Diantonic chords in Minor

[Jazz+]

I don't have any high school books. I have some of the books from when I got my masters in composition years ago. My graduate school professor had studied with Arnold Schoenberg.

[DafDuc]

Porter and Kern were exactly pop composers. Agree on Gershwin and Ellington though.

 

If you're trying to find a better system for describing modern harmony, I'd suggest the blues scale does a way better job than the melodic minor.

 

Remember that theory was developed as a way to describe what already existed. Taking something that was developed in order to describe melodic movement in common practice minor key compositions, throwing out all the construction rules associated with it and the context in which it was developed, and dropping it in a bag like a bunch of scrabble pieces to be pulled out at will and used however you feel is NOT going to get you a good fit. The blues scale does a much better job of fitting modern pop and jazz compositions.

[Dave Horne]

Where does vi half diminished come from in diatonic minor scale harmony?

 

In C minor a viø7 chord (A, C, Eb, G) occurs naturally in the C ascending melodic minor scale.

 

Thank you. We have confirmed that viø7 is used and it occurs only in melodic minor.

 

Furthermore, all the diatonic chords in both natural minor and harmonic also occur naturaly in melodic minor. That's my point that nobody seems to like or agree with.

 

.

 

A half diminished 7th chord occurs also in major as a viiø7 of I.

[Jazz+]

Of course it also occurs as viiø7 in major.

But I was talking abut using viø7 in minor not viiø7.

[Jazz+]

Daf,

 

You really lost me saying the blues scale is a basis for pop and jazz harmony. Please explain how the blues scale in C (C Eb F F# G Bb) yields these diatonic jazz melodic minor chords:

 

|| C-6 A-7b5 | D-7b5 G7b9 :||

 

They all occur in C melodic minor alone when using ascending and descending forms. They do not all occur in harmonic minor alone, in natural minor alone, in major, or in the blues scale.

 

Why does everybody hate the melodic minor scale as a harmonic source? What's wrong with it? Does it destroy tonality?

I once had a conservative by the book type theoretician shout that at me.

 

 

 

[stoo schultz]

You really lost me saying the blues scale is a basis for pop and jazz harmony. Please explain how the blues scale in C (C Eb F F# G Bb) yields these diatonic jazz melodic minor chords:

 

|| C-6 A-7b5 | D-7b5 G7b9 :||

 

No problem. The first two chords of course are found in the ascending blues scale (C D Eb E G A). And the last two are derived from the descending blues scale (C Eb F F# G Ab B).

 

;)

 

 

[Jazz+]

Touche!

 

You're talking about a hybrid blues scale, the C minor blues scale combined with the C major blues scales. Some folks call it the jazz blues scale.