what disadvantages do you see in thinking of harmony strictly in terms of stacks of intervals. and not thinking in terms of chords and chord tones (3rd,7th, etc.)
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...which is really related to what i just said about extensions in the other thread. without thinking of the chord tones, one cannot hear the changes without a heavy duty rhythm section keeping straight form with no variations.

thinking of bill evans for example, his bass player would not stick to just simple chord tones 1,3,5,7 and would be doing a simultaneous solo while bill is doing the same thing. i think this is what makes bebop work. as each instrumentalist stretches the form, as a group they stay connected because they understand that they play with chord tones on downbeats. or at least within a half beat of the bass player (if doing some rhythmic displacement).

even with pulling back on the beat, this has to be resolved too and they will always merge back together and everyone will again be in synch.

i think that thinking in terms of stacks of intervals always has to be used in the context of the chord tones. i find better lines coming out as i understand when i move in and out of chord tones in an intervallic manner. thinking intervals alone without a chord tone context sounds contrived. perhaps because most good melodies are not constructed like that. good melodies are tied to the chord tones.
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