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Originally Posted by Jazzstdnt
Yes, I'm learning and want to find out as much as I can with the help of this forum but I never intended my questions to be comical. I don't do this for fun.
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07-13-2018 07:12 AM
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Originally Posted by Jazzstdnt
John
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Originally Posted by rpjazzguitar
For instance in this thread many times a "resolution on the 9th" was suggested. 9th (Maj 2nd) is pretty high in Harmonic Series above the fundamental, in fact it's the 9th harmonic and it's considered a dissonance in the Common Practice Period for a good reason.
When you start to call it a "consonant extension" how do you perceive its consonant qualities? I mean to me it sounds as a dissonance but...
Do Jazzers extend their perception on what is "consonant"? Does it happen naturally? I mean all these terms are relative of course but the Harmonic Series are a fact and they clearly outline where a given interval in respect to the Root is located. The farther away from the fundamental the more dissonant it is.
The resolution is a quiet place, it stands no tension, no need to move on, to resolve further.
Naturally we want to settle down on a triad which is the most stable and consonant harmony.
Maybe this term also has a relative meaning? For instance, a "resolution" on the 9th is definitely a resolution compared to a "resolution" on the b9th.
Once again, I'm not asking this question for fun. It directly relates to my earlier post that still wasn't addressed. Let me remind you about it:
I asked you about why it is common to "resolve" in minor on the min 6/9 chord. In C-min it is:
C-Eb-A-D. As I mentioned before this harmony sounds tense and unresolved to me. There are 2 reasons for that:
1. The tritone betweeb Eb-A. The tritone is always in need of resolution.
2. C-D containing the 9th I've just mentioned.
I can accept the idea of a "relative resolution" but how far can one go with extending his acceptance of what can be safely considered as a "reasonable resolution" ?
Please note that with this question of mine I'm not steering away from my original subject, not even by an inch.
Originally Posted by mr. beaumontLast edited by VKat; 07-13-2018 at 08:09 AM.
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Originally Posted by christianm77
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Originally Posted by VKat
You're still using your classical harmony lens.
Now, out of curiosity, try this:
Play iim7b5--V7alt--im7
Then iim7b5--V7alt---im6/9
What sounds more like a point of resolution now?
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BTW Jeff, Jazz IS magic. Like actual MAGIC.
But as with all magic, you have to observe the rituals.
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Originally Posted by VKat
Anyway, given I think we've been pretty consistent in our advice, irrelevant digressions aside, and now it is up to you to FLIPPING WELL GET ON WITH IT. STOP PROCRASTINATING. You know what you have to do, even though you don't like it. It's like going to the gym.
We are here to help when you have something concrete - i.e. actual music, recorded or written, whatever.
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Originally Posted by christianm77
Please don't be angry with me for that. That's the way I am. No jokes, I'm telling you who I actually am and I'm at the age when it's impossible to change myself.
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Originally Posted by mr. beaumont
Yes, that sounds like a "relative resolution" I've mentioned above. The only problem for me now is to extend my feel of the consonance beyond the basic triad. I can't help looking for resolution of the 9th so far.
And that tritone...
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Originally Posted by christianm77
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I am starting to get a cluster headache.
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Originally Posted by VKat
"Expanded consonance for jazzers?" ---> late 19th century Euro art music (heck, even earlier).
"Consonant extensions?" ---> Available tensions.
"Tritone always in need of resolution"? ---> refer to the thousands of performances of Jazz Blues tunes which end on a dominant chord, often with tensions. (9, 13)
Your first post was focused on the IminMaj7 being the "go to" chord for minor II-V-I. But that was incorrect and we established that many posts ago. It's more frequently a Imi or Imi7.
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Originally Posted by Jazzstdnt
However, to be honest I have not much appreciation for the Classical music past JS Bach. Well, Mozart and Bethoven and their contemporaries are still fine for me though.
Blues: Yes, blues is a completely different story, it's in its own class for me. Blues is a folk music and Jazz-Blues of course bridges the gap.
Anyway - thank you everyone for participating in this discussion. I got very interesting and useful advice from you all!
I'm on my way to break out of procrastination and explore all your great advice!
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Oi VKat - STOP TALKING AND WORK OUT SOME LINES. DEXTER GORDON OR HANK MOBLEY.
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Originally Posted by christianm77
Thank you for shaking me up Chris!
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I made up the term "consonant extensions". I thought the meaning was clear enough. It may be the same thing that other people call "extensions"
I could have said "notes of the 13th chord", since those are the notes that I consider "consonant".
Other notes (typically called "tensions") seem less consonant to me, but some more than others.
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Originally Posted by rpjazzguitar
TBH the only extensions I acknowledge are those on the major and minor chords. (Well maybe the lyd dom depending what day of the week it is.)
Everything else is voiceleading.
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