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erikgran

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Reply with quote  #1 
I've got a copy of Modern Chord Progressions vol. 1. In the book it's referred to vols. 2 and 3, but I can't find any when googling. Do they exist, and if so, are they available for purchase?

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Erik
YoungBlood

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Posts: 66
Reply with quote  #2 
Far as I know, a second volume has never been produced.
From a source here on this board, I was told that Ted like to leave options open, so he didn't rule out the possibility of a second volume.
I'd love to find out that he had one laying around his house, along with the other (possible) 50 books he mentioned in the Jim Carlton interview, that would be going into production sometime in the near future.



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EXPERIMENT. Patience and determination are key.
barbarafranklin

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Reply with quote  #3 
Ted did plan a Vol. 2 of MCP many years ago but it never came to fruition. As for the other 50 books he was making notes for, none were completed, none were even compiled. What remains are fragmented notes, thoughts, titles (he loved coming up with titles) Bob and I will eventually assimilate these papers and hopefully find enough material to put something together. Do not expect to see this in the near future, it's like putting together a puzzle. Barbara
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Barbara Franklin
erikgran

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Reply with quote  #4 
Thanks for the answers. I believed this was the most likely explanation, though I really hoped there would be more volumes.

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Erik
mark_h

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Posts: 22
Reply with quote  #5 

Hi,

I've got MCP aswell and I have wondered for a while about these other phantom volumes. I only "knew" Ted through his books but what amazed me was the way his personality came off the page both from his comments but also through playing the examples.

I've got a series of questions which I would have liked to know more about. Perhaps others here who actually had lessons with the great man could help with them. Its a bit lengthy but here goes.

 

1. In the introduction Ted says the uses of the progressions include improvising, composing, recomposing, and arranging. Any more thoughts would be useful especially on the last two points.

 

2. He says "systematic" variation techniques will be in Vol.2. Again any ideas?

 

3. Again in the introducion it says there are "principles" which can be used to join up progressions into longer sequences. Did Ted cover this with anyone?

 

4. There are a couple of pages looking at "Scalewise Root Movement"  and "Scalewise Bass Movement" which are "teasers"  on the subjest of "bass progressions" which will be covered "very thoroughly" in Vol 2.

 

5. There will be complete charts on V to I resolution in Vol 2.

 

Do any of these Charts exist in other forms? Its a big ask but I'm sure any further information would be a lot of help to us bedroom aficionados or "the home-based guitar congnoscenti"as Ivor Mairants calls us rather grandly in his pages about Ted in 'The Great Guitarists 2'. Hopefully this could be the kicking off point for some more discussion.

 

For myself any advice about practicing the progressions in longer sequences would be helpful.

 

I'd just like to add how inspiring I find it that this forum and what it stands for exists at all.

mark_h

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Posts: 22
Reply with quote  #6 

I suppose, in trying to answer my own question, that Mark Thornbury's page on modulations would be a useful place to start.

PaulV

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Posts: 1,539
Reply with quote  #7 

Hi Mark,

Here are a few pages that may answer some of your questions, particularly question #4.

Enjoy!

--Paul

Attached Images
jpeg Diatonic_Major_Harmonization,_Asc._Bass_Starting_from_Various_I's.jpg (439.86 KB, 724 views)
jpeg Technique_of_Diatonic_Harmonization_Derived_from_Bass_Lines,_p.1.jpg (425.04 KB, 462 views)
jpeg Technique_of_Diatonic_Harmonization_Derived_from_Bass_Lines,_p.2.jpg (440.92 KB, 408 views)


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--Paul

mark_h

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Posts: 22
Reply with quote  #8 

Wow. Thanks a lot Paul. I'll be giving these a good dose of looking at and reporting back. Hopefully others will say how they get on with these babies aswell.

 

mark_h

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Posts: 22
Reply with quote  #9 

Well, as you could have guessed, those sheets were great.Thanks again Paul. It was very useful seeing that systematic approach of using a scalewise bassline against the same melody starting on successive scale notes and how that changed how you heard the harmony, where if anywhere, it made the melody "want" to go to etc.

Would I be right in saying the basic thinking is:

What bassline do I want or can I hear under the melody?

What do I want to hear that bass note as in relation to the chord I choose? Root, third, fifth etc

What is the relation between the bass and top note?

 

Any comments from anyone else?

 

Also MCP is such a peach of a book it would be good to hear about others' approaches to using it especially as Ted emphasises going through it in order.The sheer quantity of progressions is a bit daunting which is a shame because I am richly rewarded whenever I do dip into it

PaulV

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Reply with quote  #10 

Here's another handout with similar info. about harmonization based on bass lines.

(Ted's comment on the top left-hand side is:  "Use a little bit of reverb to enhance these examples.")

--Paul

Attached Images
jpeg 1984-09-16,_Stepwise_Diatonic_Bass_Harmonization.jpg (647.51 KB, 435 views)


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mark_h

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Posts: 22
Reply with quote  #11 

Thanks again Paul. Really 'preciate it

Masemm

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Posts: 66
Reply with quote  #12 
I was wondering if anyone could share how they have used Modern Chord Progressions.   There is a gold mine of wealth in this book but it is hard to develop a systematic way of getting the the good stuff out. Especially when you have limited practice time.  I try to follow Ted's directions to go through the book in order but I am not sure when to move on to the next section or even onto the next progression.

Basically the process I am trying to adopt is:

* Be able to play through each progression (some I skip becauuse I don't like them or I don't want to spend the time)

* The ones I like I try to integrate into my playing by using the same patterns for an arrangement or by playing the progression while improvising.

Do others actually write out the progession in other keys or just transpose visually?

I suppose what I am asking is: What is the best way to get the most from the book?

Thanks
Michael

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Deparko

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Posts: 83
Reply with quote  #13 
Ted told me once to go through the book and mark the progressions that I loved and than learn those in different keys. 

Get close to the voicings and sounds that you love and ignore the ones that don't appeal to you



Mark

Masemm

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Posts: 66
Reply with quote  #14 
Hi Mark
Thanks
That sounds like good advice!
I will do just that.
Regards
Michael

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MarkThornbury

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Posts: 79
Reply with quote  #15 
I thought I'd weigh in here...I remember seeing MCP in cut-and-paste format at Dale's just before publication, and as soon as it came out, I spent some time with Ted on it. He told me to try EVERYTHING in at least 3 keys, and on page 15 wrote out some key cycles which sound good to him.  Many of us sort of want to play everything in the cycle of 4ths, which is great, but it's hard to find the time, so Ted suggested choosing from these, and being in thirds, get you around the neck rather quickly.

I've attached this page, in Ted's own hand, which can be seen at the top. He pointed out that these key cycles sound very fresh, and sort of delight the ear, as playing these a fouth away from each other sound too close, and rather dull.


BTW, I'm really enjoying the progressions which Paul has posted. Beautiful little pieces, which I play repeatedly in cycles such as these, being careful to think in names & numbers...

Attached Images
jpeg MCP_Key_Cycles.jpg (458.24 KB, 670 views)


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