On 2009/10/03, at 19:04, Christopher Smith wrote:
I think you are absolutely right, that there are a lot of choices available, all of which can sound great when executed musically.
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But I still maintain that chord scale theory gives us E phrygian, E aeolian, E dorian, E phygian maj7 (same as D melodic minor) and E locrian maj7 (same as D harmonic minor), just for starters. All of those can sound excellent at that spot in the tune, and all are supported by chord scale theory. Assuming of course, that we have the same definition of chord scale theory, as I mentioned.
I hate to sound like a broken record, but I feel my point has not be heard. Of course there are many choices for improviser. After all that's what the 1/3 of jazz is about (groove goes to the rest of 2/3), but the point is one have to know what is most correct answer before trying to be creative.
The Satin Doll E-7 / A7 is not Related II minor / V7 of II. If they were, they needs to be Locrean and Mixo b13. Instead, they are parallel lift of D-7 / G7, meaning whatever D-7 / G7 got has to be applied to E-7 / A7. The answer is Dorian / Mixo.
My point is not on improvisation but comping rather. The chord scale theory determines voicing, yes? Improviser expect correct tensions voiced by the comping. Say you are on a function gig. The swing jazz type of gig. The pianist thinks "I have choices". S/he voices that E-7 with b9 as if it were a Spanish song but you are grooving on one note, natural 9th, like Coltrane would do.
Or you are comping for someone. Without doubt, you are voicing the 9th but your bass player is waling on Phrygian. Are you saying you don't mind this? I would. My problem with the current state of jazz theory is that everyone tells too many different things, while there is only one best answer. Improvisation is not freedom without rules. You can't brake rules if you don't know it (or should I say 'enforce it' :-).
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