Re: [Harp-L] 3rds and 7ths in All The Things You Are (effortless jazz harmonica)

[michael rubin <michaelrubinharmonica@xxxxxxxxx>]

Great!

On Thu, Feb 17, 2011 at 7:58 AM, The Iceman <icemanle@xxxxxxx> wrote:
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>  Please don't let the advanced discussion turn off those that are just dipping their toes in the water. Winslow and Michael are obviously well schooled in theory and like to display their knowledge.
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> My whole approach to enticing players to start exploring this realm is to keep it simple and bite size. Too much exposure to too many concepts is overwhelming to most beginners.
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> If you just start with major and minor 7th chords and don't worry about what lies ahead, it is not very demanding.
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> Also, the benefit of understanding basic theory, while improving your ability to play, has another, perhaps an even more important benefit - in listening to music. It makes the listening experience so much more rewarding. Now you can develop a basis for understanding and comparison as you listen to all forms of music. From a basic blues orientation, you may have a way of quantifying why so-and-so sounds so good when he solos. You may discover it is because so-an-so really lays on the third and seventh scale degree of the I chord and does the same for the V and IV chord.
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> -----Original Message-----
> From: pdxharpdog <pdxharpdog@xxxxxxxxxxx>
> To: Winslow Yerxa <winslowyerxa@xxxxxxxxx>; The Iceman <icemanle@xxxxxxx>; harp-l <harp-l@xxxxxxxxxx>
> Sent: Wed, Feb 16, 2011 8:57 pm
> Subject: Re: [Harp-L] 3rds and 7ths in All The Things You Are (effortless jazz  harmonica)
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>
> Now you're just showing off Winslow ;-)
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> Ross Macdonald
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> Sent from my HTC on the Now Network from Sprint!
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> ----- Reply message -----
> From: "Winslow Yerxa" <winslowyerxa@xxxxxxxxx>
> Date: Wed, Feb 16, 2011 4:49 pm
> Subject: [Harp-L] 3rds and 7ths in All The Things You Are (effortless jazz      harmonica)
> To: "The Iceman" <icemanle@xxxxxxx>, <harp-l@xxxxxxxxxx>
>
> When chords progress by moving down a fifth to get to the next chord root, the
> full diminished 7th chord rarely occurs.
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> What happens more often is the "half diminished" chord, which has a minor 3rd,
> diminished fifth (i.e, a diminished triad) and a minor 7th. This chord is more
> commonly called the minor 7-flat 5 chord, an awkward but unambiguous description
> of its component parts.
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> The 3rd and 7th of the  half-diminished chord are the same as a minor 7th chord
> and would resolve to the next chord in the same way.
>  Winslow Yerxa
> Author, Harmonica For Dummies ISBN 978-0-470-33729-5
> Harmonica instructor, The Jazzschool for Music Study and Performance
> Resident expert, bluesharmonica.com
> Columnist, harmonicasessions.com
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> ________________________________
> From: The Iceman <icemanle@xxxxxxx>
> To: harp-l@xxxxxxxxxx
> Sent: Wed, February 16, 2011 12:12:11 PM
> Subject: Re: [Harp-L] 3rds and 7ths in All The Things You Are (effortless jazz
> harmonica)
>
> now you are getting into the more advanced realm. flatted minor seventh is a
> double flat.
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> the idea is to inspire people to delve into this stuff without throwing a lot at
> them so that they are not overwhelmed.
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> Start with the basics and build from there.
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> What about minor third, flatted minor seventh as in a Fully diminished
> chord?  Is that seventh not in this family because you can also think
> of it as a sixth?
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