My thoughts on this:
The *source* scale for a Dom9(#11/13) chord is a jazz minor (aka =
ascending melodic minor) with its root on the 5th of the chord. I.e., =
any V9(#11/13) is actually a IV of a Im (whichever). The ear tends to =
hear any dominant 7th chord with a non-diatonic root as a IV of Im. So =
if we are in C (tonal center), this is the chord and the proper =
extension you would add to the following dom7 chords: Db7, Eb7, Ab7, =
Bb7, Gb7. The exception is: IV7 of I. This means that In C, if you =
get an F7 you may add 9, #11, 13 and use a C jazz minor scale (the =
proper source scale). =20
Somewhere in between an exception is the case Marc talked about, a usual =
IIm7 of I, turned into a II7 and *then* turning into the diatonic IIm7. =
In this case what we're doing is transforming the IIm7 into a sort of =
IV7 of something (in this case, in C, the source scale and tonal center =
for the II7 =3D D7 is a A jazz minor scale). This happens in "The =
Girl from Ipanema", second chord.
Overall, here are some tips:
1. Be sure to support the #11 with a 9, sounds better. =20
2. You can leave out the 3 in this type of chord, IF you add all three =
extensions: 9, #11, 13. I recommend you try ty include the 5th, to let =
the ear know we're talking about a #11 and NOT a b5!.
3. Realize that all 3 extensions conform a Major Triad a major second =
above the root of the chord. =20
FOR PIANISTS: You can use a wonderful voicing of this chord very easily =
by playing the b7 and the 3 with your left hand, and the Major Triad =
(any inversion will do, use your ear) a major second above the root with =
your right hand. GUITARISTS: You can take advantadge of this fact for =
voicings too, and also to sweep an arpeggio of the Major Triad when =
improving (e.g. second chord of "The Girl..." is G9 (#11/13), use a D =
jazz min scale to improvise -- BTW this is the same as a Lydian b7 from =
the root -- and use an A Major Triad to make rapid arpeggio sweeps).
BTW, this is NOT the case of the second chord on "Take the A Train"! =
(this is the way it shows in Sher's New Real Book, but it's wrong!). =
Listen to the melody and to Ellington and everyone when improvising and =
it's clear that the chord is a II7(b5), which takes a symmetrical =
whole-tone scale, which includes both altered 5ths (b5 AND #5) but =
leaves the 9th unaltered.
-----Mensaje original-----
De: Marc Sabatella [SMTP:marc@outsideshore.com]
Enviado el: Viernes 13 de Marzo de 1998 04:40 PM
Para: Multiple recipients of list discussion-L
Asunto: Re: 13#11
> (Also, the "secondary dominant takes the #11", as an old teacher used =
to
> recite. Although, now that I think of it, I can't think of why that
would
> be, theoretically, rather than just being a regular mixolydian =
dominant.
> Of course, it *sounds* right, so what more do you need.)
I can offer a couple of incomplete theories, not that I think the world
needs them. First, the #11 in the II chord leads nicely to the 5 in the
following ii chord. Second, it helps increase the contrast between the =
two
scales. Of course, so would a b9 or any other alteration, yet these =
don't
seem to be as common. In general, the b9 is something that to me =
increases
the tendency of the chord to resolve up a fourth, because it "flattens" =
the
chord. That is, D7b9 is "flatter" that plain D7, and thus leads the =
chord
in the flat direction on the circle of fifths. Whereas the #11 "sharps"
the chord, potentially leading it in the other direction. This =
certainly
helps explain why bVII-I usually takes a #11 on the bVII chord. But it
doesn't really explain why II-ii wants the #11.
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