Robert nailed it, but just for extra coverage:
It seems strange to us that guys with relatively sophisticated senses
of harmony, like Monk, Gillespie, Parker, etc., had, would call
something that is fairly obvious to us as Am7(b5) (or A half-
diminished) "Cminor chord with the 6th in the bass." But on the
other hand, a chord scale that works very nicely on that chord is the
A locrian natural 2 scale, or a C melodic minor starting on A. So any
lick that a musician might have practiced on a C tonic minor chord
would work equally well on the Am7(b5) chord, and the relationship is
obvious by what they called the chord. So maybe they weren't so naive
after all!
Christopher
On Fri Oct 2, at FridayOct 2 5:05 AM, dc wrote:
I've been playing figured bass for years and years, but know very
little about jazz, unfortunately.
Someone (in a film) says about Th. Monk:
"The first time I heard a chord like a minor 6th chord, with the
6th in the bass."
Wikipedia says:
"The chord consists of a minor triad with an added major sixth
tone; thus in C, it would contain the notes C, Eb, G, and A. This
chord might be notated Cm6, Cm/M6, Cmin/Maj6, C min (Maj6), etc."
My question, if the 6th is in the bass, doesn't this become a minor
7th chord? If not what is the difference?
Thanks.
Dennis
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