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Secondary Modal Genre

Posted: Sat Sep 30, 2006 8:13 am
by Fer Carranza
Hi all, I´m new in town, I´m from Argentina, South America. I reading the book and everything it´s really great for me but I don´t understand something about Secondary Modal Genre. In page 129 of 2001´s edition there is an example of the use of SMG made by John Coltrane over Thelonious Monk´s Straight No Chaser. It says: "...In bar 2, a Db Lydian Augmented Scale SMG fragment is sounded within the context of a Bb7/Ab LC Scale Alliance. Here, the PMG II seventh chord (Bb7) is treated as if it were a PMG VI mino chord (Bb minor chord). Roman numeral VI is not one of the AMT degrees listed in the PMG II seventh chord category on Chart A, therefore the Db Lydian Augmente Scale fragment ocurring in bar 2 is viewed as an example of the SMG option. .."
Why over a Bb7 one can use a Db Lydian Tonic, where it belongs? I really can´t understand this example, please help!! Thank you

Posted: Sat Sep 30, 2006 10:58 am
by Andrew
Secondary Modal Genres are disscussed a couple of pages after the Coltrane Solo. You should find information about it there. Even more information about Secondary Modal Genres will be discussed in Volume two. :D

Posted: Sat Sep 30, 2006 1:22 pm
by Nate Comp
Here's a post I made in the old forum regarding SMG:

From page 77, “All The Things You Areâ€

Secondary Modal Genre

Posted: Tue Oct 03, 2006 6:07 am
by Fer Carranza
Thanks Nate, I´m going to study it!!!

Secondary Modal Genre

Posted: Sat Oct 14, 2006 11:19 am
by Fer Carranza
I´m working with the tune Just Friends, and in bar 11 and 12 there is a progression Bm7-Em7. In the first chord I use the VI degree of D AD Scale and in Em7 the same scale because in the construction of the scale exists the notes of the chord (D-E- F-G- Ab-Bb-B-Db). Is this a SMG of the D LC Scale? I´m understanding the concept of that?

Posted: Sat Oct 14, 2006 10:51 pm
by sandywilliams
I don’t think it is necessary, for your purposes, to try to make the Emi7 chord a SMG. Since both Bm7 and Em7 belong to PMG VI, why not experiment with using the eleven member scales (see page 82 for a list) based on their Lydian Tonics? There are many choices but when you are first learning the Concept it is a good idea to get a good grasp on the more ingoing tonal orders(see page 14) before experimenting with the more outgoing.