Jazz Supplement Episode One

Todays Jazz Supplement is a line that works over  dominant minor 7th chord’s (note that minor seventh licks can also be used over the dominant chord a 5th down… more on that later). This line is in the style of Joe Pass. Enjoy! And Make sure you flip it upside down and sideways!

*In this episode I do an analysis of the line as it applies harmonically to a Cm7 chord. I will not always offer this in these mini lessons. 

 

Jazz Supplement Intro

Jazz Supplement will bring you a new line lick or phrase every week. The idea is that you will take each line and play it in every direction in every key. Fully integrating it into your playing, thus making it a part of your jazz language. These are audio only. The reason I am providing no notation is that jazz is an aural art. And should be learned as such. Take each episode and transcribe it by ear! It’ll be fun, possibly frustrating and most certainly rewarding! Enjoy :-)

 

New Album Available!

Album Cover

 

 

 

 

I am very excited to announce that my newest album is now available for digital download! This is the first album that Nastassia, my beautiful wife, and I have collaborated! I have long desired to collaborate and produce an attractive, and enjoyable collection of this unique artistic blend of guitar and vocals. We chose the jazzy harmonious sounds of the 1930s for it’s remarkable individualized expression of song, as well as other great tunes with our own interpretations. It is our hope that we captured the life and fervency of this one-of-a-kind music, and that it continues to live on.

You can check it out Here

Or on iTunes

 

Praise for a new chamber work!

Many thanks to Neal Fitzpatrick for taking the time to write this wonderful piece  on my composition. Which he took part in performing!

 

“I had the great fortune of being part of a trio that premiered a new work for guitar, vibraphone and flute by the composer Nathaniel Moore. The work was one of three winning works commissioned by Dr. S. Beth May and the music department at Northwest Vista  College in San Antonio, TX. The work is titled “Unbidden Shadows of The Unintended”. Nathaniel wrote this as undergraduate student but the work showed a maturity in compositional technique and musical knowledge far beyond his undergrad status. The first section is modern in feel but at the same time is a classic introduction, drawing both the performer and audience into the experience with strong motifs. The middle section is followed by a very rhythmic, syncopated section and acts as great contrast to the introduction. There is a hint of the introduction before the work takes us to the lento final section, a section I can only describe as exquisite. The play between the three instruments is perfectly balanced and the attention to the interplay, voicing, volume, and timbre shows advanced skill in chamber music composition. I am one of those musicians who feel it is important for the composer to take into the consideration for what instruments they are composing.I reject the modern notion held by some composers that the instruments don’t count and that the music itself is supreme. I believe one must consider the medium when composing. This is a challenge that Nathaniel met head on with great success. There were no “lost” or “buried” notes. All the notes count rhythmically and aurally. 

Since we are well under way into the 21sst century it is not surprising that SHADOWS (original chamber ensemble piece by Mr. Moore) does  reflect modern times. The piece at times has the energy and language of rock music as well as the timbre and space of what one might call ambient music. It is firmly in the tradition of western music composition but is undeniably a work whose ink is still not quite dry.

 …SHADOWS OF THE UNINTENDED is a first rate chamber music work and one I highly recommend for any guitarist looking for a fine chamber music experience.” - Neal Fitzpatrick, Classical Guitarist and Yale Graduate. “

 

 

Chord Substitutions in Minor Pt. 2

20140119-122047.jpgToday I would like to pick up were I left off with the  ii – V – i progression. Last time I discussed possible substitutions for the ii7b5 and the V7. These are substitutions in minor keys or brief modulation to minor keys. 

 

 

 

 

 

 

 

Substitution 3)

If the root of the i chord is omitted; a substitute for i which has complete plurality is revealed. The bIIIMaj7 chord.

Original: ii – V – i

 

Progression with substitution: ii – V – bIIIMaj7

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What is Pluralism?

Sixfinger_threadfin_schoolSo What is pluralism anyway? Well, when we talk about pluralism in a harmonic context it means that a single chord can have multiple names and functions. For example If we examine a D-9 chord: D – F – A – C – E. Then remove the root we have an FM7 chord. This is the concept of pluralism applied to the harmonic language of music. Some chords have complete pluralism. Like CM6 and A-7 : C – E – G – A. These notes when arranged in this order function as a CM6 chord. However, When the notes are re-arranged: A – C – E – G. Now, the notes spell a completely different chord. A-7. These two chords have complete plurality. In other words: they share ALL notes. They could be substituted for each other in the right context.Or depending on the function of the harmony you might see the first one and consider IT to be a first inversion A-7 chord.

Chord Substitution Pt. 2

Last time I delved into some basic diatonic major chord substitutions. This week the topic continues. You should have had sometime by now to implement those 2 basic substitutions I outlined last time. Which were the IV in place of the ii9 and the viio7 in place of the V7. This was in the context of the ii – V – I progression and is applicable to major keys. 

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