On Sat Oct 3, at SaturdayOct 3 9:47 PM, Chuck Israels wrote:
Do you see Charles there in Montreal? Please give him our best.
He's my neighbour! I see him, his wife and his adorable young
daughter quite often. I will say hi from you two.
I work with Barry Harris from time to time
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
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
Whoah, that changes everything!
First of all, particularly in jazz with 7th chords and extended
chords, we need the bass note to know what the function of the chord
is. Without knowing the style of the excerpt you supplied, in a jazz
or Tin Pan Alley context missing the bass notes, I would
On 2009/10/03, at 5:35, dhbailey wrote:
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
On Sat Oct 3, at SaturdayOct 3 2:47 AM, 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
On 2009/10/03, at 8:29, Christopher Smith wrote:
I have to respectfully disagree with you here, Hiro, on both points.
First of all, the PITCH CONTENT of both chords is the same.
Therefore, they are the same, and any other interpretive points
(like what scale to play or what extensions to
At 5:35 -0400 03/10/09, dhbailey wrote:
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
On Sat Oct 3, at SaturdayOct 3 8:45 AM, A-NO-NE Music wrote:
On 2009/10/03, at 8:29, Christopher Smith wrote:
I have to respectfully disagree with you here, Hiro, on both points.
First of all, the PITCH CONTENT of both chords is the same.
Therefore, they are the same, and any other
At 9:51 -0400 03/10/09, Christopher Smith wrote:
On Sat Oct 3, at SaturdayOct 3 9:03 AM, Haroldo Mauro Jr. wrote:
I also do not use the chord scale theory as a basis for improvisation nor in
my playing neither in my teaching, simply because I think good melodies are
made of chord tones plus
On Sat Oct 3, at SaturdayOct 3 10:34 AM, Haroldo Mauro Jr. wrote:
At 9:51 -0400 03/10/09, Christopher Smith wrote:
On Sat Oct 3, at SaturdayOct 3 9:03 AM, Haroldo Mauro Jr. wrote:
I also do not use the chord scale theory as a basis for
improvisation nor in my playing neither in my
Sorry, on your original example again, it depends on context. E
phrygian on Em7 might seem obvious in the key of C, but what about
bar 3 of Satin Doll? E Dorian is a perfectly playable scale there,
Because you are temporarily in D, no? - or at least pointing strongly
in the direction of
At 11:19 -0400 03/10/09, Christopher Smith wrote:
On Sat Oct 3, at SaturdayOct 3 10:34 AM, Haroldo Mauro Jr. wrote:
At 9:51 -0400 03/10/09, Christopher Smith wrote:
On Sat Oct 3, at SaturdayOct 3 9:03 AM, Haroldo Mauro Jr. wrote:
I also do not use the chord scale theory as a basis for
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
On Sat Oct 3, at SaturdayOct 3 1:57 PM, Haroldo Mauro Jr. wrote:
At 11:19 -0400 03/10/09, Christopher Smith wrote:
On Sat Oct 3, at SaturdayOct 3 10:34 AM, Haroldo Mauro Jr. wrote:
At 9:51 -0400 03/10/09, Christopher Smith wrote:
On Sat Oct 3, at SaturdayOct 3 9:03 AM, Haroldo Mauro Jr.
On Sat Oct 3, at SaturdayOct 3 12:42 PM, Chuck Israels wrote:
Sorry, on your original example again, it depends on context. E
phrygian on Em7 might seem obvious in the key of C, but what about
bar 3 of Satin Doll? E Dorian is a perfectly playable scale there,
Because you are
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.
and
But I still maintain that chord scale theory gives us E phrygian, E
aeolian, E dorian, E phygian maj7
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
Hi Dennis!
From the chapter Minton's Playhouse in To Be or Not To Bop (Dizzy
Gillespie), copied and pasted from an internet source:
Monk doesn't actually know what I showed him. But I do know some of
the things he showed me. Like, the minor-sixth chord with a sixth in
the bass. I first
In this case, the chord in question is perhaps a minor 7, b5. Printed
sheetmusic is often guilty of that mislabelling. If you see something
like Bb mi6, C7(maybe with b9), F...that's a giveaway. So that mi6 is
really a mi7b5
A minor third lower (6th in the bass)
Sent from my iPhone
On Oct
At 11:05 +0200 02/10/09, dc wrote:
I've been playing figured bass for years and years, but know very little about
jazz, unfortunately.
Someone (in a film) says about Th. Monk:
The first time I heard a chord like a minor 6th chord, with the 6th in the
bass.
Wikipedia says:
The chord consists
Robert nailed it, but just for extra coverage:
It seems strange to us that guys with relatively sophisticated senses
of harmony, like Monk, Gillespie, Parker, etc., had, would call
something that is fairly obvious to us as Am7(b5) (or A half-
diminished) Cminor chord with the 6th in the
Voice leading and root progression. How do you spell it and where does it
go. It isn't a minor seventh, it is a half-diminished chord. A minor
seventh on A would be ACEG. You have ACEbG. Half diminished in sound but
what came before it and what comes after it?
Guy Hayden
As I mentioned earlier, what a-c-eb-g is depends on context.
As a tonic, it is Cmi6--such chords are common in swing era music such
as Benny Goodman...but also found in some Bill Evans ;-)
A-C-Eb-G as a ii chord is half-diminished--Ami7b5.
Sent from my iPhone
On Oct 2, 2009, at 8:43 PM, Guy
On Oct 2, 2009, at 8:06 PM, Guy Hayden wrote:
You have ACEbG. Half diminished in sound but
what came before it and what comes after it?
Playing in the key of Eb:
BbCE G: ACEbG; ACEbF; etc.
timothy price
timothy.pr...@valley.net
___
On Oct 2, 2009, at 8:06 PM, Guy Hayden wrote:
You have ACEbG. Half diminished in sound but
what came before it and what comes after it?
Correction,
Playing in the key of Eb:
BbCEbG: ACEbG; ACEbF; etc.
timothy price
timothy.pr...@valley.net
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