>I just got back from vacation. I really find the altered scale discussion
>overreacted to. But I do not agree with Marc in the following sense: the
>thing is quite simple: an altered dominant chord/scale MUST include BOTH
>an altered 9th (b9 and/or #9) AND an altered 5th (b5 and/or #5). So, when
>we jazz musicians (an others, for that matter) see *C7alt*, we know what
>we're talking about. The bassist (and everyone else) should know
>THERE's NO perfect 5th in that chord; accompanists and improvisors should
>know there is no Major9th in that chord, etc. This is for the band to
>play coherently.
>
Reality is not often that clear. Chords will occur in charts that are still
ambiguous as to their meaning. I agree that we should all be clear about
what we want, but it is not always the case. sometimes the paper says C7
and that's all, but alterations may be clearly called for by the context or
aesthetics.
>Now, if you see C7(b9) use the 8-note dominant scale (the same as
>diminished scale starting on the half-step from the root of the chord).
>This will allow for both voicings and improvisations that WILL NOT ALTER
>THE 5th, since the 5th is not expected to be altered under this particular
>symbol.
C7b9 may mean to me: C Db E F G Ab Bb C (from F harmonic minor) or
C Db E F G A Bb C (from F major b6) or
C Db Eb e F# G A Bb C (diminished, octatonic
symetrical or 8-note dominant scale
What I would play may depend on melodic & harmonic context.
>
>Finally, if what the composer/arranger is looking for is a Dom7th chord
>with ONLY the 5th altered (b5 and/or #5) the source scale is a whole-tone
>scale from root of the chord; this will include the Major9th (unaltered)
>and will include both altered 5ths. An altered 9th IS NOT expected in
>this chord, and neither is a perfect 5th!
There are some other choices beside whole tone here, too.
C9 b13 = C D E F G Ab Bb C (from F melodic minor)
>The altered scale is based on three notes: 1, 3 and b7; to these, you add
>both altered 5ths and both altered 9ths and you have your altered scale:
>
>1, b9, #9, 3, b5, #5, b7, 1
>
>A good rule of thumb is: Where you have an altered 9th, the other altered
>9th is also available; where you have an altered 5th, the other altered
>5th is also available.
Not necessarily. Depending on context consider the following:
C7: C Db E F G Ab Bb C (b9, b13)
C7: C Db Eb Fb Gb Ab Bb C (b9, #9, b5, b13)
C7: C Db Eb Fb G Ab Bb C (b9, #9, natural 5, b13)
>
>One final statement, once more. Do not be afraid to analyse as much as
>possible. Analysis will only enlighten things for you, things you can
>later study on your own and practice until you understand them and
>internalize them in your psyche and muscles, that way they will show up in
>your playing when improvising. If you want to be a good musician, PLEASE
>do not accept the usual "...I play what I hear sounds good, and if it
>sounds good to me, IT IS good..." stuff, because IT WILL SHOW in your
>playing, but negatively!. Analyze and study all possibilities first, and
>THEN decide on what you want to say musically and study and internalize
>it. Only then, use your aesthetic judgement to decide on your tonal
>material when improvising and/or arranging/composing.
_______________________________________
Bert Ligon
Director of Jazz Studies
_______________________________________
School of Music
University of South Carolina
Columbia, SC 29208
Voice: (803) 777-6565
Fax: (803) 777-2151
http://www.music.sc.edu/Departments/Jazz/
bligon@mozart.sc.edu
_______________________________________