Hi again jm_andrade,
jm_andrade wrote: ↑
Sun Jun 09, 2019 1:41 pm
In my case, I got the Real Book Vol 1 and started studying some standards, mainly the different chords and the progression structures since I'm aiming at joining a jazz band (fingers crossed at some point in September when the first academic term starts)
Beileve me or not, I was a student back in 20 years or so, but stydying Jazz Composition composing for big bands and orchestra.
What I can tell you for your future endeavor includes:
The difference between "classroom" jazz and classical musics boils down to difference in handling 2nds and 7ths intervals theoretically.
Outside of your classrooms there is nothing but freedom where you can arbitrary use all the musical devices from both musics.
But it is important to cover the base: 2nds and 7ths. How do you treat these for your jazz solos, or classical compositions?
How do you voice C7(#9 b13)? Sit down on a piano... suppose you have Gm7b5 to C7(#9 b13) to Fm11 to voice.
C on bass then, Ab, Bb, E, G, and D#?
Yes, this is the way you can achieve quintessential jazz C7(#9 b13). Notice there are two maj7ths (Ab and G, as well as E and D#).
Now you can try to invert these maj7ths: C on bass then, G, Bb, D#, Ab, and E. Hopefully you see a sneak peek of what I meant to say.
In classroom classical theory, b2nd and maj7ths are interchangeable, if you can recall. Since b2nd is a dissonant interval, the inverted b2nd which is maj7th would also be a dissonant interval.
That's not the case of jazz that I hope you see a little.
Now you know a little bit of how to step up from "jazzy" to "jazz".