Block Chords

[neueliteratur]

Hello folks,

A dude told me,

Sy Oliver invented a technique of arranging the horns called BLOCK CHORDS, which became the standard arranging method for horns later on.

So I became curious to know what exactly block chords mean.

I wiki'ed it.

It looks like it's a notion that is opposed to arpeggio. Instead of playing each note of the chord separately, you play it altogether.

So it doesn't sound like a arranging technique. When a 12 year old punk plays his guitar, he's playing block chords.

Does anybody know what the dude might have been talking about?

[covalent]

EDIT

[jancivil]

it is an arranging technique, if you refer to what the person said to you.

it's based more or less on a style of piano comping, or even soloing, harmonizing the tune with close-voiced harmonies in similiar motion. EG: "Locked-hand" style of George Shearing...

it's a very rhythmic approach btw

in the most general terms, yes, it's just 'not broken' chords

[gsoto]

So it doesn't sound like a arranging technique. When a 12 year old punk plays his guitar, he's playing block chords.

typical strumming:


block chords:

[psenior]

Yes, block chords is a style of playing keyboards/guitar and an arranger's technique. It's a pretty way of harmonizing melodies. If you get really good at it on your instrument, you can take chord solos. Here's how I typically do it on the piano.

Let's say we want to harmonize a melody. The notes are C, D, E, and A, ascending. Since we are good at music theory, we immediately recognize that they are the 1st, 2nd, 3rd, and 6th notes of the C major scale. We will use the C6-diminished scale to harmonize the melody. On Wikipedia, this scale is also called the bebop major scale. The C6-diminished scale is merely a C6 chord overlapped by a D diminished 7th chord. These are the only two chords we will use to harmonize the melody.

So, for the C melody note, I'd play a C6 in the right hand with the C note being the highest note in the chord (E G A C). In my left hand, I'd play the C an octave lower with my index finger. Try it; this is the aforementioned George Shearing sound.

For the D melody note, we follow a similar pattern. Play a D diminished 7th with the D note being the highest note in the chord (F Ab B D) in the right hand and a D an octave below in the left hand. This chord sounds good and works well because it actually is functioning as a G7b9 chord, which is the V7b9 of C.

I will leave it to you to continue the above pattern for determining the next two block chords. It's pretty easy, right? Reply with what you think would be the next two chord voicings.

Remember, we are just scratching the surface here on how to do this. If you can understand this introductory material, we can discuss it more in depth later if you like.

[neueliteratur]

Thanks folks. Appreciate your replies.

block chords:

Wow, how does the melody stand out from the other notes of the chords like that? Cool.

I will leave it to you to continue the above pattern for determining the next two block chords. It's pretty easy, right? Reply with what you think would be the next two chord voicings.

Remember, we are just scratching the surface here on how to do this. If you can understand this introductory material, we can discuss it more in depth later if you like.

Thanks for your explanation.

I'll work at it and post the result.

[diijay]

Ok, let's if I am getting this right.

Let's say we want to harmonize a melody. The notes are C, D, E, and A, ascending. Since we are good at music theory, we immediately recognize that they are the 1st, 2nd, 3rd, and 6th notes of the C major scale. We will use the C6-diminished scale to harmonize the melody. On Wikipedia, this scale is also called the bebop major scale. The C6-diminished scale is merely a C6 chord overlapped by a D diminished 7th chord. These are the only two chords we will use to harmonize the melody.

So, for the C melody note, I'd play a C6 in the right hand with the C note being the highest note in the chord (E G A C). In my left hand, I'd play the C an octave lower with my index finger. Try it; this is the aforementioned George Shearing sound.

For the D melody note, we follow a similar pattern. Play a D diminished 7th with the D note being the highest note in the chord (F Ab B D) in the right hand and a D an octave below in the left hand. This chord sounds good and works well because it actually is functioning as a G7b9 chord, which is the V7b9 of C.

I will leave it to you to continue the above pattern for determining the next two block chords. It's pretty easy, right? Reply with what you think would be the next two chord voicings.

Remember, we are just scratching the surface here on how to do this. If you can understand this introductory material, we can discuss it more in depth later if you like.

The scale is C D E F G Ab A B:
for E would be: E(Left Hand)+ G A C E(Right Hand), a inversion of C6 or Am7.

for A would be: A(Left hand)+ C E G A(Right Hand), same as above.

I have two questions:
1. How do we form the m6th-dim scale, 7th-dim scale and the 7th(b5) scale?

2. How do we know the best scale to use between 6th-dim, m6th-dim,7th-dim and 7th(b5)scales?

Thanks.

[tapper mike]

You don't form the scale you form the chord and harmonize the note with the chord. A melody can be derived from a scale but a scale is not a melody in and of itself.

[psenior]

I have two questions:
1. How do we form the m6th-dim scale, 7th-dim scale and the 7th(b5) scale?

My post on this thread describes the m6-dim scale.
http://www.kvraudio.com/forum/viewtopic ... 1&start=15

If you can see the logical pattern occurring, you should be able to determine how to make the other 2 scales you asked about.

2. How do we know the best scale to use between 6th-dim, m6th-dim,7th-dim and 7th(b5)scales?

http://www.uchino.com/barry/bsrjava.html

[diijay]

Psenior,

Are my answers correct?

On your example to form a C6-diminished scale, you said:
The C6-diminished scale is merely a C6 chord overlapped by a D diminished 7th chord. These are the only two chords we will use to harmonize the melody.

Isn't a half-step below, so it should be C6 and Bdim7?

All the formulas are half step below as far as dimished 7th, right?

Ex: G6-dim scale = G6 + Gbdim7, right?

Thanks.

[jancivil]

2. How do we know the best scale to use between 6th-dim, m6th-dim,7th-dim and 7th(b5)scales?

Thanks.

You only 'know' what's best because it sounds 'the best' to you - in a given context. Theory isn't the rubber meeting the road yet.

[jancivil]

The C6-diminished scale is merely a C6 chord overlapped by a D diminished 7th chord. These are the only two chords we will use to harmonize the melody.
B
Isn't a half-step below, so it should be C6 and Bdim7?

There isn't a difference between B dim 7 and D dim 7, except for considerations of spelling, which is tied to harmonic function in a context (and spelling doesn't mean all that much in jazz practice). EG: B D F Ab vs D F Ab Cb.

A 'bebop' scale doesn't have to find an exact harmonization anywhere. Taking observations of the practice to produce formulaic thought in some theory just isn't it for this kind of music.

The statement 'we have only two chords that will work to harmonize this scale' is useless. Bebop practice is based in an approach to the harmonies, the whole thing began with an idea of getting more interest and complexity in the use of conventional harmonies or chord progressions. Mike is right, this practice isn't about harmonizing scales.

[A.M. Gold]

How did arranging for horns turn into an argument about bebop? Horns could be arranged for a whole bunch of different styles.

Edit: never mind, I see this is a resurrected thread.

[psenior]

If there's any argument, it's kind of like the old "Which came first; the chicken or the egg?" Except in this case it's "Which came first; scales or chords?" Everyone will have a different perspective on this issue. There is more than one way to do things.

I used to be a member of the "chords" camp but now I am in the "scales" camp.

Yes, this thread was resurrected from the dead by ecsmix, as he still has questions for me on this topic.

[tapper mike]

That is where you and I differ.

Everything is harmony to me. When I play a melody it is in context with the harmony. Melodic content is not scalar repetition.

When you were a child you may have practiced your abc's. Do you attempt to discuss things by reciting your abc's? Does reciting them really really fast make you look more inteligent or convey the emotive and intelectual ideals in your head?