[Dixielandjazz] Re: Flatted fifths

[Bill Biffle]

John Farrell wrote:
For instance, if I wanted to change from an F chord to a Bb chord I might
use B
natural (the flatted 5th) as the bass note with an F+ chord in the right -
the whole thing would appear on a fake sheet as F+/B.

Change the A in the F+5 chord to Ab and you've played a classical bVI7 chord
(Db7 in this ex.) resolving to I.

B


----- Original Message -----
From: "" <stridepiano at tesco.net>
To: "Don Ingle" <dingle at baldwin-net.com>; "Charlie Hull"
<charlie at easysounds.com>; <theflorences at shaw.ca>; "djml"
<dixielandjazz at ml.islandnet.com>
Sent: Saturday, October 25, 2003 11:05 AM
Subject: Re: [Dixielandjazz] Re: Flatted fifths


> I use the flatted 5th now and again as a one-beat passing chord when
> modulating but always put it in the left hand with a +5 in the right. For
> instance, if I wanted to change from an F chord to a Bb chord I might use
B
> natural (the flatted 5th) as the bass note with an F+ chord in the right -
> the whole thing would appear on a fake sheet as F+/B.
>
> Charlie is so right about creating a feeling of tension and release, it is
> one of the most important building blocks of jazz.
>
> Don is also bang on target when he suggests that the flatted 5th is now
> commonplace in the jazz pantheon and is no longer a niche progression
> belonging
> exclusively to modernists.
>
> John Farrell
> http://homepages.tesco.net/~stridepiano/midifiles.htm
>
> ----- Original Message -----
> From: "Don Ingle" <dingle at baldwin-net.com>
> To: "Charlie Hull" <charlie at easysounds.com>; <theflorences at shaw.ca>;
"djml"
> <dixielandjazz at ml.islandnet.com>
> Sent: Saturday, October 25, 2003 2:39 PM
> Subject: Re: [Dixielandjazz] Re: Flatted fifths
>
>
> > When is a flatted fifth no longwer a flatted fifth. Consider these notes
> > C E G B D Fsharp. That is the root, third, fifth, major seventh, ninth
and
> > 11th, all build on major thirds. Now if you drop back to the fifth and
> flat
> > it, you are enharmonically identical to the major 11th. While a
violinist
> > might favor the differences as being free to do so, the piano is a fixed
> > pitch instrument and so the notes of a flatted fifth and a major 11th
will
> > only sound as an octave.
> > Like all "gimmicks" that come and go in music, the flatted fifth was
given
> > some special fame in the bebop era, and has long worn out its
repuatation
> as
> > being something special or unique. Use  it but don't abuse it -- as
> applies
> > as well to anyting else that becomes a cliche.
> > With an ool-ya-coo to all,
> > Don Ingle
> > Don Ingle
> > ----- Original Message -----
> > From: "Charlie Hull" <charlie at easysounds.com>
> > To: <theflorences at shaw.ca>; "djml" <dixielandjazz at ml.islandnet.com>
> > Sent: Saturday, October 25, 2003 9:10 AM
> > Subject: Re: [Dixielandjazz] Re: Flatted fifths
> >
> >
> > > Altered notes - the flatted 5 is probably the most common - are like
> > > seasoning in food.  When not overdone they add interest to a solo
melody
> > or
> > > chord.
> > >
> > > Many compositions and songs use the device of a lowered note which,
> being
> > > 'out of tune', creates a tension that is eased when the note resolves
> into
> > a
> > > scale note.
> > >
> > > I'm betting the flatted fifth and seventh, the 'blue' notes, once
> sounded
> > > out of tune and exotic.  They're now the most common 'seasonings' in
> > popular
> > > music and in vocal and instrumental stylings.
> > >
> > > Charlie Hull
> > >
> > >
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> > >
> >
> >
> >
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