Re: Triads superimposition

reed ( (no email) )
Sun, 19 Jan 1997 01:53:49 +0000

At 04:52 PM 1/15/97 -0500, you wrote:
>An idea from the triad thread. Briefly, you can superimpose some triads
>over other chords which color the original chord in some way. These may
>just be extended tertian structures or actual triads over other chords. You
>can then think very simple triadic melodies based on the super imposed
>triad rather than the fundamental tones.
>
>Some possibilities using just major triads:
>
>C major + C (plain), G (more colorful), D (bright and lydian sounding)
>Cm7 + Eb, Bb, or F
>C half-diminished + Bb (bright sounding dark chord=Cm7b5#2)
>C13b9 = A/C7
>C7#9b13=Ab/C7
>C7b5b9=Gb/C7
>C9#11=D/C7
>C7sus + Bb or F
>Cmaj7#5 + E
>Cm maj7 + G
>
>A standard progression like:
>
>Dm7 - G7 - Cmaj7 becomes:
>
>C/Dm7 - E/G7 - G/Cmaj7
>
>or another progression:
>
>Dm7b5 - G7 - Cm becomes:
>
>C/Dm7b5 - Eb/G7 - G/Cm maj7
>
>More later if anyone is interested.
>
>
A couple other dominant ones are:

Eb/C7 = C7#9#5

F#min/C7 = C7b9#11
Ebm/C7 = C7#9b5
Dbm/C7 = C7b9#5
Cm/C7 = C7#9

I use the F#min/C7 quite a bit.

Mark Levines book the "Jazz Piano Book" discusses these at
length.

Double diminished are used fairly often:

Bdim7/Cdim7

The doubly diminished is very interesting in that
it contains all the notes of the diminished scale.

As I explained way back, the original first chord for
stella by starlight (say in the key of Bb) is Bb diminished.

Try starting that tune with a doubly diminished chord for
an interesting effect.

I.e. in Bb, use Adim7/Bbdim7 for the first two bars of
Stella.

For those that have the Jamey Aebersold playalong that has
stella in G (the original key, it's a green book), the pianist
(Dan Haerle I think) plays that very chord.

Though of course there are alot others and not all are
equally usefull.

I'll try and go through my list of ones I use frequently.

reed

Reed Kotler
reed@justjazz.com
http://www.justjazz.com