anyone listened to her?  this follows on from the acid jazz thread, i love her band and the grooves she has on her records, her live album is a master-class in how to play the same song in loads of different ways.  i love it, however i can't seem to understand the theory behind it, what the rules are.  how does one keep up to date with the latest in whats hip and whats not.  i have worked out some of the theory, this being that if you go from a minor chord to a minor chord a minor third below your first minor chord (haha, how confusing read slowly!).  

for and example of that minor stuff i just tried to explain, play the following to get what i think is a really modern 'nu jazz' sound.  

(im on my mac so i don't have a hash key, so forgive the sharps!)

csharp minor, bbminor, amajor7, d9.  

i voice it as follows.

(l.h)  csharp, gsharp,  (r.h)  b, e, gsharp

(l.h)  bb, ab,  (r.h)  db, f, ab

(l.h)  a, e,  (r.h)  gsharp, csharp, e

(l.h)  d, a,  (r.h)  fsharp, c, e

(hope that all makes sense).

now providing you played that correctly you should see what i mean by the modern sound.  that is a chord progression from 'slowly surely', by jill scott, (she does it in fsharp minor with a few alterations to the chords, e.g some sharp 11's here and there).  

what else is 'modern' and what is the theory behind it all?  does any one know how to keep up to date with the latest 'sound'.  (i mean theory not what keyboard to use).

thanks  

jazz

by jazz jasper on 02/25/2008, 17:23:51 # 40466

a lot of what goes on in the styles you're referring to(which i also am into)re-minor and dom 7 is the use of a modal approach vs. a basic chord approach-i.e. using 125 or 145-type/"cluster" voicing shapes over the root pedal..there's a lot of theory based on this involved which i could post when i have time over the next week or so......taking a look at transcriptions/written arrangements that use this approach(including exactly where re-piano voicing range these type of structures are played will help.........

by smg on 02/26/2008, 11:28:15

you might begin by taking a look at this-

by smg on 02/26/2008, 11:49:20

https://www.learnjazzpiano.com/citadel/scotcit.mvc?action=files&sub=file_details&id=1075409616

by smg on 02/26/2008, 11:50:42

then check out the voicings concept explained in this thread below-  
"conception/execution re-practice routine focus"

by smg on 02/26/2008, 11:54:06

also this-https://www.modaljazz.com/index.htm

by smg on 02/26/2008, 15:30:13

for info about "clusters"-
https://www.melbay.com/creativekeyboard/aug07/hinz.html
(don't forget you can "pare down" the structures shown,using less notes and different combinations/inversions....

by smg on 02/26/2008, 15:48:26

although this is a guitar site,the theory involved here is a big part of understanding the style.....
https://people.uncw.edu/russellr/pentharm.html

by smg on 02/26/2008, 15:49:59

hey smg,

thanks so much for all the info, ive been looking at it all week, i found out the name of the style that i really want to understand, is 'neo soul'.  the guy who arranged and was md for jill scott up until 2006 was pete kuzma.  if that helps you with any other info id be really grateful if you'd pass it on!!

thanks again

jazz

by jazz jasper on 02/28/2008, 03:38:23

the way to conceptualize this stuff i think is to visualize a voicing shape/"template" that can be transposed to different places over the root pedal..we dealt with this here before,i'll see if i can find the thread...........the main thing to keep in mind is how a quartal structure inverted = 145 and 125 structures..also you want to learn about how to use the pent.minor to develop voicings using the same kind of concept..more about this stuff as soon as i find where i've written out some of the kinds of voicings involved and post them.......

by smg on 02/28/2008, 13:04:05

hey smg, im getting there im still trying to learn all this stuff, if you have any more advice that would be great!  

thanks

jazz

by jazz jasper on 03/03/2008, 12:21:31