A place to discuss Jazz Theory, and its applications in music.

Hey all,

https://youtu.be/-jO-sIrjTqg?si=KvXryQJ8Mz8uHYNt

I was watching this Barry Harris 6th dim scale video and at 13:40 he says something like

"Okay, D7. Relatives, what's the relatives? F7, Ab7, B7"

What is he talking about here? I think I get that Ab7 might be relative because it's got the same 3-7 (C and F#), but flipped (Gb and C). But what about F7 and B7? Only thing I can see is the b9 (Eb) and 5 of D7 (A), but that doesn't feel like a strong enough relationship to be considered "relatives".

Also, what Google-able concept is he talking about here? Only thing I've found is this Reddit post from 6 years ago which doesn't really connect to what I'm talking about : https://www.reddit.com/r/musictheory/comments/697evk/relative_dominant_please_explain_this_to_me/

There's also secondary dominants, but it looks like that's an altogether different thing? What am I missing here?

Thanks for the help!

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I just finished a transcription, but before I publish it, I want to make sure that my accidentals are spelled correctly.

So, what are the rules for writing accidentals? Should I write accidentals based on the chord? For example, if I had a Bb major 7 flat 9 and the flat 9 is out of key, would I spell that flat 9 as a Cb?

I’ve been very into jazz for a while and recently started learning the theory behind it, and freeform jazz is my absolute favorite. What’s the best way to go about learning the theories behind it and how to write it?

Has anyone ever used any courses from JazzAdvice dot com? I often like their articles and I'm considering trying their Jazz Harmony Unlocked course. Can anyone share their experience with these guys?

Thanks

i took a jazz mini course on ultimate guitar, one of the excercises was strumming some triads... i got hooked on the jazz chord sound, long story short, noodleing around i made a song taking those chords as starting point and using ear i have been adding things.

The problem is that everytime that i try to figure what scale am i all the AI and my knowledge stumble with contradictions, i just want to know exactly where my idea is so i can use the template of a scale with chords (to understand how to add tension and release and such) so i can finish my idea.

any way, im gonna write the chords as the song structure is.

(Im gonna call every chord by its root to make this easier)

Intro

D E

Pre chorus

D E F#

Chorus

D E A B

​

chat GPT told me that im in e mixolydian but it misses notes from some chords, that makes me think that is not correct and Google Bard told me that i was in diminished octatonic, same problem. every D chord that they give me lacks the C# and gives me a C.

​

thats pretty much it, please help me to find my scale so i can make that idea deeper and be able to add something like a solo

thanks!

​

​

this is my main chord The \"D\"

This is my second chord the \"E\"

This is what i use to add \"tension\" at the prechorus the \"F#\"

This is only used in the chorus the \"A\"

this is the end of chorus the \"C#\"

Hey all, I’ve been looking for some good jazz theory books to further my knowledge on the subject. My main instrument is guitar and piano is more secondary, but I’m hoping to get more into jazz music, comping, solos, etc. Any good recommendations on books?

https://open.spotify.com/track/4hEO1ExpPW5Id86nd3bqOA?si=7be320a039df483e

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intermediate jazz pianist here. know 2-5-1 basic inverted left hand voicings decent approach to jazz standards all that. plenty to learn. question is this. been trying to get deeper into the mccoy tyner style with quartal L.H. voicings and everything and of course having to really hammer out R.H. pentatonics. kind of frustrated with lack of grace on smooth fundamental scale execution here. anyone have any resources where i can just hammer out right hand major pentatonics? scales/ drills... any books or links would be immensely helpful. preferably a methadology meant for some speedy pentatonic linear sweeping.... thanks!

intermediate jazz pianist here. know 2-5-1 basic inverted left hand voicings decent approach to jazz standards all that. plenty to learn. question is this. been trying to get deeper into the mccoy tyner style with quartal L.H. voicings and everything and of course having to really hammer out R.H. pentatonics. kind of frustrated with lack of grace on smooth fundamental scale execution here. anyone have any resources where i can just hammer out right hand major pentatonics? scales/ drills... any books or links would be immensely helpful. preferably a methadology meant for some speedy pentatonic linear sweeping.... thanks!

I'm working on singing the arpeggios that go over the chord changes to jazz standards (with moveable Do solfege) but I'm not sure if I should be changing where Do is every time there is a ii-V-I to a different key or only when it goes to the bridge.

Hello there, and I have been practicing Bobby Timmons's "Moanin'"(Popularized by Art Blakey and The Jazz Messengers) in a while and I am confused over why many Jazz Musicians will prefer to say or solo with F Blues or sometimes F Melodic Minor in the chords of the solo section of this Jazz Standards and the chord progression is l Fm Ab9 l G7 C7 l and its a 2 bar Chord progression, and why not play the Arpeggios of the chords in the chord progression, and why some people will say that it's a Blues Chord Progression? Cause I see it more like a 1 6 2 5 Chord progression but the Ab9 looks like a Tritone Sub for the G7, but when I play Arpeggios and Triads of all Chords in the Solo Section of the song and it sounds different compared to Bobby Timmons's Soloing on Piano or Lee Morgan's Trumpet Soloing, So I have an idea on soloing on this Chord Progression by playing an Fminor Arpeggio or Triad and then have an enclosure to one of the notes of C7 and not playing the arpeggios or triads of Ab9 and G7, and this sort of works but still can't tell if this Jazz Soloing Strategy happens in Jazz or used by Jazz Musicians, and the other Solo Strategy that I heard from youtube and I am currently working as well is to play an F Blues Scale or F Minor Pentatonic in the Chords Fminor, Ab9, and G7, and then land on of the notes of C7 or Play the notes of C7, this sort of works well and perhaps better than the other strategy I previously mentioned but still, I am confused why people will often play or solo with F Blues in this Jazz Standard, I know it's a Hard Bop song and it has a lot of Blues Melodies, but isn't Jazz more on Playing with the Chord Changes or what's the Theory behind this?