chord.