On Jul 2, 2007, at 9:58 AM, A-NO-NE Music wrote:
Christopher Smith / 2007/06/30 / 04:07 PM wrote:
Bar 2, voiced from the bottom, G,F,Bb,Eb,G
What to call bar 2?
As soon as I saw this, it is G-7(b13) to me. This fits in Modal
Interchange function to the context you provided.
On Jul 1, 2007, at 2:30 PM, Jim Dukey wrote:
Hi, The chord in question is C-11/G. You mentioned C
being a melody note. Put C on top of the F-Bb-Eb-G,
and you'll hear it. The F-Bb-Eb-G voicing is the
standard 4th voicing for Cminor. so the progrssion is
basically--- C (major) to C minor, with the
appropriate scales. My 2 cents, Jim Dukey
Thanks to both of you for your comments.
Jim's analysis is close to how I like to think of key relations in
passages of modal borrowing. C major to C dorian explains the parent
scales of each of those structures. So the second chord would not
necessarily have to have a G in the bass; it could literally be any
note from the C dorian scale and the same mode relations would prevail.
However, Hiro brings up the point that most jazz musicians like to
think of chord scales as originating from the bass note, NOT from the
parent key, which I recognized as well, which is why I wanted to
supply a name starting on G if at all possible. I don't see a big
difference between Gm7(b13) and Gm7(b6) (the latter was my solution)
so in that we are in agreement.
However again, I wonder (the confusion of chord nomenclature being
what it is) if the solution in these modern times might be to just
indicate the chord scale "G Aeolian", or maybe even the parent scale
with the bass note "C Dorian/G bass". I see a lot of chord scale
indications in modern charts these days replacing traditional chord
symbols, so maybe I should just go with the flow...
Christopher
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