John Howell / 2007/01/12 / 01:16 PM wrote: >I think I understand Hiro's reasoning, about implying a scale, but >since I'm not a jazzer I do not grok the fullness.
The important of the derived chord scale is for improvising as well as voicing for people comping. If the code is marked augmented, chord instrument will voice natural 9th since it calls for whole tone scale. On the other hand, if it were spelled b13th instead, the voicing might be b13th on the bottom and 5th on top to distinct the b13 chord. A simple example, V7 of d minor key, A7, or better yet, say V7/vi in F major, if it were Mixolydian, the 9th of A Mixo is B, which doesn't agree with the key. The 13th of A Mixo is F#, which also doesn't agree with the key. So, you lower them, b9th and b13th. Now you have Mixolydian b9th, b13th scale. If you said A aug 7, which derives a whole tone scale, and altered 9th cannot be used. 5th is the last note of the order which you alter tensions in a tonal harmony, i.e., as soon as you lower the 5th, it becomes Altered Mixo, and calls for b9, #9, b13 together. On the other hand, #11 chord which derives Lydian b7th scale, calls for natural 9th and natural 13th. The order of altered tensions: b13th first as in V/ii, Then altered 9th besides b13th as in V/vi, Then b5th besides altered 9th and b13th as in V/iii and V/vii. Altered tension is only available to dominant chord, which tri-tone is stronger than dissonance created by altered tensions, and that dissonance even help the forward motion of tri-tone. -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA <http://a-no-ne.com> <http://anonemusic.com> _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
