I agree with the idea of simplification, but jazz pianists tend to prefer
certain spellings even if they may appear more complex. E.g. #11 is almost
always used instead of #4 these days. That is just how pianists think of that
extension.
Likewise C13 is very meaningful and almost always used in modern jazz instead
of C6 or C69, which was common in the swing era. Many pianists will play the C
13 as Bb, E, A, which gives a very desirable maj7 internal tension.
So "simplification" is hard to pinpoint.
------ Original message------From: Chuck IsraelsDate: Sun, May 7, 2017 3:35
PMTo: finale@shsu.edu;Subject:Re: [Finale] MIDI/jazz changes
Martin,I type in chord changes from a custom library of suffixes. I have
complex ones when they are needed, but I have learned to use more basic symbols
where possible. Flat 13 is, more often than not, really #5 . If #11 is in the
melody, it’s often superfluous to spell it in the chord. And if it’s not, it’s
more often a choice than a necessity. I use these extensions only when I need
them and hardly ever in bass parts. Hope this helps,Chuck> On May 7, 2017, at
12:27 PM, Martin Nickless wrote:> > Hi there was wondering if anybody that
predominately writes big-band charts > Do they enter the changes by playing the
cord on a midi keyboard ?> May I ask if they have built up a library of the
complex chords e.g. flat 13 sharp 11s etc> Thanks> > Sent from my iPhone>
_______________________________________________> Finale mailing list>
Finale@shsu.edu> https://lists.shsu.edu/mailman/listinfo/finale> > To
unsubscribe from finale send a message to:> finale-unsubscribe@shsu.eduChuck
israelscisra...@comcast.net(360) 201-34348831 SE 12th Ave.Portland OR
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