[Dixielandjazz] Chords Then vs. Now & Then

[Harold Smith]

Following Charlie Hooks and jumping in where Angels fear to tread, I'll
add my two bit's worth on chords and progressions.

Charlie's got it nailed relative to the 1920's use of chords.  He's got
a lot of it right relative to the minor 7ths, but there's more to be
said on the matter.  Dominating the entrance of more modern harmonic
trends was the use of 6th chords, which defined the era of the mid
1930's.  Those, together with the use of the minor sevenths began to
accustom our ears to the harmonic tensions crfeated by this
near-dissonance.  Then along came major 7th's which always were around,
but not used extensively or intentionally in harmonic structure, other
than the accident of melodic lines.

As time marched on (how clever, eh?), the use of flatted 10ths played in
conjunction with seventh chords began to be part of the modern voicings.
They, too, had been around and very much a part of the blues structure,
but not used extensively in harmonic background playing.  Listen to the
Gershwin symphonic output, and you'll hear them aplenty.

Post=Condon and Post-Louis, you'll begin to hear lots of half-diminshed
chords, which early on were described on lead sheets as a minor seventh
with a flatted fifth.  That is not to be confused with the BeBop flatted
fifth chords, which really are augmented 11th chords, and not flatted
fifths.  Added to this modern mix are lots of 13th chords.  The really
modern guys use lots of 4ths and modal combinations.

I forgot that we were talking about "progression".  Well, all these
things are related to progression.  Chordal build up opens the door to
innovative and wonderful progressions which add to the musical interest
and flavor of the piece you're playing.  Mind you, I'm not talking about
traditional Dixie which should retain its near-original harmonic
structure, or it wouldn't be traditional, right?

However, the one point that hasn't been mentioned is the VOICING of
these chords.  There's a major differnece in playing the book-learned
intervals, versus
how these chords are voiced by a gifted and creative pianist or
guitarist.  I've heard and played with Steve Behr, and Charlie hits it
on the nail when he talks about Steve's special ability to play in all
styles.  Steve can also make it sound like several different pianists
(damned near simultaneously) by changing his chordal voicing to match
the particular era or mood he wishes to capture.

For me, and I don't think I'm wrong, the ultimate master of voicing,
harmony, chordal richness, et. al., was Art Tatum.
He made his instument sing, even when it was an out-of-tune box.  And,
although Mr. Tatum oould not be characterized as an OKOM trad pianst,
there isn't a player alive who hasn't been influenced by the harmonic
ground he broke about 75 years ago.  That is, as long as you're talking
about contemporary chord progressions.

'Nuff said, but there's more that could be.  
Regards,   Harold Smith
Regards,  Harold Smith