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The other day in our lesson Randy Porter showed me and interesting way of a resolving a dominant 7th (b9) chord. He thought it sounded like something that Cedar Walton would play, definately someone worth emulating. It's a very hip yet simple harmonic device.So over a C7(b9) resolving to a F you would play:
A triad, Ab triad, F# triad, then resolve to F
This creates a desending triadic line that leads to the I.
This works for chordal as well as for single line intruments. Just be very clear as you play your triads or triadic line. Major triads are always very strong, able to supercede almost any harmony they are played over. In this case the triads are drawn directly from the chord-scale and descend in stepwise motion, very strong motion indeed.
CEDAR WALTON Volume 35 A New Approach to Jazz Interpretation by Jamey Aebersold
3 comments:
The chord-scale being the diminished scale? I can see the A triad and F# triad come from a C half-whole thing, and I guess the Ab is just a bit of half-step tension :D n sets up the sequence for F# down to F (apart from this being a direct resolution)
I didn't phrase that correctly. Those triads would be taken from BOTH the diminished scale up a half step and the melodic minor up a half step.
Neat! I bit of "modal mixture" capitalising on the structure of a major triad! Thanks.
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