[Dixielandjazz] Unsophisticated Dixieland Chords

[Stephen G Barbone]

> "Fred Hoeptner" <fredhep at earthlink.net> wwrote
>
> I am nonplussed. I must remind you that this is a "Dixieland jazz"
> discussion group. As such, no discussion of chords more  
> sophisticated than
> the major triad, minor triad, major minor seventh (dominant seventh),
> perhaps added sixth, and diminished seventh are permissible. You are
> forgiven this time, but in the future please desist from such
> transgressions.

I guess than means we must burn our copies of Richard Sudhalters'  
"Lost Chords".
Note the below quote From Page 420 involving a discussion of Bix  
Beiderbecke who under the rules of the purist jazz police, should have  
been placed under musical arrest for not being a Dixieland musician.  
Excerpted from Sudhalter's analysis of Bix's solo, "Krazy Kat" (1927).


". . . . The G is the Negroid lowered, the F# used twice is the ninth.  
The construction in measure 6 is very ingenious. The E# is the lower  
neighbor of the thirteenth (F#) which follows it. . . .The D is the  
eleventh of the A7 chord, the B is the ninth. At the end of the  
measure there is a restatement of the lower neighbor of the thirteenth  
and the thirteenth itself. . . . ."


Damn, I knew it all along, Bix was one of those damn Be Boppers.  
<grin> As was Pee Wee Russell who made liberal use of chord extensions  
and flatted fifths way back in the 1920s. Who else sinned in this  
manner? Listen and ye shall hear.

Lets give Dixieland a little credit. It is one hell of a lot more than  
triads, sevenths, an added sixth and a diminished seventh here and  
there.

Cheers,
Steve Barbone
www.myspace.com/barbonestreetjazzband