Tips for fretting a D13b5b9?

[AllanAllen]

For me that's a overcomplicated interpretation of an Ab7/#9. For altered chords it is always worth looking at them from the perspective of the respective tritone sub.

Go back and read the thread, we already beat this horse to death.

[Ahz]

https://www.jazzguitar.be/forum/atta...b9-d13b5b9-png

For me that's a overcomplicated interpretation of an Ab7/#9. For altered chords it is always worth looking at them from the perspective of the respective tritone sub.

Am I reading this right?

I see how it maps to Ab7/#9 (R 5 3 7 #9), but to call it D13b5b9 (b5 b9 7 3 13) seems a stretch (pun intended)

[Boss Man Zwiebelsohn]

Go back and read the thread, we already beat this horse to death.

No one goes back and reads threads here.

[AllanAllen]

No one goes back and reads threads here.

Fair, but you're only going to get my opinion this way.

In the context of the book, it's used at a rootless V7 which resolves to the I. The book (MIckey Bakers Complete Course in Jazz Guitar) doesn't hold your hand and explain everything as you go. The chord is also used later in the book, you hold the pinky still but slide the rest of your fingers down a fret and have a beautiful V to I resolution.

Then some people with more brains than me argued that technically it was this or that chord because of the notes in it, which didn't make sense to me. If I play a T Bone Walker G x2323x on Stormy Monday, it's not a Bm7b5, it's a rootless G9. Context matters.

[Reg]

I know I'm very late... but the example is just a I VI II V .

Half of the spellings of the chords... are deceptive and cosmetic.

It's dated notation. Eventually you'll learn that.... there are few different harmonically organized References for developing these common Chord Patterns.

[Boss Man Zwiebelsohn]

Fair, but you're only going to get my opinion this way.

In the context of the book, it's used at a rootless V7 which resolves to the I. The book (MIckey Bakers Complete Course in Jazz Guitar) doesn't hold your hand and explain everything as you go. The chord is also used later in the book, you hold the pinky still but slide the rest of your fingers down a fret and have a beautiful V to I resolution.

Then some people with more brains than me argued that technically it was this or that chord because of the notes in it, which didn't make sense to me. If I play a T Bone Walker G x2323x on Stormy Monday, it's not a Bm7b5, it's a rootless G9. Context matters.

I know Baker's book since the early 1990ies. Nonetheless it is a tritone sub for me. V and bII are equivalent for me.

[AllanAllen]

I know Baker's book since the early 1990ies. Nonetheless it is a tritone sub for me. V and bII are equivalent for me.

Sorry, I keep thinking you're greener than you are.

V and bii aren't the same for a beginning jazz student. Labeling and defining everything at once is confusing.

[Gerard45]

Newbie working through the Mickey Baker Jazz Guitar book. When I try and fret D13b5b9 using his fingerings, my third finger lays flat across all the strings and mutes everything. Any suggestions for fretting this chord? Or is the an alternate I can learn?

By the way: the Beatles play at the end of the solo in 'Till there was you' a Gb7#9 chord. It's the same as C13b9b5 without the root.


Gb7#9 = ges - des - e - bes - des - a.


C13b5b9 = b5 b9 3 b7 b9 13