3-key 7th chord, triad and scale shape workout SUMMARY

[@masterbuilder3166]

Noel. I really appreciate you putting this out for our study. Definitely raising the bar for me

[@baztweed]

Really fascinating reading about Joseph Schillinger, his connection with Berklay, and how Gershwin used Schillinger's principles in the composing and orchestration of his famous opera Porgy and Bess. So happy to find this, il be charting out this lesson on neck diagrams this evening, once again thank you :)

[@Web4Panama]

That is awesome

[@gabrielanthony7874]

THANK YOU SO MUCH

[@gabrielanthony7874]

Hey @nohjoh08 ! Been practicing this over the past few days and i was wondering, how would you apply the voice leading technique to different chord progression? The descending thirds also really seems to work with this particular chord progression. Is there a way to generalize this to 1)other chord progressions (random ones even) and 2) switching between arbitrary keys? Or do these only work within the confines of this specific chord progression?

[@nohjoh08]

I haven’t tried random ones, but I bet you could stumble on some neat ideas that work. The “rule” is to never double up on the same inversion from chord to chord. If one is root position, the next one is either 1st inversion (“clockwise”) or 2nd inversion (“counterclockwise”) Try descending 5ths! They sound great clockwise or counterclockwise.

[@gabrielanthony7874]

@@nohjoh08 let me work on this! (Also I’ve realized it’s much more intuitive, to me anyway, to name it by the ascending interval😆going backwards is a brain-buster)

[@baztweed]

thank you

[@IlyaTrubyanov]

Tell us about your school, it’s very interesting to know

[@nohjoh08]

Thanks for asking! There’s a link in the description (“Skool” link). There’s some info there.