Piano Guidance
Piano Guidance
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So it isn't that jazz uses 7th-chords as its basis, it's that jazz uses 7th-chords FAR more freely than common-practice tonality did, and it uses 3rd-stack extensions beyond 7th-chords all the time as well.
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Read More »I absolutely see where your question is coming from, but I think there are a couple of misconceptions buried in there that should be rooted out first: 1) This is just a terminology thing, but it's helpful to be clear that "triad" doesn't only mean a three-note chord (post-tonal theorists tend to use "trichord" for that more general structure), it's a three-note chord in which the chords are built out of stacked major and minor thirds. Hence, there are only four possible triads: 2 Major 3rds=Augmented, 2 minor 3rds=diminished, M3-m3 = Major and m3-M3 = minor. Both jazz and "classical" make use of all of these, although jazz makes far greater use of augmented triads. (BTW, I haven't seen the term "tetrad" before, I don't think it's in general use.) 2) In light of that, seventh chords aren't some other kind of harmony, they are just what happens when you stack one more major or minor third on top of a triad. There are 15 possibilities here (there would be 16, but M3-M3-M3 doesn't generate a useful seventh chord for reasons not worth going into here). This is the first big difference between common-practice "classical" music and jazz, because, for the most part, common-practice music only uses five of these possibilities (m7,M7,dom7,dim7,half-dim7), whereas jazz uses all of these plus most if not all of the others pretty regularly. 3) The biggest difference between the two styles, however, is that harmonies with even more stacked thirds—such as 9th, 11th and 13th chords (15th and above are pointless for reasons not worth going into here)—are quite common in jazz, whereas they are only just starting to be used in the late-Romantic era of common-practice music. So I would say that the basis of both kinds of music—and really the vast majority of all "western" music— is the interval of the 3rd, both minor and Major. More and more 3rds can be stacked, and, after the triad, each new 3rd added to the stack increases the dissonance of the harmony. So it isn't that jazz uses 7th-chords as its basis, it's that jazz uses 7th-chords FAR more freely than common-practice tonality did, and it uses 3rd-stack extensions beyond 7th-chords all the time as well. "Why?" is a difficult question to answer; to some extent the answer is just "because jazz composers like it." But the increase in tension caused by far freer use of dissonant harmonies is definitely part of the reason. As audiences became more-and-more inured to the basic dissonances of the common-practice era, composers started using that dissonance more freely and started adding newer dissonances in order to keep the tension high, and jazz composers are no exception to that. EDIT TO ADD: But as Roland Bouman points out in his comment, there very quickly comes a point when dissonance like this just becomes color in its own right, not necessarily creating tension anymore. Once a listener no longer expects any particular resolution, the intervals can just "be themselves" if you will. See also other post-tonal music.
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Read More »A good indicator in the favor of flat keys would be that some of the horns associated with jazz, trumpet and saxophone, are transposing instruments. Flat keys are in general more comfortable on these horns. The trumpet and the tenor sax are in Bb – when they play the note C- it sounds a whole step down (Bb).
A good indicator in the favor of flat keys would be that some of the horns associated with jazz, trumpet and saxophone, are transposing instruments. Flat keys are in general more comfortable on these horns. The trumpet and the tenor sax are in Bb – when they play the note C- it sounds a whole step down (Bb). If they were to play a tune in the concert key of A it would put them in the key of B – not a great key with 5 sharps. The alto and baritone sax are Eb instruments. If they played a tune in the concert of A it would put them in F#, also not a great key (for anybody for that matter). On the other hand the concert key of Eb would put the Bb instruments in F and the Eb horns in C – much easier keys. For guitar players interested in learning jazz standards it is a good idea to get used to playing in flat keys. The most common being: F, Bb, Eb, and Ab major (and their relative minor keys). The good news is that guitar players don’t deal with playing a transposing instrument!
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