Re: [Harp-L] Counting to 13

[Slim Heilpern <slim@xxxxxxxxxx>]

Hi Tin -

Not sure if this will help or confuse you further, but when youâre looking at scale numbers greater than 7, it means the chord is spanning more than one octave. 

For instance, you will rarely here of a C2 chord, itâs always going to be C9. Basically (itâs actually more nuanced than this) C9 tells you that the 9th note of the scale is added to the chord. If you start on middle C, youâd be adding the D that follows the C one octave above middle C. 

The nuance part is that when people write C9, the dominant 7th is implied as well. So the full chord in ascending order is: C E G Bb D, where the Bb is the dominant 7th and the D is the 9th. Itâs easiest to understand this with the aid of a keyboard.

Thereâs actually some good material on wikipedia, for instance, hereâs an article on the meaning of a 13th:

https://en.wikipedia.org/wiki/Thirteenth <https://en.wikipedia.org/wiki/Thirteenth>

Hope that helpsâ

- Slim.

www.SlimAndPenny.com <http://www.slimandpenny.com/>

> On Apr 7, 2016, at 8:19 AM, Tin Lizzie <trackharpl@xxxxxxxxxxxx> wrote:
> 
> (Apologies in advance for some jazz jargon that may not make sense to all.)
> 
> This weekâs post at www.jazzadvice.com gives some very nice jazz advice about adding altered chord tones one at a time, in scale fragments, rather than trying to tackle a new kind of scale all at once, and I found that helpful.
> 
> But hereâs my quandary.  Sometimes I want to use the flat 6th as an approach tone to the 5th.  BUT in the jazz world, the flat 6th is called the flat 13th.
> 
> I think in  *12*  tones, and regarding any particular scale in any particular key, I think in terms of 7 tones plus sharps and flats.  I quickly lose my bearings when I try to enter 9th, 11th, and 13th territory.  And when you start slinging around b9, #9, #11 and b13, well, here be dragons.  Yes, I get it that weâre counting up by twos from the root, and that 9, 11, and 13 gather in the notes that are between 1, 3, 5, and 7, and that b6th and b13th are different names for the same note.  I also get it that you canât fight city hall, and that it would be unproductive to rant about the GROSS INJUSTICE of bringing in these extra numbers just when I was starting to feel cozy with 1-7.
> 
> What I would like to know is how all you jazz cats actually think about those notes, and if you do think in terms of 9-11-13, how you taught yourself to do so with facility.  Iâm looking for a gradual way in rather than the bazooka gun approach.  It is my current âstuck pointâ.
> 
> 
> ObHarp:  I went to Harmonicollege in Huntingon, WV this past weekend and had an absolutely fantastic time.  The teaching, the inn, the food (provided by members of the Huntington Harmonica Club and friends), and the camaraderie among the attendees were all amazing.
> 
> It would change the vibe if it were ever to become as popular an event as SPAH or Augusta -- the small size of the group was a big part of the charm -- but at the risk of undermining that aspect of it, I would recommend this event to anyone.  Kudos and thanks to Jim Rumbaugh for all his organizational effort.
> 
> Tin Lizzie
> 
> 
> 

www.SlimAndPenny.com