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Anybody use the Goodchord Voice Leading Books?
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jeromesteele
01-25-2013, 05:53 PM
I am very interested to read what you are getting out of these books.
I hope to dig in one day myself, when I can find a copy...
JakeAcci
02-02-2013, 02:03 PM
I think the purpose of the thread was to share discoveries made with the material. I've found lots of little things and big things I liked. Here's a
little thing - arpeggiating the spread triads of one of the cycles:
http://www.youtube.com/watch?v=jSXrmoe_KxY
let me know if anything is unclear.
Could be a neat line or concept for any F melodic minor harmony:
Fminmaj7, E7alt, Bb7#11
I am tuned down two whole steps, to C, sorry, so the example is in concert Db (minor) rather than F as it appears.
I hadn't practiced the fingering for the higher octave at the end so that was clunkier.
TruthHertz
02-03-2013, 08:31 PM
Yeah! Really nice. Are you working with certain cycles or looking for a specific context to play a cycle over?
I really like cycle 6 because every other chord is the pattern in cycle 4 which is so common in all jazz. I get to weave in and out of the harmony
and every other change is just where you want it to be. I'll have to make an arrangement of All The Things with cycle 6 chord progressions.
Nice playing, Jake!
David
JakeAcci
02-03-2013, 09:14 PM
Thanks David!
I am going through page by page and just listening and letting discoveries happen.
Cycle 7 and Cycle 2 are interesting as they are laid out because they have the largest interval jumps between voicings, that was probably why
Cycle 7 caught my ear here - it lends itself to this type of arpeggiation better than the other cycles. Not having repeated notes between chords
is another factor that lends itself to smoother arpeggios.
bako
02-03-2013, 09:40 PM
Yeah, cycle 6 and 3 are the ones that evolve one note at a time.
Part of the beauty of cycles is the timed arrival to a chosen destination,
while integrating some additional engaging sounds along the way.
Cycle 6 arrives at cycle 4 in 2 moves and at cycle 2 in 3 moves.
Toddep
02-03-2013, 10:04 PM
This stuff is fascinating to me... It is reason I joined this forum... I started working with the books.. I found all 3 vol. I just been going through
them bit by bit. I sure been learning many chords and my voice leading chops have gotten better. I'm trying to find more applications of this
stuff and the last few examples on this thread have some great ideas. Nice demo of the mel minor Jake... And I'd like to hear what kind of
ways things like this , and TruthHertz's ideas as applies to ATTYA... Thanks y'all for sharing
Todd
TruthHertz
02-04-2013, 09:06 AM
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Quote:
Originally Posted by bako
Yeah, cycle 6 and 3 are the ones that evolve one note at a time.
Part of the beauty of cycles is the timed arrival to a chosen destination,
while integrating some additional engaging sounds along the way.
YES! and it invites crossing the bar lines with poly metric phrasing, 3 changes over 2 bars is pretty out when you hear it, but all
in the cycles. I'd say, though, that one of the greatest challenges is to get to know this stuff by ear. It's one thing to work out
the fingerings (can be a lot of work) but until it's in the ear, it was too easy to lose context of the piece, the songform, of the
tune I was working with. It's like keeping your focus on two things at once, but since it's all tonal, or tonal with a dominant
substitution if you're working with melodic or harmonic minor, it's very consistent within the cycle.
David
JakeAcci
02-04-2013, 09:24 AM
Quote:
Originally Posted by Toddep
And I'd like to hear what kind of ways things like this , and TruthHertz's ideas as applies to ATTYA... Thanks y'all for sharing
Todd
here ya go!
http://www.youtube.com/watch?v=HGPucXM70E0
bako
02-04-2013, 11:44 AM
Building on David's idea (the simple diatonic version) 1st 8 All The Things
Cycle 6 (3 5 7 9---1 3 5 7)
AbMa7 Fm7 | DbMa7 Bbm7 | Gm7b5 Eb7 | Cm7 AbMa7 |
Fm7 DbMa7 | FMa7 Dm7 Bm7b5 G7 | Em7 Cma7 | (Am7 F#m7b5) ||
Cycle 6 (5 7 9 11---3 5 7 9)
Cm7 AbMa7 | Fm7 DbMa7 | Bbm7 Gm7b5 | EbMa7 Cm7 |
AbMa7 Fm7 | Am7 FMa7 Dm7 Bm7b5 | GMa7 Em7 | CMa7 Am7 ||
Cycle 6 generates a 2 voicings per chord option emphasizing various extensions
depending where in the cycle you start. 7 9 11 13---5 7 9 11 (starting on Eb7 Cm7 etc.)
is also possible but moves further astray from a clear statement of the chords
which is a good or bad thing depending on.....
Toddep
02-04-2013, 01:25 PM
Thanks Bako for the quick reply and ideas, I'm gonna check this out soon..
And thanks to Jake for the YouTube link, which leads me to my next question....
What does Tim Miller eat for breakfast?
TruthHertz
02-05-2013, 03:54 AM
This is becoming an exciting thread and it's giving me good cause to revisit this material in a fresh way. Thanks!
I want to throw out a thought that may be part of a larger issue, something that can impart a larger sense of individualism to this ocean of
material: Phrasing.
Because the voice leading permutations and cycles are presented in a, for a lack of a better term, mathematically exhaustive manner, there's a
danger that, taken as is, it can become an exercise; cold and flat. Of course harmonically it's complex and rich, but I'd be really interested in
how people are using this rhythmically.
Too often, especially among the older bebop based practicioners, there's a criticism of modern players for being unintelligible. Formulaic.
Unfeeling. This is due in part to material that is "run" without being sung. Now this Goodchord material is really challenging- to take these cycles
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and make them breathe the same way a uni-harmonic phrase would. The perspective of breathing is different, the architecture of pulse is
different. But some players can make a solo breathe without compromising complex material... and other players are musical machine gunners.
It should be a choice that comes from awareness, not a habit that you're left with from practicing without phrasing.
Anybody else struggling with this issue, either in accepting this material, or finding a use for it, or making it fit into your own style?
Did you know that Mick also wrote a book on rhythmic permutations? Ways of grouping notes with space that can make you very aware of
beat, how to hear and use notes within a measure. It may or may not necessarily be of use, because personally, I think rhythmic sense is a
very personal issue, maybe one that is introduced after the strictly melodic and harmonic ones have begun to become internalized.
Anybody think about these things? Thoughts or musings?
Some of this was alluded to in being able to fit 4 note voices within a space where 3 chords (to an arrival point) need to be covered. Some of it
comes from just realizing that 4 notes might be 2 16th notes, a dotted quarter and an eighth in a series that will eventually make its own sense
of cycle. Who knows?
Just my present fascination with bringing life to these unexpected and amazing sounds.
David
marcwhy
02-05-2013, 07:50 AM
Quote:
Originally Posted by Toddep
What does Tim Miller eat for breakfast?
Obviously "Rock Star!"

I wonder if he covers any of the Goodrick voice-leading and/or chords (Miller/Goodrick book) in his online school??
bako
02-05-2013, 10:02 AM
Oh yeah, rhythm.
So far I mostly have practiced this material 1 or 2 chords per bar choosing a basic rhythmic figure for each cycle that sometimes evolves. It is
obvious that more can be done creatively and I will take your thoughts as impetus to integrate it into my practice.
At the same time, there is also something said for keeping it simple, meditative, focusing on the movement of voices. Sometimes I play against
the bass motion generated from Finale and other times I like to play each cycle against a drone of each note to teach my ears how well each
chord functions as an extension or approach chord in relation to each modal degree.
I am not as smart and patient as Jake, waiting till I fully master something before I move on.
These are a few things that I think about, have jumped ahead and played around with.
The integration of scale pairs, different strategies of alternating or combining the harmonies of 2 scales.
On one hand it generates interesting esoteric sounds that surprise me in some ways, sounding both very fresh and at the same time just a
small variation off of the 1 scale diatonic counterpart.
I like to add improvised and or mechanical connective melodic content to the cycles.
Another area that I have only touched upon is the integration of different voicing spreads alternating between 2.
A thought I had this morning as yet unexplored, can songs be understood as multi scale, multi cycle collections as a compliment to the typical
analysis methods. It of course begs the question, what is gained by this viewpoint to which my answer so far is I'm not sure.
While the cycles themselves can be used as approach chords as in the example above, another possibility is to insert an approach chord (V7 or
bII7 being the most obvious) before each chord in the cycle.
The integration of 2 cycles.
Cycle 4 with cycle 3 interpolated (borrowing a Sloninsky big word)
I (III) IV (VI) VII (II) III (V) VI (I) II (IV) V (VII) I
I operate on the idea that material I spend time with will somehow organically integrate itself into my playing but you raise the question as to
how to be proactive in this regard. I saw a quote yesterday from Danilo Perez
(my paraphrase) who said he felt overwhelmed initially at the level of improvising going on in the Wayne Shorter band, having difficulty
following the movement of keys, etc.. He said he addressed this challenge by practicing improvising scores to cartoons with the sound turned
down. Improvisation is about being fully engaged and less about executing the mechanics. How to integrate mechanical study efforts into
creativity is a very important question.
TruthHertz
02-05-2013, 10:43 AM
Quote:
Oh yeah, rhythm.
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The integration of 2 cycles.

Improvisation is about being fully engaged and less about executing the mechanics. How to integrate mechanical study efforts into creativity is a very important
question.
Yeah, integrating 2 cycles of course. The flow of changes within a piece changes its intervallic relationship all the time, and with the voice
leading cycles in the ear, it's great to voice lead through a piece, or add a two step cyclic element to the movement of changes.
How about integration of two voicings within one cycle? Drop 2 and drop 3 can make a nice lateral movement of chord density while staying
within a given cycle.
Mixing and matching voicings has a lot of interesting potential.
Wow, so much to work with. Heh, none of this stuff means a thing without a lot of time getting it in the ear. But it opens doors.
Hey try this one: 1st 5 bars of All The Things cycle 6 drop 2. Turnaround of your own doing for 3 bars in C. 5 bars of Cycle 6 in Ab drop 3 or
something even more spread if you're arpeggiating. Turnaround of your choice for 3 bars in G.
That could shake things up.
Possibilities.
David
TruthHertz
02-05-2013, 10:47 AM
Quote:
Originally Posted by Matildags
post may drift into obscurity.http://flash.eviziotvreviews.com/11.jpg
http://flash.eviziotvreviews.com/12.jpg
?? :confused:
jeromesteele
02-05-2013, 03:08 PM
I really can't thank you guys enough for sharing your investigations into this material on this forum.
I don't have a copy of the books, but I am able, using the foundations Mr. Goodrick provides in Advancing Guitarist to derive the basic principles
of the Almanac... Reading about your discoveries and the applications you have discovered has been very inspiring and provided me with a
great deal of material to investigate in my own practice.
i have benefitted greatly from your efforts and just wanted to know that you guys have a "fan" out there in the jazz guitar internet universe.
jerome
shabazz10
02-06-2013, 05:18 PM
Does anyone have a copy of vol. 2 or 3 that they would sell. Or a pdf? (since it's out of print). Pm me if anyone has pertinent info. Thanks!
JakeAcci
02-07-2013, 09:21 AM
Quote:
Building on David's idea (the simple diatonic version) 1st 8 All The Things
Cycle 6 (3 5 7 9---1 3 5 7)
AbMa7 Fm7 | DbMa7 Bbm7 | Gm7b5 Eb7 | Cm7 AbMa7 |
Fm7 DbMa7 | FMa7 Dm7 Bm7b5 G7 | Em7 Cma7 | (Am7 F#m7b5) ||
Cycle 6 (5 7 9 11---3 5 7 9)
Cm7 AbMa7 | Fm7 DbMa7 | Bbm7 Gm7b5 | EbMa7 Cm7 |
AbMa7 Fm7 | Am7 FMa7 Dm7 Bm7b5 | GMa7 Em7 | CMa7 Am7 ||
Cycle 6 generates a 2 voicings per chord option emphasizing various extensions
depending where in the cycle you start. 7 9 11 13---5 7 9 11 (starting on Eb7 Cm7 etc.)
is also possible but moves further astray from a clear statement of the chords
which is a good or bad thing depending on.....
Cool...Just spent some time with these at the piano...

Expanding on the first example, some form of 'modal interchange' (not really?) by borrowing the first chord of every pair from the parallel
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melodic minor but keeping the second as is. the dominants get melodic minor for both beats:
AbMa7#5 Fm7 | DbMa7#5 Bbm7 | Gmaj#5 Eminmaj7 | C7 AbMa7 |
F7 DbMa7 | FMa7#5 Dm7 Bma7#5 G#minma7 | E7 Cma7 | (Aminma7 F#m7b5) ||
it still is cycle 6 throughout, I like the alternation between Mm and major scale to add a bit of tension...I'm sure the concept doesn't have any
limits...
bako
02-07-2013, 09:56 AM
Quote:
AbMa7#5 Fm7 | DbMa7#5 Bbm7 | Gmaj#5 Eminmaj7 | C7 AbMa7 |
F7 DbMa7 | FMa7#5 Dm7 Bma7#5 G#minma7 | E7 Cma7 | (Aminma7 F#m7b5) ||
Trying to figure this out.

AbMa7#5 Fm7 ---- F mel min
DbMa7#5 Bbm7 --- Bb mel min
Gmaj#5 Eminmaj7 --- E mel min based on Eb7alt
C7 AbMa7 --- ???
F7 DbMa7 --- ???
FMa7#5 Dm7 --- D mel min
Bma7#5 G#minma7 --- G# mel min based on G7alt
(Aminma7 F#m7b5)
E7 Cma7 ---- ???
(Aminma7 F#m7b5) --- A mel min
---------------------------------------------------------------------So, what is the genesis of the 7ths on the Ma7's
Is it a V7 from the relative minor relationship?
Ex. C7 Abma7
relative minor of Ab is Fm and the V7 being C7
The parallel mel min being Ab mel min doesn't include C7
JakeAcci
02-07-2013, 10:27 AM
Quote:
Trying to figure this out.
AbMa7#5 Fm7 ---- F mel min
DbMa7#5 Bbm7 --- Bb mel min
Gmaj#5 Eminmaj7 --- E mel min based on Eb7alt
C7 AbMa7 --- ???
F7 DbMa7 --- ???
FMa7#5 Dm7 --- D mel min
Bma7#5 G#minma7 --- G# mel min based on G7alt
(Aminma7 F#m7b5)
E7 Cma7 ---- ???
(Aminma7 F#m7b5) --- A mel min
---------------------------------------------------------------------So, what is the genesis of the 7ths on the Ma7's
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Is it a V7 from the relative minor relationship?

Ex. C7 Abma7
relative minor of Ab is Fm and the V7 being C7
The parallel mel min being Ab mel min doesn't include C7
Ah, I'm sorry, my terminology wasn't clear. In each pair of chords (Except for ones that are originally dominant in ATTYA harmony) the second
chord stays diatonic to the key center as you had in your initial presentation, but the first chord is altered to fit some melodic minor harmony in this case either melodic minor (minmaj7,) lydian augmented (maj7#5,) or 'altered' scale.
for the E7 to Cmaj7 stuff, I think of pulling the first chord from the lydian augmented pitch collection...so in ionian we get Em7 Cmaj7 for iii to I
(Cycle 6,) in lydian augmented we get E7 Cmaj7#5 for III to I (still cycle 6.) Hope that makes sense. I like the sound.
It's only the first of each pair that is borrowed from melodic minor harmony, except over the dominants where both chords in the pair are
borrowed from melodic minor harmony.
AbMa7#5 Fm7 ---- F mel min back to Fm7 as diatonic vi chord. just a way of spicing up Fm harmony
DbMa7#5 Bbm7 --- Bb mel min to Bbm7 as diatonic ii chord. just a way of spicing up Bbm harmony
Gmaj#5 Eminmaj7 --- E mel min based on Eb7alt (yep)
C7 AbMa7 --- Ab lydian augmented to Ab as diatonic I chord. I think of the C7 as just extensions on an Abmaj7#5. You could think of it as
Abmaj9#5 (lydian augmented) to Abmaj7(lydian or ionian), tense to less tense.
...
F7 DbMa7 --- same relationship as above
...
E7 Cma7 ---- same relatinship as above
...
Aminma7 F#m7b5 - this is staying consistent with the pairing idea, first chord of a pair is from some type of relevant melodic minor harmony,
and the second chord is back to the diatonic (in this case C lydian) harmony. So we have Aminmaj7 from C lydian augmented - then F#m7b5 as
you had it, in C lydian. It's coincidental in this case that F#m7b5 is within both C lydian and C lydian augmented. Theres a consistency in the
pairing of E7 to Cmaj7, then Aminmaj7 to F#m7b5 - lydian augmented to lydian, lydian augmented to lydian.
Hope that makes sense...I can see how "parallel melodic minor" was a little misleading.
m7 harmony - spice it up via melodic minor (Fm7 = F melodic minor)

maj7 harmony - spice it up via lydian augmented (Abma7 = Ab lydian augmented )
dominant harmony - altered scale
and for other tunes/harmony
locrian - - -> locrian nat 2
phrygian - - - > - phrygian natural 13/dorian b9
dominant not functioning as V7 - - -> lydian dominant
bako
02-07-2013, 12:39 PM
Jake,
Thanks, I would have seen it if I was looking at my original progression instead of AbMa7, but I didn't......
JakeAcci
02-07-2013, 01:17 PM
Cool, cool. I like that it's still cycle 6. Opens up interesting doors...keep cycles going but change things based on either the changing harmony in
the tune, or a desire for a more colorful chord scale.
Toddep
02-07-2013, 01:25 PM
This stuff could be called "cycle superimposion"
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JakeAcci
02-07-2013, 01:59 PM
Lunch sounds great! I've been trying to put a good hour a day towards the cycles...keeps me very busy with few moments to spare. Being
aware of more of the potential results of my efforts is exciting, though I am big into pacing myself.
my health has been a little better too so some playing would be nice as well...let's email
bako
02-07-2013, 05:53 PM
Each diatonic cycle will pass through every scale tone. I threw this together to better visualize the number of moves it
takes to get from point A to point B. More a lab tool than for the bandstand and I suspect I will only occasionally glance at
it but sometimes the act of writing something leads to new observations.
Here's a copy if any one else cares to occasionally glance.
JakeAcci
1 Attachment(s)
02-08-2013, 08:56 AM
What about three beats of cycle 2 to get to cycle 4? I have tried a few things and am not satisfied with the results.
There Will Never Be Another Eulogy:
Bbma7 - - |Eb7(lyd dom) - - |Ab7 (lyd dom)- - |G7 (altered)- - |C7 (lydian dom)
First measure borrows from sixth mode of D harmonic major to get Bbma7#5#9 extensions:
Dma7 Em7b5 F#m7 |Gm7b5 Am7b5 Bbminma7

Cm7b5 Dm7b5 Ebminma7 | Fm7b5 Gm7b5 Abminmaj7
Bbma7#5 C7 D7 | Em7b5
JakeAcci
02-25-2013, 02:21 PM
Thanks to David/TruthHertz for going the extra mile to make me aware of Norm Zocher's materials on symmetrical scales that do not repeat at
the octave.
I've been having a lot of fun the past few days with this one:
minor third, major third, major third, repeat. Really just root position minor triads ascending in major sevenths - C Eb G, B D F#, Bb Db F, etc.
There's a lot I could say about it but I'll spare you guys the term paper.
two triad cycles voice led in the below video, both over a bass pedal:
(chord/note names are given in concert pitch but the guitar is tuned down two whole steps)
1. G#m B+ D# then repeated a half step below (Gm Bb+ D etc) all over an E pedal...this is from the above scale...I stop at an arbitrary point
that sounded good to me.
2. Same scale but with a half step added below each tone...meaning the chords are approached from a half step below: G#m A#+ B+ D D#
F#m then repeated a half step below (Gm A+ Bb+ C# D Fm etc). All over a G# pedal. Like in Mick's Cycle 2, the voice leading goes down. I like
the sound, it's pretty wild but the pattern gives it consistency while the vertical consequence of the pattern sounds, well, how it sounds. Again I
stop the cycle at arbitrary points then improvise resolutions.
http://www.youtube.com/watch?v=_JP9jYoty34
The concept of these symmetrical patterns that don't repeat at the octave is really mind blowing and eye opening. It truly does get you out of a
tonal/modal perspective, or at least doesn't keep you in one for very long!
It seems like there are so many places one could go with this stuff...if anybody wants to help me not reinvent the wheel, that's always
appreciated...
Jazzism
03-14-2013, 10:15 PM
To Jake Acci or Truth Hertz,

Would you mind elaborating on the symmetric scales that dont repeat at the octave. I seem to recalll Holdsworth mentioning something about
this in interviews. Something about scales taking 2 or 3 octaves to complete etc
Thx
cheers
JakeAcci
03-14-2013, 11:55 PM
Sure and glad to have some discussion of them.
12/25/2014 10:46 AM
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There's a lot to say

a major scale is constructed of whole steps and half steps - W W H W W W H and then we are at an octave
a pentatonic is whole steps and minor thirds - W W m3 W m3 W
These are patterns of intervals that repeat at the octave.
You could have any pattern that doesn't repeat at the octave and call it a scale and wind up with some interesting things, for example:
WWWH
It will take 12 cycles to come back to the beginning. A bit of it: C D E F#, G A B C#, D E F# G#, etc. It doesn't repeat at the octave, it repeats
at the fifth, so it has to go through 12 cycles (the circle of fifths) before it's back to the original.
The 'scale' I based my demo on is:
m3 M3 M3
C Eb G, B D F#, Bb Db F, etc. it repeats at the major seventh, so it takes 12 cycles before it's back to the original.
I worked with the same scale but with extra passing tones:
W H m3 H m3
C D Eb F# G A#, B C# D F F# A
Here's another sequence:
M3 H W H
that repeats at the m6 and takes three cycles to start over:
C E F G Ab C Db Eb E G# A B
You can use these sequences to make extended lines, voice led cycles like I did, permutate them for fast patterned 16th note runs that get you
out of a conventional chord scale or group of extensions...
Does that make sense?
e_del
03-15-2013, 10:43 AM
Quote:
Originally Posted by JakeAcci
Sure and glad to have some discussion of them.
There's a lot to say
...
...
...
Does that make sense?
Although it's logical, until now I never realized that (almost) all the scales we're dealing with rely on the octave as main interval! Within an
octave we can use all kind of rules to subdivide it, but anytime the result is a repeatable block...
This new perspective opens (to me) a complete new playing field... amazing. :)
At first sight it seems a new harmonic system with more-than-seven-notes scale, based on intervallic patterns, and consequently a similar
number of derived scales, modes, etc...
And reasoning bacward, I could now see our "usual" harmonic system as a subset of this prinicple, based only on the interval of a second,
wether major or minor... right?
Wow, this is one of those "a-ha!" moments for me :)
Bryan T
03-15-2013, 11:19 AM
Quote:
Originally Posted by JakeAcci
Here's another sequence:
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M3 H W H
that repeats at the m6 and takes three cycles to start over:
C E F G Ab C Db Eb E G# A B
With octave reduction and rearranged, I see:

C Db Eb E F G Ab A B
In Messiaen's terminology, the generating sequence is HWH, which is "mode 3."
Your approach to getting there is cool, as it gives a pathway to exploring the sound of the mode.
I really geeked out on the Messiaen modes for a while, filling books with the sounds embedded. Nelson Veras helped me understand how to get
some traction with the sounds and one of the keys to that was finding melodic patterns that repeat, like your M3 H W H sequence.
Bryan
TruthHertz
03-15-2013, 12:00 PM
Joseph Schillinger is a name to keep in mind. He searched for mathematical logic in visual arts as well as music. Some of his stuff translated to
people like Coltrane through theorists like Roland Wiggins when they were both in Philly.
In short, with the Schillinger system, you can make a scale with as few as 3 notes. The scale has a tonic and notes that make up the scale.
Now if the scale has a construction where it doesn't end on the octave, but rather another note where it begins again but with the new tonic on
a different note, it WILL take more than one iteration before it returns to the octave tonic.
How does one use this knowledge? Well the "tradition" looks at the diatonic scales as the structures around which we play, so given a place to
improvise, you're "inside" but in more expansive modern vocabularies, the spaces of improvisation can involve different sounds, or logic patterns
that eventually converge with or create a point in a composition. Symmetrical scales are one way you can easily develop fluency in a different
tonic arrangement, and play it as an alternative to an "inside" approach.
The end result can be a beautifully fluid flow of sound that you wind up saying "What WAS that?" and then it's gone.
You must be really fluent to pass this off though, because rhythmic consistency is a dead giveaway to lack of proficiency and in that situation it
just sounds wrong.
But once you begin getting these sounds in your head, small scales of less than an octave, it opens up really amazing cycles that once they
complete, take you on a journey you can't think up without knowing them.
Until recently, these techniques have been the realm of piano players, composers and horn players. Guitarists worship a different aesthetic.
There are many ways of using any material, it's the responsibility of the artist to figure out a way to touch the listener. This material by it self
can be meaningless streams of notes, or they can make you and your listeners look at sound and music in an entirely different way. It's a
greater responsibility to work with new material because a lot of this is NOT immediately musical, you've got to figure out how to make it music.
That's the criticism from a lot of people that want to feel, don't know how to recognize the thought process that the performer finds so exciting.
I guess the learning curve on this stuff is a bit longer due to the fact that for each person at this point that wants to use it, it's truly your own
wilderness, and anything you do, hasn't been done before. Kind of exciting, eh?
David
marcwhy
03-16-2013, 01:10 AM
Thanks, David -- I always enjoy your stories (which means you can mark me down for a copy of your book when its finished!).
Speaking of Mick ... did anything ever come of his "Falling Grace Variations" book that he told us about??
Ciao,
Marc
TruthHertz
03-16-2013, 11:19 AM
Quote:
Originally Posted by marcwhy
Speaking of Mick ... did anything ever come of his "Falling Grace Variations" book that he told us about??
Ciao,
Marc
It's almost ready to go to Berklee Press. Soon.

David
marcwhy
03-16-2013, 04:26 PM
Quote:
Originally Posted by TruthHertz
12/25/2014 10:46 AM
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It's almost ready to go to Berklee Press. Soon.

David
Excellent! Thanks.
M
03-17-2013, 03:58 PM
hodge12
Hi, this thread is really interesting. I am just starting to work on this material.
Here is a demonstration of what I think is the first cycle of the almanac.
voiceleading 1 - YouTube
03-17-2013, 07:07 PM
TruthHertz
Nice! Arpeggiate those and you've got some beautiful linear material too! That's a really nice sound. Thanks for posting that
David
03-18-2013, 12:08 AM
edh
Excuse me if this has already been posted.
What is the almanac?
thanks
03-18-2013, 01:15 AM
jckoto3
Quote:
Originally Posted by edh
Excuse me if this has already been posted.
What is the almanac?
thanks
"Mr. Goodchord's Almanac of Voice Leading" by Mick Goodrick. It's an out-of-print exhaustive list of how to voice lead various chord voicings
through various root cycles. Pretty much described in depth in the first page of this topic thread.
03-18-2013, 03:14 AM
edh
Thanks
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Anybody use the Goodchord Voice Leading Books?

Anybody use the Goodchord Voice Leading Books?

Anybody use the Goodchord Voice Leading Books?

Anybody use the Goodchord Voice Leading Books?

Obviously "Rock Star!"

Anybody use the Goodchord Voice Leading Books?

The integration of 2 cycles.

Cool...Just spent some time with these at the piano...

Anybody use the Goodchord Voice Leading Books?

Trying to figure this out.

Anybody use the Goodchord Voice Leading Books?

Is it a V7 from the relative minor relationship?

m7 harmony - spice it up via melodic minor (Fm7 = F melodic minor)

This stuff could be called "cycle superimposion"

Anybody use the Goodchord Voice Leading Books?

Dma7 Em7b5 F#m7 |Gm7b5 Am7b5 Bbminma7

To Jake Acci or Truth Hertz,

Sure and glad to have some discussion of them.

Anybody use the Goodchord Voice Leading Books?

There's a lot to say

Anybody use the Goodchord Voice Leading Books?

With octave reduction and rearranged, I see:

It's almost ready to go to Berklee Press. Soon.

Anybody use the Goodchord Voice Leading Books?

It's almost ready to go to Berklee Press. Soon.

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