Quote:
Originally Posted by jacksonplayer
That is an interesting way of looking at it, although I agree about maybe overthinking it a bit.
I like to think of scales as overlapping circles. If you want to be all neat and clean, you can keep everything within the discreet area of a "single circle." But to me, the interesting stuff happens when the background is in one scale/mode and the top line is in a partially overlapping scale. How much you dart in and out of harmonic tonality, how you resolve your lines, etc. That becomes the creative act. Jazz too easily turns into math. And I hate math.  |
Good way of looking at it. It really amazes me when you see jazzers who've absorbed so much advanced harmonic theory that they can just blow through difficult changes as naturally as most people would a ii-V vamp! I guess the goal is to develop this stuff to the point where it stops being about maths and musical geometry and becomes pure expression...
This is the thing I love about music...there's always something new to learn!
