[Dixielandjazz] Message 1 Chords

Tue, 8 Oct 2002 14:30:47 -0500

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Dan Spink wrote: 
"...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." 

We had a discussion of this what, a year ago?

Look, chords are named for their functions: 

 - A tonic chord can be minor or major and can have an added sixth or major
seventh and functions as the I (one) chord.

 - A dominant-seventh is defined by having a major third and a minor
seventh. These can have a variety of extensions and alterations (usually of
the fifth and ninth) and can be simple or very elaborate but they function
as the V (five) chord.

[There are types, but these cover the current example.]

A tone that is a sixth above the root tells you nothing about the function
of a chord. For example, in the key of C a C6 chord sounds like a tonic,
because that's how it functions in the key of C. But in the key of F, the
same C6 sounds like a dominant chord that's missing its seventh, again
because that's how a C chord functions in the key of F.

In most western music, chords are built by stacking thirds on top of the
root. The chord is named for its root, and for the intervals the other notes
form with the root. So a thirteenth chord has a root, third, fifth, seventh,
ninth, eleventh and thirteenth. A G13 is G-B-D-F-A-C-E. (In any chord having
a major third, the eleventh, if present, is typically raised and would be a
C# in this example so technically it should be C13(#11), but that's
cumbersome and the #11 is generally understood and often omitted)

There is nothing "exotic" or "academic" about any of this. Sometimes you'll
see a simple chord on the lead sheet, say a G7, and the melody note is an E.
Guess what? It's a thirteenth chord! These chords occur often, even in OKOM.
Louis Armstrong used the thirteenth chords all the time. He obviously didn't
play all the notes at once, but he would nail those thirteenths with
conviction. They sound good, rich and exciting when they are used in
appropriate places.

Dan continued:
"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."

I say we do. Do any of you listen to recordings and then try to copy what
you hear? That's a kind of analysis. Do you ever try to play a familiar song
in a different key? That requires understanding the function of the chords
and their relationship to the melody notes. Both of these things are a lot
easier to do if you the time to analyze this stuff.

Of course when you're playing, you concentrate on the feeling, but it always
helps to have a big harmonic vocabulary. That's one of the things that
separate the great players from the merely pedestrian.

I'm not specifically picking on Dan, but it really bugs me when I hear
people suggesting that analysis has nothing to do performing jazz. That is
simply wrong. I guarantee that the players you all admire know this stuff,
in their ears and fingers if not in their words. All of the nomenclature and
"rules" are there to simplify understanding and talking about the music. The
music comes first, then the analysis. Capische?

Paul Edgerton

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<TITLE>RE: [Dixielandjazz] Message 1 Chords</TITLE>
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Dan Spink wrote: 
 &quot;...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.&quot;

<P><FONT SIZE=3D2>We had a discussion of this what, a year ago?</FONT>
</P>

<P><FONT SIZE=3D2>Look, chords are named for their functions: </FONT>
</P>

<P><FONT SIZE=3D2>&nbsp;- A tonic chord can be minor or major and can =
have an added sixth or major seventh and functions as the I (one) =
chord.</FONT>
</P>

&nbsp;- A dominant-seventh is defined by having a =
major third and a minor seventh. These can have a variety of extensions =
and alterations (usually of the fifth and ninth) and can be simple or =
very elaborate but they function as the V (five) chord.

<P><FONT SIZE=3D2>[There are types, but these cover the current =
example.]</FONT>
</P>

A tone that is a sixth above the root tells you =
nothing about the function of a chord. For example, in the key of C a =
C6 chord sounds like a tonic, because that's how it functions in the =
key of C. But in the key of F, the same C6 sounds like a dominant chord =
that's missing its seventh, again because that's how a C chord =
functions in the key of F.

In most western music, chords are built by stacking =
thirds on top of the root. The chord is named for its root, and for the =
intervals the other notes form with the root. So a thirteenth chord has =
a root, third, fifth, seventh, ninth, eleventh and thirteenth. A G13 is =
G-B-D-F-A-C-E. (In any chord having a major third, the eleventh, if =
present, is typically raised and would be a C# in this example so =
technically it should be C13(#11), but that's cumbersome and the #11 is =
generally understood and often omitted)

There is nothing &quot;exotic&quot; or =
&quot;academic&quot; about any of this. Sometimes you'll see a simple =
chord on the lead sheet, say a G7, and the melody note is an E. Guess =
what? It's a thirteenth chord! These chords occur often, even in OKOM. =
Louis Armstrong used the thirteenth chords all the time. He obviously =
didn't play all the notes at once, but he would nail those thirteenths =
with conviction. They sound good, rich and exciting when they are used =
in appropriate places.

Dan continued:
 &quot;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.&quot;

I say we do. Do any of you listen to recordings and =
then try to copy what you hear? That's a kind of analysis. Do you ever =
try to play a familiar song in a different key? That requires =
understanding the function of the chords and their relationship to the =
melody notes. Both of these things are a lot easier to do if you the =
time to analyze this stuff.

Of course when you're playing, you concentrate on the =
feeling, but it always helps to have a big harmonic vocabulary. That's =
one of the things that separate the great players from the merely =
pedestrian.

I'm not specifically picking on Dan, but it really =
bugs me when I hear people suggesting that analysis has nothing to do =
performing jazz. That is simply wrong. I guarantee that the players you =
all admire know this stuff, in their ears and fingers if not in their =
words. All of the nomenclature and &quot;rules&quot; are there to =
simplify understanding and talking about the music. The music comes =
first, then the analysis. Capische?

<P><FONT SIZE=3D2>Paul Edgerton</FONT>
</P>

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