A-NO-NE Music wrote:
On 2009/10/02, at 18:18, Robert Lingnau wrote:
To answer your question: Yes, C MI 6 with the 6th in the bass is A MI7
(b5).
They are not the same. A-7(b5) dictates Locrian. C-6 forces you to
avoid 7th to voice, meaning the 7th will be b7th or natural 7th which
will be a choice for the improviser.
Again, most important thing here is that 6 chord by definition tells you
not to voice the 7th.
Knowing of course that your expertise in these matters far
exceeds mine, how exactly does any chord designation "force"
anything on an improviser? And how does A-locrian differ
from C-dorian (which I would expect to be played over
Cmin(maj6)) other than in the starting note? Suggest,
certainly, but force?
Avoiding the 7th in voicing the chord, leaving the choice of
b7 or natural7 to the improviser, how would that differ
between the two chord designations? Would someone really
add a Bb or a Bnat to the A-7(b5)? I guess they could add
the 9th pretty easily, but so, too, could they add the Bb or
Bnat in a Cmin(maj6)/A designation, couldn't they, since the
A would be in the bass and thus farther away from where the
Bb/Bnat would be voiced?
It really seems to come down to how the people playing the
particular song or playing in a particular school of jazz
thought feel most comfortable about things rather than any
hard-and-fast-nobody-would-do-that sort of rules.
--
David H. Bailey
dhbai...@davidbaileymusicstudio.com
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