Tritone Dichotomy #jazz #chord #dominant #sax #saxo #saxophone #saxplayer #saxofonista #harmony
Tritone confusion/dichotomy.
Many times the first lesson the jazz harmony student
learns is that in a dominant 7th chord there are soley two defining notes: the 3rd and the b7
(and that they are a tritone interval apart)
Whilst this maybe technically true for the construction
of the dominant 7th chords it is certainly NOT necessary for the melodic improvisor to trace or describe the dominant 7ths chords harmony by actually playing these notes in the solos.
Unfortunately many players misunderstand this lesson (my self included when younger)
believing that it is almost mandatory to “mark” or “highlight” these notes when soloing,
as these notes are harmonically “correct”
However, this is a BIG mistake
Recently when transcribing solos for the “10 best jazz solos for beginners to learn course”
(Louis armstrong 1927, Charlie christian, 1940 , Gerry mulligan 1960)
I discovered that these great players had something in common, and that is that they
did not much use these two “essential notes” the b7 and major 3rd of the chord.
Instead they favoured another two notes a tritone apart. (the 6th and the minor 3rd)
This was quite a revelation, especially as the non diatonic minor 3rd is academically incorrect!
Conclusion
I think it is really worth practicing and inverstigating and exploring the minor and and the 6th
as the sound is blusier and more soulful than the b7 and the major 3rd. (at least for me)
Disclaimer
I am not suggesting for a moment that you stop playing the major 3rd and b7 on the dominant!
search www.jazzduets.com
"10best solos for beginners to learn"
