At 9:51 -0400 03/10/09, Christopher Smith wrote: >On Sat Oct 3, at SaturdayOct 3 9:03 AM, Haroldo Mauro Jr. wrote: > >> I also do not use the chord scale theory as a basis for improvisation nor in >> my playing neither in my teaching, simply because I think good melodies are >> made of chord tones plus non-harmonic tones, and those can be either >> diatonic or cromatic ones. Not all notes of a melody need to be from the >> "chord scale". Also, there is no time in improvisation, specialy when chords >> change fast, to play a full scale for each chord; and picking up scale tones >> at random won't work either in building a good melody. > > >If you say that good melody notes can be diatonic or chromatic ones, then you >use chord scale theory. Chord scale theory only tells us which notes are more >likely to be considered as "diatonic" rather than "chromatic" and gives us an >easy way to practice them. After a while, we just know them and don't worry >about it much any more. > >Christopher
Unless I'm mistaken, chord scale theory says if you are in Cmaj you use C major scale for CMaj7, dorian mode for Dm7 phrygian for Em7, lydian for FMaj7, etc. What I say that all diatonic non-harmonic tones for all those chords come from the C major scale. You build your improvisation with chord tones from those chords plus passing tones, neighbooring tones, scale runs, whatever... from the C major sale only, or cromatic notes. To say that the phrygian mode gives me the diatonic notes for the Em7 chord in Cmajor is redundant, don't you think? Harold _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
