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Not sure what jazz theorists call it, but playing the 4th of a half diminished or a 4-3 in the melody seems to be a common thing in standards?
Autumn leaves has 1-4-1 in the first bar of the bridge, for example. The climax in the bridge of Georgia is another one (although some charts have a full dim or min 7). Also bar 7 of A Child is Born
also learned (or misremembered) in the intro jazz guitar class I took way back to move the 4-3 half dim pattern around by minor 3rds, any position could be a dominant sub. (xx4557-xx4555 to xx78810-xx7888 etc)
but don’t see much about this in material I read today
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11-18-2021 04:38 PM
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yeah it’s a beautiful minor 2 chord
i like this voicing too
F#m7b5 11
xx10 9 10 7
to your B7#5#9 chord
xx788 10
i stole it off Ed BickertLast edited by pingu; 11-19-2021 at 04:09 AM.
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Is your E7alt supposed to have a D# in it?
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Originally Posted by ragman1
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I've always noticed that too - that the 4 is a commonly used chord tone for minor 7 and half dim chords.
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To this I say, yes.
I also like doing 4 3 on a dim7
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Originally Posted by BWV;[URL="[URL
sorry everyone !
I’ve edited that post
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Yes. The 11th is beautiful on -7b5 chords. And diminished chords.
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It I do the "reduce ii V to just V" thing and turn, say
F#m7b5 B7
into just
B7
then the 4 3 (B A) over F#m7b5 is simply root and b7 over B7. With standards, I wonder if this is how the song started off.
But yes, it sound good!
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Originally Posted by BigDaddyLoveHandles
A really good way to look at the ii V is that it is V7sus V7 with a different bass, V7sus4b9 V7b9 in this case. That note A-G# in this case, is what drives it. It's up to you whether you want to play
- the sus
- no sus
- only the sus :-)
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Yea... I like using those voicings for opening MM doors... the F#-7b5 becoming a voicing for D7#11 and the B7alt. voicing becoming F7#11
so instead of... F#-7b5 B7b13#9.... maybe going to E-9 A13...
you open..........D9#11 F9#11................................E-9 A13
In general I like using 11th with -7b5 voicings to camouflage the 5ths. Opens more harmonic doors, if one chooses.
When I play jazz tunes... I like to expand changes... create chord patterns from single chords. Not just when comping, but also when soloing. It's fun for us the musicians and generally entertaining for audiences. Of course... depending on gig and musicians...
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43 suspension is good on
the ii, the V7 or the I (Stella)
i write my 43 as part of the chord symbol:
C7 43
A few bad notes or a missed chord
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