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You people are weird. If I see 7alt what makes you think I'd play a 9 or a straight 13? Weird. None of my dom voicings have the 5 in them anyway.
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05-07-2024 12:17 PM
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Originally Posted by pamosmusic
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Originally Posted by orri
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Originally Posted by AllanAllen
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Originally Posted by Kirk Garrett
I don't like Breyer, which was my point. I've never had chocolate ice cream be better than bad vanilla.
I'm on fire in this thread. Can't get a single point across today. LOL
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Originally Posted by AllanAllen
There is no (natural) 13 (A). the #5 and the b13 is the same note. (Same with #11 and b5.)
I wrote this previously:
How Galt is usually taught is that you can pick one out of these four: G7b9#11, G7#9#11, G7b9b13, G7#9b13.
There is debate among jazz musicians and educator on whether people prefer b5 and #5 or #11 and b13, and whether they mean the same thing or different things.
I am sure there are multiple threads on this forum which beat that horse to death.
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Originally Posted by pamosmusic
lol R35 is one of the things “alt” distinctly doesn’t mean.
For what it’s worth, I dispute the idea that “alt” doesn’t mean anything specific.
it means b9 #9, b5 #5.
E 3rd
G 5th
B b7
Db b9
D##9
Gb b5
G# #5
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Originally Posted by AllanAllen
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Originally Posted by AllanAllen
and the b7 would be Bb.
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Originally Posted by orri
I've lost the narrative in my other posts trying to show how it's ambiguous.
This has to be one of those things where a teacher in the same room would help.
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The melody is usually the key because chord symbols generally reflect it.
In Goodbye the first two bars are Eb Eb C D C which is Ab7. The next two are Eb Eb F Eb D which is G7, altered to G7+. The pick-up to the Dm is C C C over A7, altered to - wait for it - A7#9.
It's often that simple. And I'm quite sure we all know that.
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Originally Posted by pamosmusic
The arranger/composer should only give extensions they think they are essential to the tune.
The Alt symbol, meaning 4 different groups of extensions, does not serve this purpose, so I do not like it.
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Originally Posted by AllanAllen
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Originally Posted by AllanAllen
b9s are all over dominant chords.
b3 is a perfectly normal choice over major quality chords.
b5 and #5 can coexist as b5 and b13 or #5 #11.
So everything works fine and are normal choices over dominant chords
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Originally Posted by AllanAllen
If you're alone and have time, try several, listen and select the one you like the best.
If you're not alone and don't want to waste other people's time, just play a 7 chord (without any 5th or 9)
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I am satisfied.
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Imho 7alt is the least ambiguous of them all. It clearly states that it is a dominant, the alt scale is required to construct it.
When it's written as plain 7, then it gets messy. Or 7#5 or something. Because the scale is not defined then. And what you play may conflict with other people's opinions on the spot.
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Originally Posted by emanresu
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Originally Posted by Kirk Garrett
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Originally Posted by orri
My idea of a basic B ‘G7alt’ is what happens when you plonk a Abm triad on a G7. So G7b9b13 basically.
The 7b5 sounds are a bit more pungent…
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Originally Posted by pamosmusic
The Kenton chart for Everytime We Say Goodbye we play at my local BB blow ends on a ‘maj11’ which is of course, in fact a maj7#11 haha
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Originally Posted by AllanAllen
I’ll just find my own way outta here. No worries.
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Originally Posted by Kirk Garrett
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Jazz is not dessert. Jazz is heavy half-cooked beef.
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Originally Posted by emanresu
Another Recording of my TK Smith Special
Yesterday, 05:45 PM in Guitar, Amps & Gizmos