I studied jazz saxophone years ago and read scholarly publications about Charlie Parker. I probably still have these articles and books somewhere, but its so great to see your devotion to Charlie Parker improvisation! I will always cherish my years following in his footsteps when i could as a young music student.
Adding the 9th definitely creates welcome ambiguity. Sometimes even rock guys use it to enhance their "power chords" instead of using the 3rd. It could be because the 3rds and 7ths have deep harmonic and historical associations, whereas 9ths have a more modern or disconnected sound.
The 9 and the 3 have a very different harmonical meaning and purpose. Using the 9 and not accentuating or not playing the 3 are a different story. The usage of the 9 is very old.
Perfect. Nice as always. Just for the record, the word that (I believe) you were probably searching for... instead of "unclear" might be "ambiguous". Ambiguë in french.
I liked this! I agree, ambiguous is not a bad description, but I tend to think of 9ths, (#)11ths and 13th as color tones (7th can do it sometimes)…..these notes don’t do any thing to outline the harmony, but rather color it. I’d say they are ambiguous because they offer no functionality, just beauty!
I wouldnt say the first method is a mistake , but i will definately try to incorporate the 9-13 into my playing because i like the sound , thx for sharing
Ça somme simplement plus bebop en évitant la tierce qui sonne "trop" propre (?) Justement mon jeu est très basé sur les arpèges sans super structures donc ça sonne toujours très facile pour n'importe quel auditeur mais ça n'est pas dans l'esprit bebop ou manouche pour les auditeurs plus habitués à ces styles.
The good thing about bebop is the way melodies are constructed. But the approach of many players and bebop theory builders of that time was to weaken the harmony to a point where tonality is completely destroyed. Ambiguity and chaos prevailed. Later on jazz evolved still more in a non tonal direction. The same happened to classical music. Like it or not. Personally a keep the juicy parts of bebop but remain within the range of the good old tonal style, so I do use the 3th and the tritone when it fits within the context of the band. One note. I had a look at some Parker's solos and studied them, but until now never analysed in detail what the background musicians did. Bebop solo players liked to emphasize notes from the upper extensions of the chord (above the 7th). If the accompaniment layed down the harmonic foundation by using eg the tritone, then it is even a good and advisable thing that the soloist stays out of that way. I did notice that the bass often played leading tones. You have to see the whole picture before judging. *Update.* I had a quick look in a transcription book of Parkers solo's and selected 3 random bridge samples. I quickly found that he ended a 7th chord (the last beat) on the 3, and on the beat (not on the 'and'). I'm not a Parker specialist, but on first impression I would say that he avoided creating a strong cadence (strong resolution) with the next chord, which is a good thing because we're in a bridge. But clearly he did use thirds on the (strong part of the) last beat.
I studied jazz saxophone years ago and read scholarly publications about Charlie Parker. I probably still have these articles and books somewhere, but its so great to see your devotion to Charlie Parker improvisation! I will always cherish my years following in his footsteps when i could as a young music student.
Thanks for giving this good advice and for demonstrating it in the illustrated video. I learned something; now, to put it into practice...
Great advice! Thanks so much!
Adding the 9th definitely creates welcome ambiguity. Sometimes even rock guys use it to enhance their "power chords" instead of using the 3rd. It could be because the 3rds and 7ths have deep harmonic and historical associations, whereas 9ths have a more modern or disconnected sound.
The 9 and the 3 have a very different harmonical meaning and purpose. Using the 9 and not accentuating or not playing the 3 are a different story. The usage of the 9 is very old.
Perfect. Nice as always. Just for the record, the word that (I believe) you were probably searching for... instead of "unclear" might be "ambiguous". Ambiguë in french.
I liked this! I agree, ambiguous is not a bad description, but I tend to think of 9ths, (#)11ths and 13th as color tones (7th can do it sometimes)…..these notes don’t do any thing to outline the harmony, but rather color it. I’d say they are ambiguous because they offer no functionality, just beauty!
I wouldnt say the first method is a mistake , but i will definately try to incorporate the 9-13 into my playing because i like the sound , thx for sharing
Thanks for the video…I am going to be using my ears to listen for this…or not, as the case may be!
Top ! Merci beaucoup.
Merci
Ça somme simplement plus bebop en évitant la tierce qui sonne "trop" propre (?) Justement mon jeu est très basé sur les arpèges sans super structures donc ça sonne toujours très facile pour n'importe quel auditeur mais ça n'est pas dans l'esprit bebop ou manouche pour les auditeurs plus habitués à ces styles.
Tres interessant merci
Hablas en inglés en este video entiendo más que el francés. Gracias . Mercy beaucop
The good thing about bebop is the way melodies are constructed. But the approach of many players and bebop theory builders of that time was to weaken the harmony to a point where tonality is completely destroyed. Ambiguity and chaos prevailed. Later on jazz evolved still more in a non tonal direction. The same happened to classical music. Like it or not. Personally a keep the juicy parts of bebop but remain within the range of the good old tonal style, so I do use the 3th and the tritone when it fits within the context of the band. One note. I had a look at some Parker's solos and studied them, but until now never analysed in detail what the background musicians did. Bebop solo players liked to emphasize notes from the upper extensions of the chord (above the 7th). If the accompaniment layed down the harmonic foundation by using eg the tritone, then it is even a good and advisable thing that the soloist stays out of that way. I did notice that the bass often played leading tones. You have to see the whole picture before judging. *Update.* I had a quick look in a transcription book of Parkers solo's and selected 3 random bridge samples. I quickly found that he ended a 7th chord (the last beat) on the 3, and on the beat (not on the 'and'). I'm not a Parker specialist, but on first impression I would say that he avoided creating a strong cadence (strong resolution) with the next chord, which is a good thing because we're in a bridge. But clearly he did use thirds on the (strong part of the) last beat.
Sometimes it feels like the purpose of mainstream musical education is to kill melody. Parker was a melodic player.
We don’t do mistakes we make them
Thank you! I corrected it :-)
Tu es quand même plus fort en Portugais
🤪
Sorry for being a bit of a pedant,
but mistakes are the important issue here and we can learn the most from making mistakes.