On 2009/10/03, at 8:29, Christopher Smith wrote:
I have to respectfully disagree with you here, Hiro, on both points.
First of all, the PITCH CONTENT of both chords is the same.
Therefore, they are the same, and any other interpretive points
(like what scale to play or what extensions to add to the voicing)
occur in the ear of the player, not prescriptively in the chord
symbol.
Secondly, there is nothing inherent in the Am7(b5) chord symbol that
dictates locrian, as there is no mention of the second degree at
all. Depending on the context, the locrian maj2 scale might be a
better choice (and I'm not even going into other choices!)
Granted, it usually shows up as a II chord in Gminor, where probably
locrian might be the first choice. But what about a VI chord
following a Im(maj7) in Cm, or an altered II chord in G major? Both
those situations might like locrian maj2 better than locrian.
But I accept the concept that a musician from the 40s might be more
likely to choose the Bnat if he sees Cm/A rather than Am7(b5), which
wasn't common in those circles at the time. Today, with a schooled
jazz musician, it would be another matter. That, I believe, was the
original point of the question.
Oh C'mon! If you want natural 9th - as the composer of the piece -
you would had wrote A-9(b5), right?
:-)
I am serious. I am tired of people writing vague instructions to the
improvisor. If your chord symbols are clear to suggest what the
composer wants, you save rehearsal time, and your composition will
sound great on sight reading. When I wrote for Mike Stern who had no
chance to rehearse with us, I gave slashes only and I wrote "blow
whatever you hear". No question was asked! And he sounded great!
This didn't work with Dave Liebman. He wanted to know all the harmony
I wrote behind his solo.
--
- Hiro
Hiroaki Honshuku, A-NO-NE Music, Greater Boston
http://a-no-ne.com http://anonemusic.com
_______________________________________________
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
