What Can You Do With One Chord? (Part 1: Improvised Melody)
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- čas přidán 1. 03. 2024
- In this video, I continue the exploration of the key of G major by limiting my improvisation to the notes in a B-7 arpeggio (B, D, F#, A) over the G, E-, C, D (I vi IV V) chord progression. Each of the the notes represent different tensions when played against the underlying harmony. This is a concept that could be applied to all of the diatonic seventh chords with in any given key. Try it out.
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Really astonishing to me that you can do so much with just 4 notes. Honestly, if you hadnt declared it upfront I would have guessed at least 10!
Thank You! I am hope that it helps you explore some possibilities!! Thanks for watching and commenting!
Nice 1 chord lesson progression. I will try thud method onto my looper and explore…. ❤
Awesome, I find the practice to be really ear opening and pattern breaking, especially if the chord I am using has very few notes in the root chord of the progression. This example was a nice middle ground for demonstration purposes! Thanks for watching, following, and commenting!
@@ShavasanaKitty great channel I look forward to another theory !
@@cebuguitartune Yes! This is part one of a series, so I hope it is helpful to you!
thanks
You're welcome! Thanks for watching Bill!!
Could you explain why the iii7 chord works so well against the I vi IV V progression? Here's what I came up with (scale degrees from the key that are present in each chord):
I = 1, 3, 5
vi = 6, 1, 3
IV = 4, 6, 1
V = 5, 7, 2
iii7 = 3, 5, 7, 2
There are half-steps between the 5th of the iii7 and the root of the I, the 3rd of the vi, or the 5th of the IV.
There is a tritone between the 5th of the iii7 and the root of the IV.
(Doesn't seem there are any tensions between the iii7 and the V)
Do we not concern ourselves with avoiding these tensions? It almost seems like we want to hammer those tensions. But I'm not too versed in improvising yet, I have learned to avoid tensions, whereas this is designed to create tensions, and I'm not sure how it works or why it works!
Thanks, it sounds great to me by the way, I just would like to better understand why!
I actually do this practice with all of the diatonic seventh chords, each one has its own flavor. I show iii7 because it is a nice place to start - it avoids the Root note of the key completely so it never comes to rest or feels really finished but has plenty of shared chord tones and passing tones as you pointed out above. Why it works is the beauty, mystery, and magic of music. When we allow music to have tension and release, when we phrase deliberately and melodically, notes that are generally considered dissonant - like the tritone- are accepted by the listener, even applauded! I urge everyone to play with these note limitations to really experience this phenomenon for themselves. Thank you for watching and commenting and wanting to know more!!