On Sat Oct 3, at SaturdayOct 3 7:45 PM, A-NO-NE Music wrote:
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.
Well, I would say first that the pianist has to listen a bit better,
not necessarily that she made a bad choice. I understand your point
about "first choice" scales (I agree! Really!) but it doesn't end there.
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.
Well, actually in that case, I would NOT have a problem with it at
all. Bass lines are in a different "place" than comping and front
line are. Bass players often use, say, melodic minor on a dominant
walking up to a minor root when everyone else is playing an altered
dominant. This kind of bass players' "musica ficta" is common and
well-documented. Depending on how the player did it, from a point of
sensitivity and informed musicality, I would be perfectly at ease
with some forms of "mismatching" with the bass.
But on the subject of matching and mismatching comping chords with
front line: Charlie Parker was well-known for asking pianists (well,
Bud Powell anyway) to play the unaltered dominant while he played a
minor third higher than the actual chord (Bb7 mixo over an unaltered
G7). Bud was one who cottoned on pretty quick and had started going
with Bird on the substitute, but Bird insisted he liked how it
sounded when he played the Bb7 over the G7.
Christopher
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