Re: songs for remembering whole chord rather than intervals?


"Marc Sabatella" <marc@xxxxxxxxxxxxxxxx> wrote in message
news:11i197v2stm5g1d@xxxxxxxxxxxxxxxxxxxxx
> > It's not so much about knowing that, theoretically, there are many
> possible
> > substitutions for those 6 types. It's more about finding example songs
> that
> > capture the sound of a particular chord change/resolution so well, that
> it's
> > easy to "hear" and remember in your mind's ear.
>
> I can see why you might think this would be helpful, but what I am saying
> is, these are *not* things generally associated with particular songs. At
> most, particular *recordings* of songs. Just because the sheet music you
> found for Over The Rianbow" shows a b9 chord in a particular spot doesn't
> mean everyone always plays it that way, and in fact, I know for a fact
they
> don't. You could maybe say, "on so-and-so's recording of this tune from
> such-and-such album, on the second chorus, he uses a b9 on that chord",
but
> that would be about as far as you could go, because it's just as likely he
> used some other alteration on the previous chorus and next chorus or on
> another recording on another album.
>
> For example, the melody over the C7 chord you mention is actually the b13,
> so if I were to associate any particular sound with that spot, it would be
> b13. On the other, b9 and b13 do tend to go hand in hand, because both
come
> from harmonic minor and hence are likely candidate *any* time a dominant
> seventh resolves down a fifth to a minor chord. Now *that* is something
> important to learn. But it's definitely the sort of thing you might hear
> someone play differently on each chorus - b9 one time, b13 the next, both
> the next, #9 the next just for variety. And as the for the b9 the sheet
> music you are looking at calls for on the Bb7, that's definitely *not*
> something that I would expect any musician to usually play, because there
is
> no particular reason it has to be there (unlike the b13 on the C7 chord,
> which comes from the melody). Someone might choose b9 there just because
> they like that color, but there would be no more reason to do so there
than
> on the V chord of any other song. So I doubt you'd find recording of this
> song using the b9 any more often in that spot than anywhere else.
>
> Anyhow, the point being, jazz musicians just don't tend to be consistent
> about *exactly* which alterations they play when, although they do tend to
> be consistent about the things that make them choose the particular
> alterations they choose. Far batter to learn how and why these variations
> are made in the first palce. For example, learn why b9 and b13 tend to be
> used over minor sevenths resolving down a fifth to minor chords, play with
> it yourself to see how it works, and you won't need to hunt down
particular
> recordings to study to see if they do it on any given chord. It would be
> better to know "b9" as the sound *you* can create over a dominant
resolving
> down a fifth to a minor chord than recognizing it something you heard in
> some spot on some recording.
>
> > Like the jimi hendrix/purple haze
> > chord.
>
> That's a special case, indeed. But there is really no reason to expect
> there would be something similar for every chord, or that it would be
useful
> to create such a list as opposed to learning how and why these alterations
> are used in the first place.
>
> ---------------
> Marc Sabatella
> marc@xxxxxxxxxxxxxxxx
>
> The Outside Shore
> Music, art, & educational materials:
> http://www.outsideshore.com/
>
>
>
Thanks very much for your insight; I hope to better understand your points
with some reflection, but I think I get most of your meaning. You're saying
that it would be more pertinent to hear the cadence "in general", rather
than specifically with a b9 or b13, which might be dealer's choice per
chorus. Such a list would be more personal than maybe what would be useful
for anyone else ... it would be just the example that would help me
personally to remember "a sound" from some particular case. Adding the
reasoning of 'why it works' to the auditory image in my head would be my
goal. Something like "learning how and why these alterations are used in the
first place", with examples provided per user (me).

Thanks again for taking the time with me. I appreciate it.
clb

ps: the "iz" ( Israel Kamakawiwo 'ole) version is the one that's really
getting to me right now, and I don't think he's using any b9th's on his uke.
:)


.

Relevant Pages

  • Re: songs for remembering whole chord rather than intervals?
    ... these are *not* things generally associated with particular songs. ... found for Over The Rianbow" shows a b9 chord in a particular spot doesn't ... "on so-and-so's recording of this tune from ... seventh resolves down a fifth to a minor chord. ...
    (rec.music.makers.jazz)
  • Re: Quicky about naming a chord
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  • Re: Name this chord
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  • Re: Whats With These "Jazz Educators?"
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  • Re: The definition of an altered chord
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