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Originally Posted by christianm77
exactly why it was called a minor 6 and not a mi7b5 years later..only to discover..its not worth the time..
to paraphrase Mr. Zappa..shut up and just play the dame guitar
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05-26-2020 07:43 PM
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Don’t get the disconnect, min7 b7 on lead sheets is typically subdominant but subbing half diminished chords for the dominant w/root either 4 or 7 or 10 or 1 half step below is dominant, either with or without a bass player providing the root
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Originally Posted by rintincop
I do believe theory is important, but the listener should be aware of overthinking, and should always priorise understanding the music and the performer above understanding how theory justifies it.
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I also think some people are in love with names and labels rather than what they represent.
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Originally Posted by djg
Envoyé de mon SM-G930F en utilisant Tapatalk
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Originally Posted by matcarsa
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Originally Posted by djg
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Monk would make awesome YouTube videos.
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being mentioned both dominant 9 and minor 6, now I can resist no more :-)
It is six in one!
Take an interesting voicing which should function as Dm7-5: (Ab, C, D G)
x x 6 5 3 3
This voicing could be Dm7-5, Bb7(add13), Fm6(9), and more: E7alt (b13#9), (this is pretty obvious as it is the tritone sub for Bb7) and more: AbM7(#11) and Gsus4b9
The same is true for the following three voicings too:
x 5 6 5 8 x
x 11 10 7 8 x
x x 12 13 13 15
The mood of Dm7-5 is pretty sad, so minor6 is not surprising. The dominant a bit more surprising, but there are so many dominant kind, so finally it makes sense, that one ore more has similar mood. What is really surprising is the tonic function. (if the voicing fits to the particular progression for the particular function.)
(credits goes to Barry Greene :-)Last edited by Gabor; 05-29-2020 at 09:33 AM.
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