RE: [jazz_guitar] Name my Baby

[Dave Woods]

The Overtone Series generated by the E B E in the bass will sound the G#.
It's really strange to me how much the power of the Overtone Series is
disregarded in so called jazz theory.

Dave Woods

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[Greg Macmillan]

Dave Woods wrote:
>
> The Overtone Series generated by the E B E in the bass will sound the G#.
> It's really strange to me how much the power of the Overtone Series is
> disregarded in so called jazz theory.

Good point I didn't consider that though it's something I usually think
about. Still functionally I don't really hear it as that, more of a
neighbor tone approach chord

[steve]

--- In jazz_...@yahoogroups.com, "Dave Woods" <david_woods@...> wrote:

> It's really strange to me how much the power of the Overtone Series is
> disregarded in so called jazz theory.

Dave,

First, I'd like to say how much I've enjoyed your posts over the years.
But I've never understood of what use the Overtone Series is to someone wanting to play jazz. Sure, it explains why a major triad sounds consonant, but what else?

Thanks,
Steve

[Dave Woods]

Steve Wrote
Dave,

First, I'd like to say how much I've enjoyed your posts over the years.
But I've never understood of what use the Overtone Series is to someone
wanting to play jazz. Sure, it explains why a major triad sounds consonant,
but what else?

If you haven't read "The Overtone Series", and "The Evolution of Key
Structure" at the beginning of my site
http://www.jazzguitarstatringright.com , go read them. You'll see how
everything we use today in all styles of music has evolved from the overtone
series. Hearing and understanding Root Definitive Intervals is very
important. They establish roots of chords and tonal centers in melodies.

The major and minor modes evolved from the key structure before any music
was ever written down or theorized. Check out folk melodies. You'll see
how Root Definitive Intervals establish their Tonal Centers.

The Five One Chord Progression, and its resolution, using G7 (G B D F) to
C maj. (C E G) as an example. When you're on the Five Chord, everything
feels "suspended" waiting to go somewhere. This is because G is the
opposite end of the Perfect 5th (C to G), the strongest Root Definitive
Interval. When G7 resolves to C maj., everything feels like it has come
home to rest. B and F are the Tritone. Why does F want to resolve to E, and
B want to resolve to C? This is because the C maj. Triad is radiating the
Overtone Series. The list goes on.....for real.

I fully expect a locust swarm of techno formula verbiage to fly in trying to
re explain, or diminish what I've said here, and all I can say
is............been there, heard that, feel that, have you?

Dave Woods