That's super interesting Christian. I just recently started diving into classical music next to jazz offcourse... first just for technique benefits like sonatas and partidas' but then i discovered the freedom of harmony in this genre. Often just the bass note is placed without any numbers, sometimes with. So, i often thought that classical music was kind of rigid but i was wrong. The bass offers you a kind of 'leadsheet' with freedom in extensions. At least, that's my interpretation. Pure coincidence that at the same time i'm exploring this, you've posted this lesson. A lot to discover. Pure gold. Keep it coming and keep up the good work! 👍👍
Love the way thé symbols are not absoluts but relate to the key of thé tune. Also thé variety of the inversions whereas in jazz we tend to put the Root in thé bass all thé time. Double bassiste speaking hère. ;-)
When you started talking about consecutive fifths, I was ready to make a comment about the Rule of the Octave. You covered all the bases, but not the basses. I was trying it on the ukulele, but had to stop due to a thumb injury.
13:23 inversions of D7.. blasphemy! 😜😂 Just kidding, I’m really enjoying these guitar figured bass videos. So logical to think of harmony this way. Here’s a cool quote by the jazz pianist John Mehegan (who later worked with Leonard Bernstein) in 1959:”The use of chord letters among musicians may seem strange when one considers that an organized method of spelling any musical function has existed for some two hundred years - Figured Bass. This is the first serious attempt to apply figured bass to jazz. Using figured bass, the jazz musician can for the first time correctly and completely indicate his music with precision. An irony here is that the jazz musician plays out of one ear and talks out of the other. No jazz musician thinks of lettered chords when he is playing; he hears interval steps based on the distance between one chord and another. Distance can best be described by number. In other words, the jazz musician plays by the natural system of figured bass. In describing this music, it is reasonable that the same system should be used”. From Philipp Teriete’s research!
That's a nice quote and true I think. When you look into Barry Harris etc it becomes very clear. Jazz players seem to spend a lot of time with Bach in particular.
super interesting. like functional harmony it had the effect of making me feel there was great freedom beyond the tyranny of typical chord scale theory. it was more about what i heard and less about what my brain was told should be correct.
![How To Arrange Chords into BEAUTIFUL 4-PART HARMONIES [Music Theory - Voice Leading]](/img/n.gif)
That's super interesting Christian. I just recently started diving into classical music next to jazz offcourse... first just for technique benefits like sonatas and partidas' but then i discovered the freedom of harmony in this genre. Often just the bass note is placed without any numbers, sometimes with. So, i often thought that classical music was kind of rigid but i was wrong. The bass offers you a kind of 'leadsheet' with freedom in extensions. At least, that's my interpretation. Pure coincidence that at the same time i'm exploring this, you've posted this lesson. A lot to discover. Pure gold. Keep it coming and keep up the good work! 👍👍
Love the way thé symbols are not absoluts but relate to the key of thé tune. Also thé variety of the inversions whereas in jazz we tend to put the Root in thé bass all thé time. Double bassiste speaking hère. ;-)
When you started talking about consecutive fifths, I was ready to make a comment about the Rule of the Octave. You covered all the bases, but not the basses. I was trying it on the ukulele, but had to stop due to a thumb injury.
@@lawrencetaylor4101 I will accept no legal responsibility :-)
13:23 inversions of D7.. blasphemy! 😜😂
Just kidding, I’m really enjoying these guitar figured bass videos. So logical to think of harmony this way.
Here’s a cool quote by the jazz pianist John Mehegan (who later worked with Leonard Bernstein) in 1959:”The use of chord letters among musicians may seem strange when one considers that an organized method of spelling any musical function has existed for some two hundred years - Figured Bass. This is the first serious attempt to apply figured bass to jazz. Using figured bass, the jazz musician can for the first time correctly and completely indicate his music with precision. An irony here is that the jazz musician plays out of one ear and talks out of the other. No jazz musician thinks of lettered chords when he is playing; he hears interval steps based on the distance between one chord and another. Distance can best be described by number. In other words, the jazz musician plays by the natural system of figured bass. In describing this music, it is reasonable that the same system should be used”.
From Philipp Teriete’s research!
That's a nice quote and true I think. When you look into Barry Harris etc it becomes very clear. Jazz players seem to spend a lot of time with Bach in particular.
I also enjoy that you were more bothered about me calling it at inversion of a D7 chord than my playing an electric guitar :-)
super interesting. like functional harmony it had the effect of making me feel there was great freedom beyond the tyranny of typical chord scale theory. it was more about what i heard and less about what my brain was told should be correct.