Terry,
I think you misunderstood what I meant. From my perspective, spelling
a chord by its function leads to more complete understanding. If one
has been trained in diatonic harmony, a m7b5 chord explains its
function clearly. It is either a ii chord or a vii chord, and one can
know what to do with it. A m6 chord with the 6th in the bass is not a
helpful spelling to anyone who wants to understand harmony as it
functions in a musical phrase - as it takes place in time (unless it
is a tonic chord with a moving bass line, or the A is a pedal tone).
If all you are interested in is a vertical alignment of pitches, then
whatever spelling reminds you of the relevant pitches is OK, but that
is a woefully incomplete way to understand music.
What I was saying is that I don't agree with Monk or Barry in this
particular issue. I find it an obtuse way of attempting to understand
something relatively simple.
Chuck
On Oct 4, 2009, at 9:53 AM, terry cano wrote:
I think you are right on the money.....
You can find a lot more folks that play (not just Jazz folk but Rock
guys, etc.) that can play a C min6/A but have to stop and think
about Ami7(b5) I see this all the time with by new students. It
also details the chord
u write Ami7(b5) I'm gonna starting thinking ....hmmmm nat 11, tri
tone Eb7(#11) and you probably would to....Cmin6/A is more specific
and less likely
to be changed by some folk. When I write charts I always thake that
into consideration in the changes. It may not be neccessary and of
course this is my opinon and subjective.
Terry
I work with Barry Harris from time to time (pleasure for
me), and he speaks about Monk calling an Am7b5 a
Cmin6/A. I never did get why this was important to
Monk or to Barry, who is usually into simplifying the way
one needs to think about harmony rather than making it more
complex.
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