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Not to hijack the thread but to me the Ma7#5 is like the 'Swiss Army knife' of chords since it works against all kinds of qualities
Cma7# works as the upper partials to D7 (7 9 #11 13) and of course the TT sub of D , Ab ( 3 #5 1 b9).
There's a thread about this under Chords (I think) where Bako points out all the possible common usages.
As far as the augmented scale I haven't really worked on it but I'm not really hearing it as "dominant". Too many 1/2 step resolutions. I think it would work better as a pentatonic, but the note you leave out would depend on the chord you use it against.
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03-30-2011 09:01 AM
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Right, that's what I was thinking.
Originally Posted by JohnW400
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sure thing... Originally Posted by JonR
hancock, shorter, towner, liebman, brecker, mendoza, maria schneider amo
use it as a compositional & improvisational tool... commonly used in post-60's
modern jazz...
a good intro for you might be 'Ron Miller - Modal Jazz Composition & Harmony, Vol. 1 (Advance Music)'Last edited by oneworld; 03-30-2011 at 09:56 AM.
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I don't see how maj7#5s sub for dom7s in functional harmony, let alone in modal harmony. Originally Posted by oneworld
Any chance of a quote from the book? Or better, a recorded example?
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CMa7+/D-----D13#11
very common dominant chord
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