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Originally Posted by princeplanet
At any rate, you don't change the chords, just what you play over the top.
Dividing things into T vs D never gets boring!
YMMV
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11-19-2019 10:20 AM
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Originally Posted by princeplanet
Try Happy Birthday with the F as a G7. Or even as a C. Lotta ****!
But more theriously - Attya:
Ab - Eb7 - % - Ab
Ab - G7 - C - %
Might work, I suppose. But I'd be highly tempted to play Em6 and Abm6 over those doms.
But Em6 over Bbm doesn't work.... gets complicated, don't it?
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Originally Posted by ragman1
There are some great threads around that go deep. One in particular that opened with how George Benson uses T/D , a lot! ...
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For me, m6 and m7b5 (same thing) are just rootless Dom 9, so good material for unaltered Dom class sounds. Mind you, Dom class has to be in 2 parts (at least), unaltered and altered. You can get alt sounds by superimposing m7b5 on the m3rd or b7 degree, as well as the usual other ways (MM, H/W dim, WT etc). So yeah, it's all Tonic, Dominant and Alt Dom...
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Originally Posted by ragman1
Maybe I'm missing something???
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Originally Posted by ragman1
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yea... I tend to think of modern harmony as more of the control of function.... different organization of harmonic movement. The force that makes the harmony move or not. And subdominant function becoming more of a factor. I'm not getting into melodic thing... harmonic, right?
The dominant thing.... I thinks its easy to create dominant chords... 7th chords as becoming Tonic... generally that was created by the modal development concepts.... getting your ears out of Ionianism.
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Originally Posted by ragman1
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Originally Posted by princeplanet
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Originally Posted by christianm77
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Originally Posted by princeplanet
Ab - Eb7 - % - Ab
Db - G7 - C - %
You're right, there's no V for IV sub. Bad example, unless we sub the Db with an Eb7. Which wouldn't be very good. Mind you, the melody note at that point is F (only F) which is the 9 of Eb7, so maybe.
(We ought to stop messing about with perfectly good chords, really, and just play the damn tune as written!)
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Originally Posted by princeplanet
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So no real examples then?
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Originally Posted by ragman1
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Originally Posted by princeplanet
Originally, with ATTYA, I put I on IV by subbing Ab for Db but we agreed it wasn't necessary.
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Originally Posted by Reg
One thing that might be confusing is that to me a dominant is only a dominant if it has the b7th in it. So a G triad is a tonic function in the key of C. Obv not if we are talking about classical harmony but in jazz we have no problem adding G triad notes to a C chord.
In fact the only Ionian note that absolutely will not play with the others is the 4th.
So I divide all chords into two categories, chords with the 4th in and chords without.
So what makes the dominant different to subdominant in this diatonic world? Well obviously that tritone dissonance, between 3rd and 7th. Our resolutions maybe somewhat softer - that B not the key of C might not move, but the tritone is still resolved to a more stable interval such as a fourth.
Ok, so why is Fmaj7#11 stable and G7 not? Well that has a something to do with the stacking of the chord. If you support that #11 with a 3rd and 7th in a voicing its dissonance is nullified. Especially if it appears on top of the chord.
A triad also works, which is why this 3rd inversion dominant voicing is used as a Lydian chord
x 3 4 2 3 x
While this one - afaik - is not
x 3 4 4 3 x
Anyway the upshot of this bs is that a dominant is a special case of subdominant - an activated subdominant if you like.
Anyway not sure what that was all in aid of, but it’s how I view things really. It’s another take on T/D
Probably Dom on subdom sounds fine, I don’t feel I’ve played around with it enough to get into the sound.
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Originally Posted by princeplanet
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Originally Posted by ragman1
Typical CST jazz pedagogy kind of gets it with the stuff about avoid notes on those chords but it kind of gets it backwards from an improvising perspective.
These aren’t avoid notes, avoiding 6 on m7 because you give the dominant away is too passive a way of thinking. Think instead: the 6 on minor is an activation note. The b7 on minor is a chill out note. (The 7 on minor is the colour note.)
Of course it’s no accident that we tend to think of m7 as Dorian and m6 as melodic minor.
But Mel minor can be floating if voiced in the right way - for instance lydian augmented structures. Or Dorian #4 - where those tritones ends up somewhat blended as an upper extension, and octave displaced.
Usually it’s hungry though. (Avoid the 6, maybe? But aug triads are old school too.) and
But anyway, you can play jazz with those two things - m7/Dorian and m6/melodic minor. (Maybe dim7 but reg doesn’t like those haha. I don’t like it either. Luckily there’s hip options for that with no tritones...)
Now why do you think m6 is an old fashioned sound? (It is) Maybe we don’t ever need to give dominant away/activate the subdominant.
So: it’s interesting to me that all Jordan Klemon’s/Stephon Harris’s melodic triads on dominants avoid these tritone sounds (they do come in as quadrad tension tones, but these aren’t considered important harmonic notes in lines so much) - even when they might be conventionally regarded as having something to do with MM modes. I guess duh, they are major and minor triads.
The modern players like to use these floating options. Something I really notice in players like Lage Lund, Kreisberg etc.
Given Jordan and Stephon chose them based on what they liked aesthetically based on their individual *colour* I’d say that’s quite clearly the aesthetic of contemporary jazz changes playing. Everything is a colour.Last edited by christianm77; 11-19-2019 at 02:14 PM.
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Originally Posted by christianm77
Works for me anyway....
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Anyway, to carry on, this 4th degree golden rule of yours (well, everyone's really), has always intrigued me because i think there's several ways a 4th sounds ok over the tonic. Enclosing the 3rd by playing 4th on downbeat first sounds fine, ideas using a Tonic version of "family of 4" - c e g b, e g b d, g b d F, b d F a, - all sound fine to me in a certain context. Also, we agreed earlier that playing I over IV is usually fine (although not the same as playing IV over I ) ... dunno, I think peeps avoid 4 over tonic like they'll die if they dare play it. I only die when I play a maj 7th over a Dom7 in a bad way, but as you know, even there you can create a context where it not only works, but can sound kinda cool.
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Usually it’s hungry though. (Avoid the 6, maybe? But aug triads are old school too.) and
As for what you play, dorian with m7 and mel minor with m6 is good, but not necessarily. Depends. The #7 doesn't always sound right even with m6 chords. The #6 sounds very good but the #7 can grate a bit.
I think use of the mel minor has to be considered. It's good for lyd dom and alt sounds. Apart from that, it tends to sound 'modern' but good with the right tunes. It can be used for colour.
I did play with it over diminished chords too for a bit, despite one note being wrong. It can sound good but not always. Harmonic minor is safer although it can be a bit bland sometimes.
Over major chords is quite interesting because it gives you the #5, #11 sound - A mel over CM7.
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Originally Posted by princeplanet
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Originally Posted by princeplanet
Just because it’s a non resolving note don’t make it a bad note. I play it all the time.
It’s the best way of introducing harmonic motion over a static major chord. But you don’t want to land on it at the end of a phrase say. At least not unless you really hear it and you want to end on that these note. It’s like playing a dominant against tonic - it can be effective... but in general the technique that works well is to take dissonances and resolve them into target chords.
Tbh a lot of people here seem to be working on the idea that you have to solo on the chords as written. The aebersold paradigm.
You don’t- but you have to understand what makes waves against the tonality and how to deal with that energy.
In a turnaround tune like rhythm changes you only have to deal with that energy in a short cycle. But with tunes where the resolutions are more stretched out like just friends, you are a little more concerned with making things touch base with the underlying chords, at least a bit.
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So is the discussion really about voice leading or harmony, sounds more like voice leading and voicings. Which is cool.
Christian... the G triad over C is just a voicing... depending on the reference, simple reference can be roots.
The 4th is also just a voicing or voice leading issue, what's implied, camouflaged or even deceptive. Your modern harmony world sounds like it's controlled by your traditional ears. Ionianism. Pretty hard to get into modern harmony using traditional guidelines.
Prince... all you need to do to take Functional harmony into modern functional harmony... is add Modal guidelines. And then expand those modal guidelines to more pitch collections... even just using standard... Maj/ Min, Melodic Minor, Harmonic Maj and Min and the standard symmetrical scales you get Modern Harmony. And you can still use traditional functional guidelines for control of harmonic movement.... expanded Functional guidelines due to different relationships between notes and which notes have power in those relationships.
So you can still have standard Functional control... Tonic, subdominant and Dominant with notes and intervals following different guidelines.
I guess if you guys would just open the subdominant door of function... not just the 4th degree, you'll get into different chord progressions, which you might hear as modern. I don't know, we might have different ideas of what harmony is.
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all you need to do to take Functional harmony into modern functional harmony... is add Modal guidelines.
So, over E7 - Am
instead of A harm play F mel - A mel
or even F#harm - A mel
etc. Gets the water off your chest :-)
Can anyone date this? goodwill epiphone
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