BERT LIGON JAZZ PDF

But te passage you quote is very basic for traditional harmony that is it can be referred to almost anything starting from baroque in European music Thank you. So, we have established that "points to" means the same as "resolves to", or "wants to resolve to". He probably figured that would be obvious for anyone but a noob like me As I describe it -- imagine you have a rubber band that is tied to a table and to a pencil on the other side, the more you stretch it the further the pencil is from a table, but at the same time the more is the tension backwards to the table.

Author:Nikolabar Shanris
Country:Belarus
Language:English (Spanish)
Genre:Literature
Published (Last):25 January 2008
Pages:284
PDF File Size:17.82 Mb
ePub File Size:11.48 Mb
ISBN:478-1-72157-307-5
Downloads:65393
Price:Free* [*Free Regsitration Required]
Uploader:Zulular



But te passage you quote is very basic for traditional harmony that is it can be referred to almost anything starting from baroque in European music Thank you.

So, we have established that "points to" means the same as "resolves to", or "wants to resolve to". He probably figured that would be obvious for anyone but a noob like me As I describe it -- imagine you have a rubber band that is tied to a table and to a pencil on the other side, the more you stretch it the further the pencil is from a table, but at the same time the more is the tension backwards to the table.

Until it reaches a critical point. This point and area make dominant. That makes Dominant function both sontrongly connected with Tonic but at the same time the most probable candidate for independence from it.

That slightly reminds a solar system with its relations of tension. I tried to play a G7, with no further context, and then listen to what each note resolves to. I can hear now that the G sounds stable, while the B strongly wants to resolve to C. I can hear that the D wants to resolve to C, and the F resolves to G.

It is ALL context. Out of context you can train your ear to hear any chord as stable eventually. As for specific resolution: it is common and logical to consider that half-step direction is stronger that whole-step F to E, B to C. And you hear perfectly right taht D does not go to E. Downward movement is often heard as more quicker for release. But it depends on context too. In classical triwad is in 4 voices: bass separated and 3 other voices. So as it is triad we have to double one voice.

If we do G bass - b - d - g doubling the root , then the melodic voice was moved down to increase tension to C major tonic chord 3rd F to E Originally dominant 7th chord was treated approximately in the same way as we now treat altered chords.

BVG NETZPLAN PDF

Search Results for "bert-ligon"

Kelrajas Be the first to review this item Would you like to tell us about a lower price? Please Support Our Advertisers. Get fast, free shipping with Amazon Prime. Amazon Restaurants Food delivery from local restaurants. There are 2 comments, leave a comment. Jazz piano education is through the ears, but books like this can help. He covers everything from the shape of the songs to the tricks and licks he uses in improvised lines to the liton behind his lush chord voicings.

CALENDARIO LIGA SPAGNOLA 2011 12 PDF

Free Stuff

.

Related Articles