On 2009/10/03, at 10:05, Christopher Smith wrote:
I don't think Monk did. His changes were not that detailed.
Honestly, my changes in my own music are not that detailed, either.
I write more detail in the rare circumstances where I really need
something in particular, but usually I write as little detail as I
can get away with. But we aren't talking about MY music, are we? We
are talking about interpreting an existing set of pitches in a tune
written by someone else.
I didn't know we were talking about Monk. I only saw a thread saying
C-/A is the same as A-7(b5), and I said that's not true. Monk is too
special. 'Round Midnight, he wrote a song in Eb minor with Eb Major
key signature. He was tired of other musicians sitting in his gigs,
and he started to write confusing lead sheets to screw them up, and
discourage them to sit in.
Y'know, the theoretical correctness is only a tool. You can be
creative only when you mastered what it is supposed to be. I learned
this from Picasso. In general, I don't like "Open To
Interpretation". On the other hand, I do have a few "Open To
Interpretation" pieces for small groups, where all the dominant chord
has no tension written. This is a composer's choice, not the comping
player's.
Here is the summary of my point:
* I don't want chord instrument players to put tensions as they feel
like it. Note that creative rehamonization is a totally different
subject here.
* I have no problem improviser choosing notes as they feel as long as
they sound great. Note that there aren't many improvisors who can hit
avoid note and still sounding great. Look, Coltrane hits avoid not on
purpose to be creative, and he knows that is the avoid note! He can
do it since he grooves on that avoid note.
* I hate improvisor ask me what scale to be used for the chord I
wrote, except when I wrote ambiguously on purpose.
--
- Hiro
Hiroaki Honshuku, A-NO-NE Music, Greater Boston
http://a-no-ne.com http://anonemusic.com
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