Re: [Harp-L] Counting to 13
All good advice. I don't see why it's "jazz jargon". The replies so far
just go to show that it's all straight forward
Yes, Slim's 'two octave' explanation is my way of seeing it: once you are
past the seventh, 2 is 9, 4 is 11, and 6 is 13.
I play tunes with more than three chords, and attempt melodic
improvisation, but that doesn't make me a jazzbo.
On 8 April 2016 at 02:08, Slim Heilpern <slim@xxxxxxxxxx> wrote:
> 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 <
> 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
> > 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
> > 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
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