D add9 b13 Chord

[marvinvv]

Hi Doc, Thanks not obsessing over that one chord (not being rude ) more like the whole tune.Its not so much how to play the chords ( not that easy but ok ) but more like how does all this function. No ii V 1 in sight. Completely uncharted waters for me. I am extremely grateful for all the input from everyone.

I cant really speak to anyone until 2 min before (no money involved here) but don't want to mess up, as its an opportunity for me.

Steady even quavers q = 120 each chord 4 bars each
A:
D(add9b13) harmonic major
Dm11 dorian

B7(b9b13) fifth mode harmonic minor
Em11(b13) aeolian (pure minor)

B:
C^(#11) lydian
Bb^(#11) lydian

Once again thanks everyone.

[marvinvv]

A really big thanks to all that responded, (and those who read ) what's interesting for me is until 3 hours ahead of the session, I had no real idea of what I was doing, until I took the harmonic major scale, and started climbing into that, what a wonderful scale I could hear clear as a bell precisely what to do. Everything crystallized, and a couple hours later at the start of the session the composer ran thro real quick. This was a modal composition.

Others had mentioned it but I did not connect. Modal to me was sort of " All blues & So What" etc etc but the chords I listed werent like that. Also that modal has a groove which we all know, Reg did say and suggested grooves, which now I understand where he was coming from. The piece had chords/harmony is much more modern than say All Blues So What, not just dom #9 chords which we all know and hear, but Maj ^ with #5 or b13 not necessarily with (Maj7) without a 7th it becomes ambiguous. Also it was not bluesy.

I am about to post a new thread, which is related to all this I sincerely hope Reg will participate ( now I dont want anyone thinking this is favouritism ) it only because I know he is so valuable to this forum and everyone who plays.

[Robertkoa]

So generally with four bar phrases... it's the rhythm sections to create modal grooves which set up the melodies, or what ever the horns are doing.

So The D9b13... is from G melodic Min., right, the V7b13 chord. One of the basic modal characteristics of MM is that you can basically play any chord built on any scale degree of G MM. Your job is to create a modal groove...

If your suppose to hang on that one chord because the arrangement calls for it... why bother to even play. Most trumpet players don't have a clue about rhythm sections anyway.

So I'm creating a chordal groove with a lead line... I would generally listen to rest of band before creating lead line, but generally most melodies will work as long as you don't hang on down beats much.

So anyway a A7susb9 to F#7alt ,C9#11 is a cool 2 bar groove this is for the D9 add 9 b13

5 X 5 3 3 X
X X 2 3 3 5
X X 2 3 3 2

Your not just playing a chord, your creating a sound, probably some type of hip latin feel.

Then for the D-11, same thing... I'm using Dorian, just change the groove if different min is different...

5 X 5 5 3 X
X X 3 4 5 5
X X 5 5 6 5

B7b9b13 is usually also from Melodic Min... 7th degree of Cmm... same application, create a groove that works with what you played before and leads to Emin....

X X 7 8 8 10
X X 7 8 8 7
7 X 7 8 8 X

E-11b13 or aeolian...

X 7 5 7 7 7
X X 7 7 8 8
X X 9 9 11 11

For "B" section again your creating a Lyd groove... I generally get modal with C lyd and A dorian
Cmaj#11

8 X 9 9 7 X
X X 10 10 8
X X 12 12 10
8 X 9 9 7 X
X X 5 5 5 7

Then down a 1/2 step for Bma7#11

If you need an example let me know I'll record something tomorrow early

Wow!

Just reading this old Thread - giving specific voicings deep theory and ideas

AND even offering to record a few examples to help the OP -
Going the extra mile to help someone out !

And the other Posts as well- what a Resource this Forum can be.