The Jazz Guitar Chord Dictionary
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  1. #76

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    Haha, well Reg, no need to take it personally.

    I can't speak for anyone else but I've been busy implementing multi-million dollar systems for Fortune 100 companies for decades right up until now. So yeah, it can take awhile.

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  3. #77

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    Quote Originally Posted by BigDaddyLoveHandles
    Whatever you want to call it, say "Phrygian plus major 3rd", is a classic bebop sound over a dominant chord. The fact that it's a 8 note scale shouldn't cause problems -- use the #9 when going down and the 3rd when going up. Look at this snippet from the Donna Less head (in four flats):

    Attachment 85949

    The Enat goes up to F at the beginning and the end, and the Eb in the middle goes down to Db. Plus plenty of Ab goodness.
    Make that a 9 note scale - there should be an A natural in bar 1 (the old RB is the common reference but incorrect).

  4. #78

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    Quote Originally Posted by Donplaysguitar
    Haha, well Reg, no need to take it personally.

    I can't speak for anyone else but I've been busy implementing multi-million dollar systems for Fortune 100 companies for decades right up until now. So yeah, it can take awhile.
    LOL... all good.

  5. #79

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    Quote Originally Posted by PMB
    Make that a 9 note scale - there should be an A natural in bar 1 (the old RB is the common reference but incorrect).
    Durn!

  6. #80

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    Quote Originally Posted by BigDaddyLoveHandles
    Whatever you want to call it, say "Phrygian plus major 3rd", is a classic bebop sound over a dominant chord. The fact that it's a 8 note scale shouldn't cause problems -- use the #9 when going down and the 3rd when going up. Look at this snippet from the Donna Less head (in four flats):

    Attachment 85949

    The Enat goes up to F at the beginning and the end, and the Eb in the middle goes down to Db. Plus plenty of Ab goodness.
    Isn't that Phrygian Dominant...with added #9. Standard old school note collection for altered Doms when still hanging in maj/min functional world.
    I remember calling the altered II- chord, like G-7 b5 to C7 alt. Locrian nat13 (or#6) depending on reference.
    Are you using C7 as a III chord... altered.. Donna Lee in key of Ab as reference for Phrygian with added #9 or maj3rd.

    I still hear most added notes as Blue Notes... but that's my hangup.

  7. #81

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    great post guys...!

    ahh the 7#9 chord..in rock its the Hendrix chord..

    Ted Greene gave me a timeless line..chords are only frozen melody notes..and after looking at many pages of his chord grids over the years
    I began to see the voice movement between the chords in the progressions and the logic for some of the chord names..

    so ok..Im forming the E7#9 chord E G# D G ..and I look at it ..wait now..it could be a Bb13 with E in the bass and suddenly a kaleidoscope opened

    I had opened the harmonic range of just the one chord into many ..the diminished scale and all its chords and scales(tri-tone)

    and the Steely Dan tune Peg came to mind..basically a blues but well dressed in Dan style...the opening chords move for 7#9s to MA9s chords (G7#9 GbMA9)

    which gave me further insight of what and where to go from a basic 7#9 chord .. and now that I thought of it as a Bb13..Dame the torpedoes!!

    I think of all the (right ways) to approach music-rules-uck!

    new sounds are being created every day by young inspired musicians using the musical history of recordings and learning different views of music theory today..

    I see a time coming when the concepts that guide music today--theory/chord names..even some harmonic concepts will be secondary to new applications in music

    we must remember music is a living art form..and it evolves at its own rate and its own path..

    Charlie Christian -> Wes Montgomery -> John McLaughlin -> Guthrie Govan

    now with computer tech in the mix and guitars with more than traditional 6 strings .. and the use of micro tonal sounds ..the sounds we are used to will meet with

    new ones that may take us time to get used to (if ever)

  8. #82

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    Quote Originally Posted by Reg
    Isn't that Phrygian Dominant...with added #9. Standard old school note collection for altered Doms when still hanging in maj/min functional world.
    I remember calling the altered II- chord, like G-7 b5 to C7 alt. Locrian nat13 (or#6) depending on reference.
    Are you using C7 as a III chord... altered.. Donna Lee in key of Ab as reference for Phrygian with added #9 or maj3rd.
    Yes, it's old school -- it's the head to Donna Lee, after all. You can see this Phrygian dominant plus #9 over the VI7 right at the beginning, too.

    Chord names-donna-lee-2-jpg

    I count the first two beats of the Bb7 as still being F7.