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I'm not sure if I'm restating something that already been made clear in a previous post but the V7/IImi chord has a wobbly association with the 9th.
In tunes like "Pennies from Heaven" and "I can't give you anything but Love", the last 8 bars of both these ABAC songs use the formulaic chord progression beginning with the IVma and ending on the Ima. Along that trail we have the V7/IImi resolving to the IImi.
In both these example the melody states the 9th on the 7th chord. (To be fair, Pennies sometimes uses the bIIIº chord instead of the V7/IImi).
Sometime during the 40's (thanks to players like Bird and Dizzy), the b9 became a more common alteration on this chord.
I find myself playing the 9th if I want to sound more swing/Django and the b9 if I'm playing more bop lines.
Scale wise, thinking of this 7th chord as the 5th mode of the melodic minor scale gives it a 9b13 sound.(or 9#5)
Again, my apologies if I'm stating the obvious here. I haven't read this whole thread.
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07-15-2023 10:30 PM
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Originally Posted by setemupjoe
In some cases straying away from the original topic brings up interesting things but too often the discussion gets stuck in trench warfare between different schools of thought regarding jazz theory.
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Originally Posted by Bop Head
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Originally Posted by setemupjoe
I think it’s reasonable to have better things to do than wade through pages of verbiage. Listening to and playing music for example haha .Last edited by Christian Miller; 07-16-2023 at 05:17 AM.
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Originally Posted by rpjazzguitar
Also, the minor chord with nothing added to it is sometimes the best sound. I know jazzers feel playing anything that simple is against their religion but actually sometimes that’s the right choice
One interesting thing is that using Levine's rule about every melodic minor chord being the same chord doesn't seem to work quite so well in a situation like this where the harmony calls for a minor tonic type sound.
This is the way Bird plays that chord as well - m6 or just plain minor triad (with enclosures etc) in that vid. Otw his material on tonic chords tends to stick to triad and 6th chord.
I need to look at the Tristano head on it at some point…
The other voicings tend sound more dominant to me -- that is, they could preceed the resultion to the Dminor tonic sound, e.g. C#7#9 to Dm6 or Dminmaj7. That may have been what Reg was driving at the other day.Last edited by Christian Miller; 07-16-2023 at 03:53 AM.
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for some auxiliary content
it's fun when you have someone else in the band sing some of the alt lyrics over the original lyrics
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Originally Posted by bediles
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Originally Posted by Bop Head
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Originally Posted by kris
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Originally Posted by Bop Head
Ohh, I don't know.
Sounds swinging. Lester young? One of the swing bands?
Please Delete.
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