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Yes I agree with you on this, it was a typo and should have said Cm7.
Interestingly, some of the old school jazzers I have spoken with seem
to prefer using the harmonic minor for the iim7b5-V7 part then switch
to the melodic minor for the i chord giving them then the natural 6. I
have found that it's easier to use the dorian mode, because that would
then give both the 6 and the b7, ensuring that I can cover whatever
another piano player or guitarist comps, m6, m7, m69, m9, m11 etc.

original article:

Ooops,

I want to make a correction to my previous email.
Where you read "I think that the Cm6..." Please read " I don't think

that

Cm6...".
Sorry for the inconvinience,
Regards
Rogerio

----------

From: rscouto@...

Hi Alisdair,

I think that the Cm6 resolves well on the segested progression

because

It has a tritone in it between the "A" and "Eb".
I rather go with the im7 insted.
regards
Rogerio Couto

Ooops,

I want to make a correction to my previous email.
Where you read "I think that the Cm6..." Please read " I don't think that
Cm6...".
Sorry for the inconvinience,
Regards
Rogerio

----------

rscout-@... wrote:
original article:

The harmonic minor scale is often cired as the scale of choice for
improvising over a ii-V-i progression. the reason for this that all

the

chords can be derived from the harmonic minor scale.

m7b5-V7alt-im7

e.g. C harmonic minor
Dm7b5 – G7alt – Cm6

C harmonic Minor Scale
1-2-b3-4-5-b6-7
C-D-Eb-F-G-Ab-B

However in realationship to each chord there are dissonances to watch
out for:

Dm7b5 – 1-b3-b5-b7-b9-11-13
Eb = b9 (dissonant)
B = 13 (possibly dissonant, dorian like)

G7 – 1-3-5-7-b9-11-b13
C= 11 (dissonant)
Eb= b13 (consonant on G7#5 or G7b13)

Cm6 – 1-b3-5-7-9-11-b13
Ab=b6 (dissonant)

An interesting thought is that the C harmonic Minor is the same as a D
Locrian with natural 6

Any more thoughts on this ?

Alisdair MacRae Birch
alisdair@...

Hi Alisdair,

I think that the Cm6 resolves well on the segested progression because
It has a tritone in it between the "A" and "Eb".
I rather go with the im7 insted.
regards
Rogerio Couto

The harmonic minor scale is often cired as the scale of choice for
improvising over a ii-V-i progression. the reason for this that all the
chords can be derived from the harmonic minor scale.

m7b5-V7alt-im7

e.g. C harmonic minor
Dm7b5 – G7alt – Cm6

C harmonic Minor Scale
1-2-b3-4-5-b6-7
C-D-Eb-F-G-Ab-B

However in realationship to each chord there are dissonances to watch
out for:

Dm7b5 – 1-b3-b5-b7-b9-11-13
Eb = b9 (dissonant)
B = 13 (possibly dissonant, dorian like)

G7 – 1-3-5-7-b9-11-b13
C= 11 (dissonant)
Eb= b13 (consonant on G7#5 or G7b13)

Cm6 – 1-b3-5-7-9-11-b13
Ab=b6 (dissonant)

An interesting thought is that the C harmonic Minor is the same as a D
Locrian with natural 6

Any more thoughts on this ?

Alisdair MacRae Birch
alisdair@...

Here are some thoughts on the minor chord/scale use.

1. Minor Chord Functioning as tonic minor, i, or as vi, in major key

Use Aeolian (Mode 6 of Major Scale)/Natural Minor
Reason: b6 wants to resolve to 5 giving a very stable tonic minor sound.

e.g D Aeolian = D–E-F-G-A-Bb-C
1-2-b3-4-5-b6-b7

Chord tones derived from scale = 1-b3-5-b7-9-11-b13

2. Minor Chord functioning as supertonic, ii, in a major key.
Use Dorian (Mode 2 of Major Scale)

e,g. D Dorian = D-E-F-G-A-B-C
1-2-b3-4-5-6-b7 (9-11-13)

Chord tones derived from scale = 1-b3-5-b7-9-11-13

3. Minor b5 Chord functioning as a ii, in a minor key
Use Locrian (Mode 7 or major scale)

e.g. D Locrian = D-Eb-F-G-Ab-Bb-C
1-b2-b3-4-b5-b6-b7

Chord tones derived from scale = 1-b3-b5-b7-b9-11-b13
Note contains b9
eg Dm7b5
Eb = b9 (dissonant)

4. Minor b5 Chord functioning as sustained chord
Use Locrian #2 (Mode 6 of Melodic Minor)

e.g. D Locrian #2 = D-E-F-G-Ab-Bb-C
1-2-b3-4-b5-b6-b7

Chord tones derived from scale = 1-b3-b5-b7-9-11-b13

Alisdair MacRae Birch
Jazz Guitarist
alisdair@...

hi people, this is my first post on the list. i want to discuss in
particular how the freddie green approach to rhythm playing is like. from
what i've gathered so far..he changes his voicings nearly every beat, avoids
the top string. are these things what he's actually doing?
and one big question of mine is that does such rhythm playing accent the 2
and 4, or does it play even 4s to a bar kinda thing?

one last thing i need help on......i have an epiphone arch top guitar and
was wondering how i could get the accoustic chug chug sound (like russell
malone, or freddie geen) do those guys mike up or do they use piezo or some
wierd combi ? ( i don't exacvtly dig the full elctric sound for
"chugging"..it lacks nuances)

i'd apprececiate all the help i can get coz i'm trying really hard to sound
good for my school's big band.

andrew.

by the way. the brett willmott book is good in helping your go through the
possibilities..like any good book you have to put the pieces together
yourself.

Hi,

I'm new to this group.

My name is Thomas and I live in Paris,France, where I learn
Django Reinhardt's style ...and love it. Lot of other's
style gutarist I love,like Pat Martino,Paco
DeLucia,Barrios,...

I would like to ask the members if they have personal
tricks,or exercises to interiorize the jazz grids,and
particulary the ones where some chords stay a long time. In
other terms,how can you be sure that your improvisation
follow the grid,change at the right time,without thinking of
it?

Just another question.Does anybody know a good book about
time shedulding,methodology,(..)to win efficacity in music
work?

Hope my english's not too bad.

-TOM-