🚨 Harmony Without Chords – Pt. 3: Chromatic Approaches with Dominant Alterations

In Part 3, we continue working with chromatic approaches to the 3rds and 7ths of dominant chords, but with an important addition: altered tones introduced in the second bar of each dominant. These alterations create stronger harmonic tension and help pull the line more clearly toward the next chord change.

gloria krolak 27 December 2025

Hey Everyone,

🚨 Harmony Without Chords – Pt. 2: Chromatic Approaches to 3rds and 7ths

Part 2 expands on the guide-tone focus from Part 1 by introducing chromatic approach notes to the 3rds and 7ths of dominant chords. While the targets remain the same, the addition of chromatic motion adds tension, direction, and forward momentum to the line—allowing the harmony to feel more alive without relying on full chord voicings or altered scales.

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Post your questions here and I'll answer them. Hope you can make it to the congress!!!

Check out Paul's site: https://www.wyndorps.de/index.html

Just look at the pictures and know that he has made all of these 'contraptions' for the vibraphone. He is incredible and you guys should know about him. 

🚨 Harmony Without Chords – Pt. 1: Diatonic Approaches to 3rds and 7ths

This lesson kicks off the Harmony Without Chords series by focusing on one of the most essential ideas in line construction: clearly outlining harmony using guide tones. In this first exercise, we work with diatonic approaches to the 3rd and 7th of dominant chords, avoiding chromatic notes, alterations, or upper extensions.

🚨 Playing in 3/4 – Pt. 10: Tune Study – “Little B’s Poem” (Advanced Comping)

Part 10 builds on the previous comping chorus by introducing more syncopated rhythms, tighter voice-leading, and additional chord-tone alterations throughout the form. This chorus is designed to feel more conversational and interactive, giving you tools to comp with texture, color, and forward motion while staying grounded in the 3/4 feel of “Little B’s Poem.”