Re: Harmonic minor
reed ( (no email) )
Thu, 06 Mar 1997 00:21:22 +0000
At 11:46 PM 3/5/97 -0800, you wrote:
>Now that I've praised Mark Levine's books, and joined in his enthusiasm
>for melodic minor harmony, I wanted to mention that I've always been a
>bit puzzled that he completely omitted (I think) mention of the harmonic
>minor scale from his first book, even though a single harmonic minor
>scale can be a common thread through a minor ii-V-i progression (iim7b5,
>V7b9, Im(maj) ), as opposed to using a separate melodic minor scale on
>each chord.
>
>I actually asked him about this at a seminar once, and he pointed out all
>the "avoid notes" in the harmonic minor version, drawing laughs from the
>audience. I though he was a bit condescending about it, but I got over
>it. He stresses how much prettier the iim7b5 chord is with a natural
>ninth, though I think he exaggerates this.
>
>On a tune like "Morning of the Carnaval", noodling over the changes using
>the harmonic minor
>seems utterly appropriate, and is easier for a beginner than shifting
>gears to a different melodic minor "key" on each chord.
>
>Any comments?
>
>Richard
>
>
>
>
Harmonic minor harmony is extremely important for soloing,
especially when one is in a minor key. Interestingly enough,
it seems to be totally forgotten in modern jazz books.
For me, hearing the natural 9 on every m7b5 chord is extremely
oppressive.
The whole thing with avoid notes makes no sense to me.
Study the solos of the great players. They have no hangups
about that.
Study classical music like Chopin. He's not worried about avoid notes.
For me, melodic minor harmony is a very nice spice that can be
used. However, I don't want it as my main meal. I like nutmeg but
I don't want a plate of it for dinner.
For me it's just an intellectual thing about avoid notes.
However it's dug itself into the mainstream of jazz education so
people just repeat it in parrot like fashion without any true
understanding of where it comes from , who uses it, etc.
One thing that John Clayton (great bassist and arranger) told me
is that you have to write your own harmony book.
Amen!!!!!
To succeed at jazz you better go to the primary sources (transcription)
of players you are interested and don't depend on the theories
of others to set your own agenda.
reed
>
>
Reed Kotler
reed@justjazz.com
http://www.justjazz.com