Re: HOW DO YOU WALK FROM ONE CHORD TO THE NEXT?
On Jun 18, 8:03 am, Derek <d...@xxxxxxxxxxxxxx> wrote:
Thanks for clearing up the original question. I still only can thing
of the two suggested. There are many ways of approaching walking
basslines, and there are a number of books on the topic.
Voice leading can also be as simple or as complicated as you want to
get. All the styles of music you mention incorporate both ideas.
Voice leading less so in rock since you are typically using a
distorted tone, and voices within a chord tend to get muddy with
distortion.
what about double stops? anyone ever use them to transition between
chords?
.
Relevant Pages
- Re: Voice Leading / Chord Melody
... producing harmony in chord melody arrangements. ... If you're looking to better understand "voice leading", ... 5th string, and play the 5th on the 6th string instead, just because I can ...
(rec.music.makers.guitar.jazz) - Re: Clarifying further the harmony concept I was talking about a few weeks ago.
... The only type of voice leading that you seem to be aware of, or that you've attempted to describe thus far, is what is called disjunct voice leading. ... It means that our voice leading from one chord voicing to the next is governed solely by the goal of achieving the least amount of motion in all 4 voices simultaneously. ... Harmonically speaking, block chording itself is much more useful as a way of thickening a melody in the same way that playing a melody in octaves or in 3rds or in 6ths, etc. thickens the melody. ...
(rec.music.makers.guitar.jazz) - Re: What causes vocal chord damage?
... my vocal chord damage. ... about a whole year before going to the doctor for it. ... for not having a voice. ... voice, not really chord damage like I have, and I'm not into menopause ...
(sci.med) - Re: OT: learning chord melody style
... chord melody style in which the focus is on creative, colorful harmonization in which precise voice leading and independent bass lines are not a necessary part of the style - this is something most jazz players can improvise on the spot. ...
(rec.music.classical.guitar) - Re: Analysis of two measures of last movement of Beethoven 9th Symphony
... I've transposed this to G Major, and have a chord analysis scanned at: ... The low G in bar 13 would be labeled as a suspension above the 3rd of V9 beginning on beat 3. ... This suspension is resolved in a different voice however on beat 1 of bar 14. ... I almost called the chord V13 but since the B actually resolves to A I'm sticking with V9. ...
(rec.music.theory) |
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