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Jarrelles

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Posts: 9
Reply with quote  #1 
Hi all, im trying to make serious study of Teds Baroque improvisation lessons on Youtube, and am hoping someone more experienced can tell me the function of a particular two chords;

The section of the video I'm talking about starts with an ascending bass line at 00:59 and ends at 1:09 (the chord with a C# in the bass), my analysis so far is;

(These are the notes in the order Ted plays them, first note is always bass)

First chord: F# A D# E#(F) F# A      - F# Minor (tonic) with the 6 and 7 from melodic minor

Second chord: G# C# F# E# G# B - C#7 (V7) with the 11 added

Third chord: A C# F# G# A C#        - Back to tonic (F# minor) with the added 9th

So far the progression is just I-V-I, but i'm unsure of how to look at the function of the next two chords:

Chord 4: B D D# F F# G# 

Chord 5: C# A B G# A F# C#

Im sure they could be named many things but for me there are too many embellishments and i'm trying to understand what the function of the chords were when Ted played them, i'm not very experienced with this and was hoping one of you fine folks would know, I've linked the video below and i hugely appreciate anyone that could give me some answers! Thanks, Jay


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J. Spencer
Patlotch2

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Posts: 11
Reply with quote  #2 
you have several examples here > Ted Greene Baroque
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Patlotch
PaulV

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Reply with quote  #3 
Just one picky detail:  the progression of the F#m - C#7 - F#m would be notated as i-V-i (notice the "one" chord is small cap, indicating minor).
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--Paul
Jarrelles

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Posts: 9
Reply with quote  #4 
Quote:
Originally Posted by Patlotch2
you have several examples here > Ted Greene Baroque


Im going to study these too but i was asking about the function of the particular two chords in the video, I think its IV-i but im not experienced enough to be confident in that assumption.

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J. Spencer
Patlotch2

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Posts: 11
Reply with quote  #5 
yes, it's true, excuse me. I can't help you. I am interested in the counterpoint in jazz (Jimmy Wyble...), but I do not know the baroque counterpoint, with its strict rules
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Patlotch
RobertS

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Posts: 37
Reply with quote  #6 
I am just hearing a step wide rise up the F minor scale from F#m (i) to Gdim (ii dim) to A (III) to Bmin (iv) to the C# (V) then to a modulated sixth (diminished i think)...

so as i hear it, the 4th and 5th chord is just the iv and V of F#min scale

there is also this transcription you can study but i think the 4th chord in question is a typo in this transcription:

http://www.tedgreene.com/transcriptions/assets/BaroqueImprovisation_Pt1_TedGreene_WillKriski.pdf

kontiki

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Posts: 265
Reply with quote  #7 
There's a mark levy lesson where Ted outlines how to harmonize scales (ascending and descending) in the bass: ascending would be I V I IV V(or I) IV V I. it would be the same in minor except the i and iv would be minor, except on degree 6. And he's doing here exactly what he says in that lesson. the progression here is i V/5 i/3 iv6 i/5 IV/3(major) V/3 . the number after the slash indicates the "chord's" 3rd or 5th in bass. there is also a lesson sheet on this site showing this. i'll look for it and post the link.

edit: it's Baroque 2-Voice Counterpoint. in the baroque section.

by the way, even though the Kriski transcriptions are excellent, they do have errors, and one of the errors is at the beginning , i dont remember exactly where, though i could find it, i t might have been exactly at this spot come to think of it, but i remember it was on exactly this subject. To be honest the error in question was a bass that was hard to hear, but with the knowledge Ted gives in his lessons on this subject it is clear what he was doing.

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