Really helpful to see quadtratonics applied to a standard. What about the other tensions beyond 2? Would be good to see a video using T4,T6, etc. on a standard. Thanks!
He show's b6 and 6 on his Nica's Dream video. Also, if you handle too many triad + 1 ideas at once, you might lose the idea of this as a concept of harmonic movement and start seeing it just as grips. Here, JC talks about hearing how each triad + 9 works on different parts of the harmony--the ii V i. Gets you into the Jim Hall/Ed Bickert realm of playing because you start seeing harmony just as an opportunity to play melodies in different voices that sometimes occur simultaneously and sometimes occur separate. You ween yourself off of thinking of harmony as snapshot chords and start seeing harmony as a movie or series of moving pictures that flip through to show motion, like a flip book. I like applying this to contextual ear training because I don't hear everything as a 9th. I hear it in relation to the key. So Cminor + 9 still works the same, but Fminor+9 becomes the sound of the b6 R 5 (Ab C G) against the Cminor home tonality. JC has a different way of hearing it. Importance is that you treat these as sounds to get into your ear as oppose to rote grips to plug in play--my opinion, not JC's.
The other tensions are great, Mike. As pickinstone mentioned, there are some other TH-cam videos of me using them. Since you're in the study group though, I'd recommend you start with the courses you have access to, as they offer a more holistic view of the process and the big picture than I can create in a single TH-cam video. The Intro To Melodic Triads is a great course to get a quick feel for all of the tension notes. Tension 2 and b2 are so versatile and are GREAT sounds to get to know. And by "know" I don't simply mean intellectually... I mean in the ear (as PS mentioned) as well as in your own vocabulary. You can play SO MUCH beautiful music with these two notes. When you consider that leading tones and chromaticism can be applied to these melodic structures, this really unlocks everything you would need to play in any situation over any chord type on any standard. That said... yes... other tensions are totally allowable and even IDEAL sometimes. And if you continue working through the study group materials, you'll eventually be lead to our pentatonic scales (triad + 2 tension notes) and then our melodic triads bebop scales (triad + 3 tension notes gives us a 6 note bebop scale... and then we can expand that out to 7, 9, and 12 note bebop scales). The triad is truly like a seed you can plant in the ground. The primary tension note is sort of like the seed starting to sprout. This is enough to create a living organism breaking out of the earth towards the sky. From here, leading tones and chromaticism will grow that little sprout into a sturdy little tree. But this is only the beginning of the journey. It will continue to grow if you continue to nurture it. It doesn't take too long to start spontaneously making really precise, lyrical, intentional melody. But we can spend multiple lifetimes exploring all of the additional layers of growth that little tree could move through. Quick access to purposeful, colorful, masterful melody... lifelong access to never falling into a rut again, and always having something fascinating to explore that's built directly from something else you're already making music with. If you follow the process :)
Really helpful to see quadtratonics applied to a standard. What about the other tensions beyond 2? Would be good to see a video using T4,T6, etc. on a standard. Thanks!
He show's b6 and 6 on his Nica's Dream video. Also, if you handle too many triad + 1 ideas at once, you might lose the idea of this as a concept of harmonic movement and start seeing it just as grips. Here, JC talks about hearing how each triad + 9 works on different parts of the harmony--the ii V i. Gets you into the Jim Hall/Ed Bickert realm of playing because you start seeing harmony just as an opportunity to play melodies in different voices that sometimes occur simultaneously and sometimes occur separate. You ween yourself off of thinking of harmony as snapshot chords and start seeing harmony as a movie or series of moving pictures that flip through to show motion, like a flip book. I like applying this to contextual ear training because I don't hear everything as a 9th. I hear it in relation to the key. So Cminor + 9 still works the same, but Fminor+9 becomes the sound of the b6 R 5 (Ab C G) against the Cminor home tonality. JC has a different way of hearing it. Importance is that you treat these as sounds to get into your ear as oppose to rote grips to plug in play--my opinion, not JC's.
@@pickinstone thanks much. I will check out the Nica’s Dream video. Many 🙏🏿
The other tensions are great, Mike. As pickinstone mentioned, there are some other TH-cam videos of me using them. Since you're in the study group though, I'd recommend you start with the courses you have access to, as they offer a more holistic view of the process and the big picture than I can create in a single TH-cam video. The Intro To Melodic Triads is a great course to get a quick feel for all of the tension notes. Tension 2 and b2 are so versatile and are GREAT sounds to get to know. And by "know" I don't simply mean intellectually... I mean in the ear (as PS mentioned) as well as in your own vocabulary. You can play SO MUCH beautiful music with these two notes. When you consider that leading tones and chromaticism can be applied to these melodic structures, this really unlocks everything you would need to play in any situation over any chord type on any standard.
That said... yes... other tensions are totally allowable and even IDEAL sometimes. And if you continue working through the study group materials, you'll eventually be lead to our pentatonic scales (triad + 2 tension notes) and then our melodic triads bebop scales (triad + 3 tension notes gives us a 6 note bebop scale... and then we can expand that out to 7, 9, and 12 note bebop scales).
The triad is truly like a seed you can plant in the ground. The primary tension note is sort of like the seed starting to sprout. This is enough to create a living organism breaking out of the earth towards the sky. From here, leading tones and chromaticism will grow that little sprout into a sturdy little tree. But this is only the beginning of the journey. It will continue to grow if you continue to nurture it. It doesn't take too long to start spontaneously making really precise, lyrical, intentional melody. But we can spend multiple lifetimes exploring all of the additional layers of growth that little tree could move through. Quick access to purposeful, colorful, masterful melody... lifelong access to never falling into a rut again, and always having something fascinating to explore that's built directly from something else you're already making music with. If you follow the process :)
Hello there. May i ask what is your guitar? Thanks
It's a Heritage Academy Custom