I don't know which impresses me more. The fact that you can do two things at once, or your ability to type all that with one hand. 
You'll go blind ya know.
You'll go blind ya know.
Theory Test
I feel like I have a very advanced knowledge of harmony, not to brag. So I would like to see how you would do on my quiz.
List the scale that goes with each chord
1. GMaj7(#11)
2. C7(#11)
3. F7(b9)
4. D7(#5)
5. A7(#9)
6. F#7Alt
7. Bb-7(b5)(M9)
List the Chord that goes with the scale
1. Dominant Lydian
2. Lydian
3. Super Locrian
4. Half Whole Diminished
5. Diminished Whole Tone
6. Whole Tone
7. Ascending Melodic Minor
List the scale that goes with each chord
1. GMaj7(#11)
2. C7(#11)
3. F7(b9)
4. D7(#5)
5. A7(#9)
6. F#7Alt
7. Bb-7(b5)(M9)
List the Chord that goes with the scale
1. Dominant Lydian
2. Lydian
3. Super Locrian
4. Half Whole Diminished
5. Diminished Whole Tone
6. Whole Tone
7. Ascending Melodic Minor
1 - 20 of 141 Posts
That is hilarious.Dog Pants said:I don't know which impresses me more. The fact that you can do two things at once, or your ability to type all that with one hand.
You'll go blind ya know.
So, you want "the" scale that goes with the chord and vice versa? There is only one?
Or can we list the Lydian Chromatic versions, amongst others?
Just wondering.
Or can we list the Lydian Chromatic versions, amongst others?
Just wondering.
They all do, if you play them fast enough:twisted:
The chromatic scale goes with all chords as do both whole tone scales.
Unless you are playing free jazz, in which case there are rules.
Unless you are playing free jazz, in which case there are rules.
wanna foot race while we're at it?
Do you really think people are going to do this?paulbrodt said:I feel like I have a very advanced knowledge of harmony, not to brag. So I would like to see how you would do on my quiz.
List the scale that goes with each chord
1. GMaj7(#11)
2. C7(#11)
3. F7(b9)
4. D7(#5)
5. A7(#9)
6. F#7Alt
7. Bb-7(b5)(M9)
List the Chord that goes with the scale
1. Dominant Lydian
2. Lydian
3. Super Locrian
4. Half Whole Diminished
5. Diminished Whole Tone
6. Whole Tone
7. Ascending Melodic Minor
Advanced? Chord scales?
Understanding theory is easier than 8th grade math.
Having it under your fingers in all keys, scalarly, and pulled apart intervallically
then integrated with the the history of jazz vocabulary all with a compelling sound is another story.
Let's go ask the 6th grade winner of this years spelling bee to write a novel and see how it works out.
..tough crowd isn't it..
Understanding theory is easier than 8th grade math.
Having it under your fingers in all keys, scalarly, and pulled apart intervallically
then integrated with the the history of jazz vocabulary all with a compelling sound is another story.
Let's go ask the 6th grade winner of this years spelling bee to write a novel and see how it works out.
..tough crowd isn't it..
List the scale that goes with each chord
1. GMaj7(#11) 2. Lydian
2. C7(#11) 1. Dominant Lydian
3. F7(b9) 4. Half Whole Diminished
4. D7(#5) 6. Whole Tone
5. A7(#9) 5. Diminished Whole Tone
6. F#7Alt 3. Super Locrian
7. Bb-7(b5)(M9) 7. Ascending Melodic Minor (of Db)
The fact of the matter is there are a lot of different choices and some of the choices I make are not these. Moreover, the function and context of the chord has more to do with what scale I choose as opposed to the chord itself. Also, the nomenclature and chord given on the sheet may disagree with my own artistic sensibilities. Finally, I hardly ever play a scale over any chord. I am much more likely to play fragments or superimpose a triad or seventh chord over it.
Some of your stuff doesn't make a whole lot of sense. Diminished Whole tone and Super Locrian are the same scale and pretty much interchangeable over V7#9 and V7alt. On Bb-7B5M9 chord you could play an ascending melodic minor scale built off of Db you wouldn't play it off Bb.
But, yeah, I'd love to hear what your playing sounds like if your theory is this strong -- wow impressive!! Seriously, you've studied your Aebersold really well, but there is a whole 'nother world out there.
1. GMaj7(#11) 2. Lydian
2. C7(#11) 1. Dominant Lydian
3. F7(b9) 4. Half Whole Diminished
4. D7(#5) 6. Whole Tone
5. A7(#9) 5. Diminished Whole Tone
6. F#7Alt 3. Super Locrian
7. Bb-7(b5)(M9) 7. Ascending Melodic Minor (of Db)
The fact of the matter is there are a lot of different choices and some of the choices I make are not these. Moreover, the function and context of the chord has more to do with what scale I choose as opposed to the chord itself. Also, the nomenclature and chord given on the sheet may disagree with my own artistic sensibilities. Finally, I hardly ever play a scale over any chord. I am much more likely to play fragments or superimpose a triad or seventh chord over it.
Some of your stuff doesn't make a whole lot of sense. Diminished Whole tone and Super Locrian are the same scale and pretty much interchangeable over V7#9 and V7alt. On Bb-7B5M9 chord you could play an ascending melodic minor scale built off of Db you wouldn't play it off Bb.
But, yeah, I'd love to hear what your playing sounds like if your theory is this strong -- wow impressive!! Seriously, you've studied your Aebersold really well, but there is a whole 'nother world out there.
I don't see the "advanced" nature of the question at all..
Wow, you guys are cynical.
I just thought it would be a fun thread, but I guess most of you would rather be dark and negative.
The chromatic scale goes with all chords as do both whole tone scales.
Unless you are playing free jazz, in which case there are rules.
That's a cynical answer, Al.
Obviously there is always more than one choice for any chord, but usually there is a first choice. If you hear a CMaj Triad from the piano the first scale of choice should be C Ionian(Major). If you want to play chromatic or a tritone scale or maybe a hindu scale over it it is not necassarily wrong, and in a lot of cases can be more interesting.
Hersch, You were so upset by my quiz that you had to leave two cynical answers, you must be very insacure.
If you would like to further taunt me with rude coments you can listen to my group at this website. They are all original compositions so you can come up with witty negative remarks about my playing as well as my compositional skill.
www.soundclick.com/thepaulbrodtquartet
I just thought it would be a fun thread, but I guess most of you would rather be dark and negative.
The chromatic scale goes with all chords as do both whole tone scales.
Unless you are playing free jazz, in which case there are rules.
That's a cynical answer, Al.
Obviously there is always more than one choice for any chord, but usually there is a first choice. If you hear a CMaj Triad from the piano the first scale of choice should be C Ionian(Major). If you want to play chromatic or a tritone scale or maybe a hindu scale over it it is not necassarily wrong, and in a lot of cases can be more interesting.
Hersch, You were so upset by my quiz that you had to leave two cynical answers, you must be very insacure.
If you would like to further taunt me with rude coments you can listen to my group at this website. They are all original compositions so you can come up with witty negative remarks about my playing as well as my compositional skill.
www.soundclick.com/thepaulbrodtquartet
What if the C maj triad is a IV chord in G (lydian)or a V chord in F (mixolydian) or a III chord in A minor (mel. min??)? It's all contextual, man. No right answers except the chromatic scale works over everything. Coming onto this forum and posting about how "advanced" you are is BEGGING for cynicism. BTW "dominant 7th chord" is the correct answer for the second half of your questions. (if I'm allowed to use modes of the scales listed - ie G lydian over A7)
"but usually there is a first choice"
And this is not always the same choice for everyone.
Really, you could've reworded your original post a lot better. You have an opportunity to grow from this experience still though.
And this is not always the same choice for everyone.
Really, you could've reworded your original post a lot better. You have an opportunity to grow from this experience still though.
Let me reword my original post a little better to your liking.
Here are a few simple theory questions. Please do not attempt to answer them but rather I would like you to make fun of me, or try to impress others by putting me down.
The funny thing is, when I auditioned at the Univesity of North Texas for my Masters in Jazz, part of the audition was a theory test which had questions almost identicle to the ones I posted above. What were they thinking.
Here are a few simple theory questions. Please do not attempt to answer them but rather I would like you to make fun of me, or try to impress others by putting me down.
The funny thing is, when I auditioned at the Univesity of North Texas for my Masters in Jazz, part of the audition was a theory test which had questions almost identicle to the ones I posted above. What were they thinking.
When you start a thread with a phrase like this, which is bound to rub people the wrong way, expect to be brutally and ruthlessly ridiculed.paulbrodt said:I feel like I have a very advanced knowledge of harmony......
I have trouble finding the advancedness of it as well. Plus, I think the over-emphasis on chord-scale theory is one of the reasons so many colleges with jazz programs are pumping out uninteresting scale-runners.
No offense meant to you personally, but you have to watch how you phrase things, or people will immediately take offense. We're a bunch of hot-headed, opinionated musicians. It's just the nature of the beast.
nanny nanny boo boo!!! (jk)
Hey Brodt,
You're just a disgruntled Raiders fan. F the Raiders and your "quiz"
You're just a disgruntled Raiders fan. F the Raiders and your "quiz"
1 - 20 of 141 Posts
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