It is a common pitfall for students of chord-scale equivalency theories to give every note within a chord-scale equal treatment. There is a tonal hierarchy that must be recognized. The core triad needs to be thought of as the lower structure, the seventh as what I call the “gateway” tone, and the other chord-tones as “upper-structures” or “extensions”. Every note besides the core triad may be treated as a “tendency tone” (meaning a tone that is unstable and naturally tends to resolve either upward or downward to a more stable tone) depending on the immediate context. “Avoid” notes or “handle with care" notes are the most unstable tones within each chord-scale. Tonal hierarchies within each chord-scale can fluctuate depending on the harmonic conditions of the music at hand. Use your ear to determine the level of complexity that is appropriate.
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AuthorJonathan Pac Cantin “JonnyPac” (born 1981) began learning guitar and music theory at the age of 15. By studying jazz theory books, listening to a steady diet of harmonically sophisticated music, and picking the brains of accomplished local and online musicians he began to piece together a comprehensive model of chord-scale theory. Currently, he composes, arranges, and improvises music with his modal jazz combo "Moondrool", and as a soloist. He is also a director of a modern art gallery, visual artist, photographer, naturalist, European board game enthusiast, and collector of 80’s Battle Beasts action-figures. Add me on Facebook: http://www.facebook.com/JonnyPac
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