[Dixielandjazz] Message 1 Chords

Tue, 8 Oct 2002 12:16:28 EDT

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Message: 1
Date: Mon, 07 Oct 2002 15:07:28 -0400
From: Stephen Barbone <barbonestreet@earthlink.net>
Reply-To: barbonestreet@earthlink.net
Organization: Barbone Street Jazz Band
To: Dixieland Jazz Mailing List <dixielandjazz@ml.islandnet.com>
Subject: [Dixielandjazz] Chord Question - Charleston, Bar 12

Pat Cooke wrote:

"Well, a Gm6 is the same chord as C9, or an Em7b5; and you could use a
Gm9;
but the best chord is really a C13.  (Ask any guitar player!)."

Listmates & Pat:

Yeah, right on. However, careful Pat, you are treading on an "old"
shibboleth that Dixieland does not include those "extensions". So a Gm6
with a root like John Farrell suggested is more in keeping with
"tradition" than the C9 or C13.

C13? Heresy.  ;-) VBG

Cheers,
Steve Barbone

I hope this clearly identifies the subject this time. 

I'm all the way with Steve on this one. The guys who play those big "modern" 
chords on guitar have a lot more strings to work with and, I suspect, hate 
simple chords like triads and sevenths in the first place. 

To take it all one step further, as you add extensions, or dissonance to any 
"basic" triad, sixth or seventh chord, you very likely will drop some of the 
intervals inside the chord because they aren't heard or, sometimes conflict 
with, the extension. The fifth, for example, is often dropped, and so is the 
third. What then happens is you wind up with fewer notes than you might 
think. A great example is the so-called thirteenth, which is really just a 
displaced sixth, or you could say, vice-versa. You can call it a sixth or a 
thirteenth and not be totally wrong, although a few purists will want to put 
it in the context of the larger harmonic framework for analysis. Do we really 
need that kind of analysis? I think Dixieland and early Jazz was loved 
because it was pure, heartfelt, fun and open music. No hiding behind funny 
dissonances.

All the best to all,
Dan (piano fingers) Spink

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<HTML>Message: 1 
Date: Mon, 07 Oct 2002 15:07:28 -0400 
From: Stephen Barbone &lt;barbonestreet@earthlink.net&gt; 
Reply-To: barbonestreet@earthlink.net 
Organization: Barbone Street Jazz Band 
To: Dixieland Jazz Mailing List &lt;dixielandjazz@ml.islandnet.com&gt; 
Subject: [Dixielandjazz] Chord Question - Charleston, Bar 12 
 
Pat Cooke wrote: 
 
"Well, a Gm6 is the same chord as C9, or an Em7b5; and you could use a 
Gm9; 
but the best chord is really a C13.&nbsp; (Ask any guitar player!)." 
 
Listmates &amp; Pat: 
 
Yeah, right on. However, careful Pat, you are treading on an "old" 
shibboleth that Dixieland does not include those "extensions". So a Gm6 
with a root like John Farrell suggested is more in keeping with 
"tradition" than the C9 or C13. 
 
C13? Heresy.&nbsp; ;-) VBG 
 
Cheers, 
Steve Barbone 
 
I hope this clearly identifies the subject this time. 
 
I'm all the way with Steve on this one. The guys who play those big "modern" chords on guitar have a lot more strings to work with and, I suspect, hate simple chords like triads and sevenths in the first place. 
 
To take it all one step further, as you add extensions, or dissonance to any "basic" triad, sixth or seventh chord, you very likely will drop some of the intervals inside the chord because they aren't heard or, sometimes conflict with, the extension. The fifth, for example, is often dropped, and so is the third. What then happens is you wind up with fewer notes than you might think. A great example is the so-called thirteenth, which is really just a displaced sixth, or you could say, vice-versa. You can call it a sixth or a thirteenth and not be totally wrong, although a few purists will want to put it in the context of the larger harmonic framework for analysis. Do we really need that kind of analysis? I think Dixieland and early Jazz was loved because it was pure, heartfelt, fun and open music. No hiding behind funny dissonances. 
 
All the best to all, 
Dan (piano fingers) Spink</HTML>

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