The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by christianm77
    Relevant is key. Jazz musicians have never been as interested in theory as they are in practice, or praxis.

    And simple ideas can take a lot of time and effort to apply. For instance, if I know minor 6's and m7b5's are the same chord, how long does it take me to apply this knowledge consistently and holistically? Years probably...

    Jazz theory is ultimately, pretty simple. Application is not.
    well..we have to remember ... its THEORY..not fact...it can be changed/modified to fit "special circumstances" .. which may justify different names for the same chord and you may have to recall
    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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    The Jazz Guitar Chord Dictionary
     
  3. #27

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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

  4. #28

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    Quote Originally Posted by rintincop
    Theory is good. Shall we also condem 1/2 = 5/10 = .5 = 50% as being too confusing? It is only confusing only to the untrained.
    this is a good one. However I do not agree the "untrained" part. Many trained musician could fall into this. Instead, I see an other issue here which is "overthinking". Even in mathematics, which is full of theory, overthinking may harm creativity and could be a blocker, now take jazz, which is much more about creativity and soul than mathemathics.

    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.

  5. #29

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    I also think some people are in love with names and labels rather than what they represent.

  6. #30

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    Quote Originally Posted by djg
    people who talk about "altered minor chords" or claim that II chords *resolve* to V chords have no business making educational videos. it's as simple as that.
    And what about people who talks about "minor chord with 6th in the bass"?

    Envoyé de mon SM-G930F en utilisant Tapatalk

  7. #31

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    Quote Originally Posted by matcarsa
    And what about people who talks about "minor chord with 6th in the bass"?

    Envoyé de mon SM-G930F en utilisant Tapatalk
    they are right.

  8. #32

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    Quote Originally Posted by djg
    they are right.
    They are also called Thelonious Monk.

  9. #33

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    Monk would make awesome YouTube videos.

  10. #34

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  11. #35

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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.