Jonah Dempcy
Jazz Lessons
Barry Harris ii-V7 Substitutions
First let's try all of the ii-V7's a minor 3rd apart:|| C6 | D-7 G7 | C6 | F-7 Bb7 | C6 | Ab-7 Db7 | C6 | B-7 E7 ||
All of the Dominant chords above share the same diminished 7 backbone, which consists of the 3, 5, 7 and b9 of the chord. The 3-5-7-b9 of all 4 Dominant chords are equivalent to each other. (eg: 3-5-7-b9 of G7 is the 5-7-b9-3 of E7)
Now let's try it with II7 instead of ii:
|| C6 | D7 G7 | C6 | F7 Bb7 | C6 | Ab7 Db7 | C6 | B7 E7 ||
Here's the same progression with ii-7b5 and V7alt:
|| C6 | D-7b5 G7alt | C6 | F-7b5 Bb7alt |
| C6 | Ab-7b5 Db7alt | C6 | B-7b5 E7alt ||
Here it is, switched up a bit:
|| C6 | Ab-7b5 G7alt | C6 | B-7b5 Bb7alt |
| C6 | D-7b5 Db7alt | C6 | F-7b5 E7alt ||
Esoteric Music Theory
[Reposted from jdempcy.blogspot.com]
This is a great article esoteric music theory, and understanding the inherent and underlying laws of music vis-a-vis math and nature: Casa Valdez Studios: Tree of Life
Excerpt:
It is ovious that intervallic relationships are mathematical/natural laws, but many disregard esoteric music theory as "New Age" or unscientific, when that couldn't be farther from the truth. Dogmatic rules that are handed down from generation to generation, as can be seen with many of the current prevailing paradigms for music education, are much more unscientific (ie: biased, inaccurate) than an understanding of the precise mathematical purity of music.
One of the things that amazed him was the mathematical simplicity of being able to reduce any multi-digit number to a single digit by adding its component digits. e.g.: add each individual digit of the number 1201 (1+2+0+1) and we get 4, a single digit number. The fact that any multi-digit number can be reduced to a single digit would be considered trivial by most respected, mainstream mathematicians-- yet this fact is seen as important by others, due perhaps to the numinous and highly symbolic nature of the single digit numbers (0 to 9).
Add to this the "law of 9's" which states that when you add 9 to any number, the sum of its component digits will be the same (eg: 1201+9=1210, 1+2+1+0 = 4, the same sum as above), and it increases the curiosity.
The difference between practical math and numerology (or philosophical mathematics) is that practical math is only concerned with solving a problem, whereas numerology strives to ask questions about the underlying nature of math itself. For instance, the above example of the "law of 9's" is a considerable point of interest in numerology, but is essentially ignored as banal or trivial by the mathematical mainstream, which is more interested in practical applications than philosophical discussion.
This could be adapted to the discussion of music, in which mainstream music theory is only interested in practical applications whereas esoteric music theory asks "Why?" and aims to find a more profound answer.
It is also interesting that most conventional, mainstream music educators essentially teach that humans created the 12-tone scale, rather than discovered it. It is my belief, and it's probably in line with most esoteric musical theory, that the laws of music are natural laws, and any human creations are mere discoveries of the previously-existent but not yet actualized laws of nature.
Comparing Western Classical with Indian Classical music, most mainstream music theorists will say that the Western Classical music shows much more complexity due to the changing harmonies and use of intellectual concepts in the composition. Or, even if our hypothetical Western theorist agrees that Indian Classical music is complex and meaningful, it is all-too-often still seen as incompatible with prevailing (Western) models and hence irrelevant to any "true" discussion of music theory.
Indian Classical music has a wealth of esoteric knowlede which guides its method of composition, performance and improvisation. To disregard it is to ignore a vitally significant contribution to humanity's overall comprehension of music itself.
Nothing should have to be reduced to "either/or" and of course Western Classical and Indian Classical are two completely different forms of music, each with its own methodology and set of rules. But, to assume that Indian Classical music (or any significantly advanced form of music, for that matter) is somehow incompatible with the known laws of music (so to speak), because of its lack of Western chord progressions, is an unfortunate assumption that I have repeatedly found to be prevalent in mainstream academic circles.
It is a testament to the open-mindedness and adapatability of the human being that there are indeed many teachers out there who have merged the various beliefs, be they mainstream or esoteric, Eastern or Western, and have found a musical path that incorporates any influence that is useful, regardless of its acceptability by the dogmatic paradigms of the moment.
So, with that, I suggest that we all remain open-minded to new ways of understanding music, because every model is just one path to the same end. And the more awareness we have of the paths available, the better ability we will have to choose the most appropriate path for ourselves and to follow it. Sometimes a path becomes a rut, and then it is necessary more than ever before to be aware of the other possibilities and means of comprehension. If the mainstream Western Classical music theory seems superficial or vapid, by all means, explore and discover new ways of understanding and making music.
This is a great article esoteric music theory, and understanding the inherent and underlying laws of music vis-a-vis math and nature: Casa Valdez Studios: Tree of Life
Excerpt:
Some words have the same total numeric value and are considered to be
different aspects of the same energy. This study is called Gematria.
Each word has it's place in a mathematical continuum. This type of
esoteric study associated musical theory with astrology, geometry,
cosmology and qualitative mathematics.
Music bound the other esoteric sciences together into a coherent whole.
Music has long since been disassociated from these other sciences to
the detriment of them all. Musicians today aren't taught that musical
harmony is also a system for mapping the innermost reaches of the human
mind and for organizing abstract thought processes. The laws of harmony
and acoustics are also the laws of vibrational interaction on every
plane of experience.
It is ovious that intervallic relationships are mathematical/natural laws, but many disregard esoteric music theory as "New Age" or unscientific, when that couldn't be farther from the truth. Dogmatic rules that are handed down from generation to generation, as can be seen with many of the current prevailing paradigms for music education, are much more unscientific (ie: biased, inaccurate) than an understanding of the precise mathematical purity of music.
Numerology
R. Buckminster Fuller, one of the great minds of our times, supported numerology insofar as it strove to understand the quality of numbers themselves. Indeed, a chapter of his magnum opus Synergetics is dedicated to numerology.One of the things that amazed him was the mathematical simplicity of being able to reduce any multi-digit number to a single digit by adding its component digits. e.g.: add each individual digit of the number 1201 (1+2+0+1) and we get 4, a single digit number. The fact that any multi-digit number can be reduced to a single digit would be considered trivial by most respected, mainstream mathematicians-- yet this fact is seen as important by others, due perhaps to the numinous and highly symbolic nature of the single digit numbers (0 to 9).
Add to this the "law of 9's" which states that when you add 9 to any number, the sum of its component digits will be the same (eg: 1201+9=1210, 1+2+1+0 = 4, the same sum as above), and it increases the curiosity.
The difference between practical math and numerology (or philosophical mathematics) is that practical math is only concerned with solving a problem, whereas numerology strives to ask questions about the underlying nature of math itself. For instance, the above example of the "law of 9's" is a considerable point of interest in numerology, but is essentially ignored as banal or trivial by the mathematical mainstream, which is more interested in practical applications than philosophical discussion.
This could be adapted to the discussion of music, in which mainstream music theory is only interested in practical applications whereas esoteric music theory asks "Why?" and aims to find a more profound answer.
It is also interesting that most conventional, mainstream music educators essentially teach that humans created the 12-tone scale, rather than discovered it. It is my belief, and it's probably in line with most esoteric musical theory, that the laws of music are natural laws, and any human creations are mere discoveries of the previously-existent but not yet actualized laws of nature.
Indian Classical music & Western music theory
I have repeatedly come across the idea that, for instance, resolution from tension to release is a Western creation, and that, say, Indian Classical music did not have the same level of harmonic variation, and hence is somehow outside of the realm of discussion in regards to modern music theory.Comparing Western Classical with Indian Classical music, most mainstream music theorists will say that the Western Classical music shows much more complexity due to the changing harmonies and use of intellectual concepts in the composition. Or, even if our hypothetical Western theorist agrees that Indian Classical music is complex and meaningful, it is all-too-often still seen as incompatible with prevailing (Western) models and hence irrelevant to any "true" discussion of music theory.
Indian Classical music has a wealth of esoteric knowlede which guides its method of composition, performance and improvisation. To disregard it is to ignore a vitally significant contribution to humanity's overall comprehension of music itself.
Nothing should have to be reduced to "either/or" and of course Western Classical and Indian Classical are two completely different forms of music, each with its own methodology and set of rules. But, to assume that Indian Classical music (or any significantly advanced form of music, for that matter) is somehow incompatible with the known laws of music (so to speak), because of its lack of Western chord progressions, is an unfortunate assumption that I have repeatedly found to be prevalent in mainstream academic circles.
An Open Paradigm
It is a testament to the open-mindedness and adapatability of the human being that there are indeed many teachers out there who have merged the various beliefs, be they mainstream or esoteric, Eastern or Western, and have found a musical path that incorporates any influence that is useful, regardless of its acceptability by the dogmatic paradigms of the moment.
So, with that, I suggest that we all remain open-minded to new ways of understanding music, because every model is just one path to the same end. And the more awareness we have of the paths available, the better ability we will have to choose the most appropriate path for ourselves and to follow it. Sometimes a path becomes a rut, and then it is necessary more than ever before to be aware of the other possibilities and means of comprehension. If the mainstream Western Classical music theory seems superficial or vapid, by all means, explore and discover new ways of understanding and making music.