On Sat Oct 3, at SaturdayOct 3 12:42 PM, Chuck Israels wrote:
Sorry, on your original example again, it depends on context. E
phrygian on Em7 might seem obvious in the key of C, but what about
bar 3 of Satin Doll? E Dorian is a perfectly playable scale there,
Because you are temporarily in D, no? - or at least pointing
strongly in the direction of D.
Well, strictly speaking (according to chord scale theory!) we are
pointing in the direction of D MINOR in the key of C, so the F sharp
would be an altered note. But that is perfectly fine with me!
Nevertheless, I can hear F naturals in descending bass lines there
too. To remove all ambiguity from music is to impoverish the
language. Sensitivity to the choice of non-chord tones can control
subtleties, but I have found situations in which those choices are
less important to the overall effect of the musical gesture than I
think they are, when I am composing more slowly than the tempo at
which the music will be heard. I am not proposing ignorance of
this issue, just putting in its place.
Chuck
I think you are absolutely right, that there are a lot of choices
available, all of which can sound great when executed musically.
I remember having this pointed out to me by Charles Ellison (I'm
pretty sure you know him!) in my first improv class in university. He
was trying to show us some different ways of handling "wrong" notes,
and I (with the arrogance that only an eighteen year old could
possibly possess!) challenged him, in front of the class, to make a
major third sound "right" on a minor chord. He did on his trumpet,
without hesitation. I then said, "Oh yeah, but can you start on beat
1 and hold it, and make it sound good?" (I told you I was arrogant!)
and he did, in several different ways, all brilliant. We stood there
with our mouths open, then my pal beside me nudged me. "Got it?" he
asked with a grin.
I did.
Christopher
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