HMayoral Posted January 23, 2010 Share Posted January 23, 2010 Didn't know where else to ask this question, but this section might do; here goes! I have a nice, slow bebop jazz progression with the upright bass in A minor. It starts out in an Am7 which flows to a Gmaj7. That little progression is repeated forming for bars. Then a variation pops in with the super cliched progression Fmaj7, Gmaj7 and Am7. Then that phrase is repeated but the only thing is that the Am7 is switched to an Asus4 which resolves to an A major. All in all... What I'm trying to ask is: What should I do now? Where could I resolve that A major? Should I modulate completely and change the scale to A major? I tried to start it over again, but that Gmaj7 following the A major doesn't sound as good as it does. Any harmony tips for this one? Quote Link to comment Share on other sites More sharing options...
Eric Cardenas Posted January 23, 2010 Share Posted January 23, 2010 Dm9 ? What do you want to achieve? Quote Link to comment Share on other sites More sharing options...
djmatsa Posted January 25, 2010 Share Posted January 25, 2010 There is this book "The Complete Idiot's Guide To Music Theory By Michael Miller", He Discussed Clearly About How To Create And Resolve Tensions... Here It is in Brief 1. Split ur melody into 2 parts. 2. End 1st half with V (5th) chord (If U start melody D#min (I, Root), End it with A# Triad (V Chord). 3. Resolve Tension By starting second half with 1st or 3rd Key Of "I" Chord (Here, D# & F#). 4. End with proper chord, It always better if U use I cord at the end... Its always about going home.. Hope this will help U... Quote Link to comment Share on other sites More sharing options...
HMayoral Posted January 25, 2010 Author Share Posted January 25, 2010 The Complete Idiot's Guide To Music Theory Are you, sir, insinuating that I am an idiot? Hah, no (Or at least I hope not). I'm just really looking for just a bunch of ideas to see if I get inspired to get resolve the chord somewhere nice. Since it's a jazz bebop sort of thing, the bass simply plays fourth notes all the time, and I'm lookin' where to go from where I am now. Harmonically the most ideal progression is always following the fourth, so I would go from A to D, tonally speaking, but I"m just looking for a little something. I was thinking maybe an interesting concept would be to resolve passively to it's tritone Eb by first striking the third, then possible the fifth, than the root of the note which would give it that neapolitan feel but I'm just waiting to see if anything pops up. Quote Link to comment Share on other sites More sharing options...
Mike03 Posted January 25, 2010 Share Posted January 25, 2010 A couple transitions to get from Amaj7 to Gmaj7: A-7 D7 (ii-V in G) A-7 Ab7 (tritone sub on the V of G) Abmaj7 (just slide down cromatically to G) or Abmaj7#11 or Ab7#11 Bb-7 Eb7 A-7 D7#9 (setup up the ii-V in G with a ii-V a half step up) Quote Link to comment Share on other sites More sharing options...
djmatsa Posted January 26, 2010 Share Posted January 26, 2010 Are you, sir, insinuating that I am an idiot? Hah, no (Or at least I hope not). No, Im Not... Idiot's Guide Is The Title OF The Book... Quote Link to comment Share on other sites More sharing options...
dsw67 Posted January 27, 2010 Share Posted January 27, 2010 Idiots guides are simply the name of a series of books for learning a variety of subjects. http://us.penguingroup.com/static/pages/cig/index.html There are also a 'for Dummies' series as well. http://www.dummiesbooks.net/ While the name seems insulting or embarrassing, they are actually quite good and useful for learning a variety of subjects, including music. Good luck! Dana Quote Link to comment Share on other sites More sharing options...
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