Adding in (9) , (11) and (13) to chords
when adding in the 11 or 13 at first i thought in terms of making larger or denser chords, but sometimes you can make a really sparse chord sound good with an 11 or 13 added.
for example, i found a neat sound with doing a chord that has a,d,e,a over a c7. this has the 9 and 13 (d and a), but no root or seventh. you can then move it up and down chromaticly. for example, if you have c7, f7, bb7 you can do
a ab g
e eb d
d db c
a ab g
the middle chord doesn't look like it would work with an f7, but i think that when you are sliding chords chromaticly you can get away with more dissonance like this on passing chords.
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what tunes are you going to use this voicing in? any examples?
keep it up- you are on the right track. every time you figure out something cool, and this goes for everyone, make sure you:
1. analyze it so you know why it's cool
2. figure out practice patterns (chromatic, circle, etc)
3. use it as much as possible until you don't have to think about it any more.
if you do this with every cool thing you discover on the piano, you'll be following in the footsteps of the greats.
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by Scot Ranney on 09/28/2004, 16:19
i mainly do solo playing, and i have tried to make it a point to fill in comp chords periodically in the right hand during solos, and i can stick this as a quick punch right on the v7 to iv7 transition.
f7 = b7(tritone sub)for purposes of analysis;in this case you're implying structures over the roots that are usable over the maj forms of the chord as well as dom...this gets into the relationship between ascending/descending dom chords and the cycle of fifths....try moving that same interval structure around over the fixed root;using any number of patterns of movement...........
as musicians in 2004-05,having gotten used to listening to so much modern stuff that "implies" chords by using "structures that work over them",it's a lot easier for us to conceptualize things like this without having to challenge the naming of the "structure" in terms of it's root,or whether the 3 + 7(or 4+7)are present in the voicing we are using to define the sound of the chord.....there have been some other threads about stuff like this,looking at how many roots can work under something like this and what the resulting "structures" are in conventional,applicable terminology........
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