The Dominant/Tonic Relationship
I want to start this course by talking about how I view and hear harmony. The first time I was introduced to jazz, I started by studying the different modes, scales, and chords, and I was overwhelmed by the number of different things to learn.
Despite all of this information, I was unable to actually hear or understand what is now, to me, the main point in harmony, logic.
I’ve had a great luck to have teachers, friends, and colleagues as mentors who taught me the exact principles that we are going to explore in this course.
A Simplified View Of Harmony: Tension & Release
In this course, I’m going to simplify a few harmonic concepts that you might have found complicated and difficult to understand. I always try to think that music is usually either resting or heading towards something that is resting.
Just One Melody For The Whole Course
In this course, we will use only one melody, which first starts with a very common jazz phrase, and ends with notes of a triad.
Usually, melodies come in groups of 4 or 8 notes when playing in 4/4 time, but for the purpose of this course, we will use the melody freely without time.
It doesn’t seem like a lot of material, but I will show you in the following lessons how much you can do with only one melody. Also, if you want a challenge during this course, you can go and transcribe any melody from your favorite player that works over a 251 progression and use it during this course.