Don’t worry about chords until it sounds good. Think about the beginning and the end of the phrase and how you want to get from point A to point B.
Yesterday I made another blog post in my jazz composition blog, professorscosco.com. It’s another in a series about linear harmony, a really dry subject, but one that I believe is ignored in schools. Many writers I’ve heard recently are obsessed with chords and scales, and counterpoint is just in service of the chord progression. I like it when the lines are the chords, or maybe you can’t tell what the chords are. I’m finding that although it’s a little dull using my own music for demonstration (due to copyright restrictions and hubris), I’m compiling a body of examples that will…
I’m wondering about it crowdsourcing. There are many ways to go. I want to do a project of varying sizes of ensembles, with some crossover classical/jazz elements, and some free jazz. “Serious” music. That’s what they used to call it in school. How offensive. I’d be curious about any experience you’ve had with it.
The layering of chords, with inner roots and strong voice leading are an important part of linear harmony; it's a melodic way of writing with chords, and with apologies to Schoenberg and Debussy, a jazzy way to invoke what Schoenberg termed Klangfarbenmelodie, or "timbre-structures", or "sound-color-melody".
I have a jazz composition blog, ProfessorScoSco, and of course this one, which you are reading now. So I publish a post in the other one, now I’m compelled to tell the world about it here. I am definitely spending too much time on shameless self-promo, but I actually enjoy writing about music theory, probably because I love the sound of my own voice. Perhaps it’s therapeutic too – but I do recognize that most of the theory crap I learned in school is useless, and wasn’t applied to anything concrete. I have a series going on Linear Harmony,…