as a classically trained musician, how do i work my way into jazz theory?
As a classically trained musician, how do i work my way into jazz theory?
Brayden Cook
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William Lee
by ear
Hudson Bennett
Jazz theory doesn't exist.
Luis Wood
well, where does the desire to do so come from? Start from the music that makes you want to play Jazz. Since you're classically trained it should be no problem for you to print out some transcribed interpretation and analyze it.
Aiden Rivera
It's a bunch of secondary dominant chains, non-chord tones used systematically to create certain colours ("tensions" in jazz speak) and basic substitutions based mostly around tritone relationships. Maybe Coltrane's approach to tertian relationships is a bit more sophisticated.
There's nothing in jazz that you won't find in Debussy or late Scriabin somewhere, unless you go into the really "free" stuff, in which case theory largely stops being a relevant approach.
Adam Cooper
Free jazz in som cases derive from traditional musics (whether consciously or not, see extensive heterophony in the music of Ornette Coleman) or as a divergent, co-development of 20th century classical music, most evident in European musicians like Schlippenbach, Evan Parker, Brötzmann etc. or even the more "third stream" American musicians like Carla Bley, Jimmy Giuffre, Gunther Schuller etc.
Christopher Parker
Just transcribe and analyze solos and tunes that you like OP.
>There's nothing in jazz that you won't find in Debussy or late Scriabin somewhere, unless you go into the really "free" stuff, in which case theory largely stops being a relevant approach.
Could you show some examples of blues scales or blues progressions in Debussy or Scriabin?
Adrian Reyes
>only classically trained
I'm classically and contemporaneously trained. Who the fuck are you?
Julian Ross
"blues progressions" is conceptually exactly the same as any other sort of parallelism, which is very apparent in the music of Debussy, the blues scale is the set (or rather sets) derived from this progression.
Jaxson Young
>the blues scale is the set (or rather sets) derived from this progression.
that's not really the case. The blues scale has African roots while the typical blues progression comes from European music African Americans heard in churches
Andrew Brown
I can give you examples of "blues"-y chromaticism in fucking Beethoven my man, but as far as I'm aware "blues scales" and "blues progressions" are pentatonics with the tritone as a passing tone (literally all over Debussy) and variations I-IV-V (even Vivaldi was careful about abusing this).
Evan Foster
That's not theory, that's musicology.
Benjamin Martinez
It makes me sad everytime someone points out that this section sounds like Boogie or Blues or something else...
Ayden Reed
Yeah, I know that's a shit way to listen to the piece, but as I understood it the question was about precedent from a purely theoretical standpoint, and that is undeniably there.
The piece here simply serves as "proof" that the ideas that would later become the bedrock of blues and (early) jazz were nothing new.
Gabriel Cruz
but I think the way you process any musical device is an unseperatable part of what it really is. The rhythm in the 'boogie-part' in op 111 is punctuated and not shuffled. There are no 'blue notes' that are approximated within the tempered system but the notes are meant just as they are.
Levi Martin
Blues isn’t just intervals retard
Grayson Stewart
I don't give a shit about any "feeling" some stupid coon might be trying to convey
Connor Long
>blues scales or blues progressions
kek
Liam Clark
Theory is a part of musicology to be honest
Charles Butler
Fine, ethnomusicology to be precise.
Dominic Myers
Break the rules that you know of theory
Grayson Johnson
this