Observation, Charlie Parker and m7b5
Quote:
Originally Posted by
pcsanwald
Lester Young, too, uses the same language as Christian. My first real jazz teacher (a Tristano student) was adamant about coloring tonic minors with either 6 or (very occasionally) M7. To this day it still weirds me out to hear someone play a m7 on a tonic chord in a tune.
Yeah me too (unless it's really a contemporary or post modal vibe. 60s stuff too often as the b7 minor sound.)
But I'm really talking about running the major V sound into minor - for instance A mixolydian/dominant into Dm. This seems to have been a thing.
From a ii/v perspective that means a major ii v into minor.
A good example in repertoire is the middle 8 of Invitation the melody uses the major 3rd of each key on the ii v so to speak resolving chromatically for instance C# C B on Bm7(9) E7(#5) Am(9)
(although it's from a movie score and Kaper's harmonic language is coming out of post-Wagnerian symphonic music, Strauss etc than jazz AFAIK .... Now there's a link id love to explore... )
Of course Bill Evans was quite known for adding the nat2 to iim7b5 chords as well. In fact this addition was referenced above ...
So basically - do what you frickin like so long as you voicelead something beautiful over the top....