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.Professor ScoSco
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 probably turn into a jazz composition publication, perhaps an eBook, an interactive website, or even an analog book, one with real paper.
I’d appreciate any pro’s comments on the content, especially concerning the flow and technical sense-making of the various topics.
I’ve been seeing major traffic recently, especially after I post the link on reddit.
I’m not worried about anyone ‘stealing’ my ideas, cause I’m sure I’m stealing them also. I’d be flattered.
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