PLEASE REGISTER TO POST. Also, be sure to visit the main website www.tedgreene.com

**************************************************************************************
Buy NOW on Amazon
My Life with The Chord Chemist
A Memoir of Ted Greene, Apotheosis of Solo Guitar
Available at amazon.com

*Check it out!!!

VISIT OUR NEW SUPPORT PORTAL
Your contributions keep the site healthy and growing


More information HERE

Official Ted Greene Archives Blog

Ted Greene Archives on YouTube

Join Ted on FACEBOOK

NEW! Follow on TWITTER

..:: The Ted Greene Forums ::..
Sign up Latest Topics
 
 
 


Reply
  Author   Comment  
YoungBlood

Registered:
Posts: 66
Reply with quote  #1 
Does anybody have any material, or more insight, to the 17th chord that Ted speaks of in his first volume of Jazz Soloing book?
I'm just curious to the information, if anybody has any, since Ted really spoke briefly about it. Saying the chord is just a 11th chord (either that or a sus4) with the third on top of the fourth and not below it.
Been pontificating this for awhile, thought it might get some juices flowing around here too!


__________________
EXPERIMENT. Patience and determination are key.
keithfre

Registered:
Posts: 3
Reply with quote  #2 
Quote:
Originally Posted by YoungBlood
Does anybody have any material, or more insight, to the 17th chord that Ted speaks of in his first volume of Jazz Soloing book?
I'm just curious to the information, if anybody has any, since Ted really spoke briefly about it. Saying the chord is just a 11th chord (either that or a sus4) with the third on top of the fourth and not below it.
Been pontificating this for awhile, thought it might get some juices flowing around here too!


I think you mean "pondering". Now I will pontificate...

My guess is that Ted was trying to tidy up chord nomenclature by introducing the notion of a 17th. It doesn't seem to have caught on, though. One reason is probably that when a composer uses an x7sus(add 3) he just writes a dom7sus in the accompaniment and the third 3rd in the melody. It can be chosen as a voicing by the accompanist where virtually any kind of dom7 (or the related mi7) is written in the chart.

So really the only occasion when the precise voicing needs to be notated is in a book of chord voicings, where it could be notated as x7sus(add 3) or even x7(add 4). It's true that this doesn't show what note is on top, but then nor do any of the other standard chord names.

As the notation 17th is so uncommon, most musicians would have to do the arithmetic to figure out what it was. I know it took me a long time to get my head round 11=4 (I still prefer to notate #11 as #4). Bill Evans used to notate 13ths as 7add6 or something on those lines, and some musicians still do that. In general I go along with Aebersold's principle of keeping the chordal information to the minimum needed to understand the chord functions.

Hth,
-Keith
Previous Topic | Next Topic
Print
Reply

Quick Navigation:

Easily create a Forum Website with Website Toolbox.

YOUR SUPPORT MAKES A DIFFERENCE :: DONATE