This will MESS with your brains, jazzers!

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[@wreckingrow6566]

Love this! This explains a few Jobim melodic choices.

[@JazzGuitarScrapbook]

Ah yes!

[@isaacbeen2087]

This is brilliant. I’d also add that perhaps the dissonant quality of each note also depends on register.

[@taylordiclemente5163]

Yes, classical music is about tension and release. A dissonance is prepared, suspended, and released. Intervals are conceived along a spectrum of dissonance, from complete consonance at the unison/octave, to increasing dissonance at the fourth/fifth, third/sixth, and second/seventh, arriving at maximal dissonance at the tritone/diminished fifth. 1 3 and 5 are considered consonant enough to be resting points, and the remaining intervals are to be prepared, suspended, and resolved. The fourth is a special case, its status depends on its relation to the bass note.
We can consider the classical approach to be subtractive harmony and the jazz additive. That is, classical builds dissonances and resolves them down to a simple harmony, whereas jazz delights in upper structures and considers them extensions of the triad.
Ultimately, the two traditions share the same deep structure of the circle of fifths progression and its smaller elements, the 2 5 1 and the 5 1 bass motion.
A classically trained person could create every extended jazz harmony by preparation, suspension, and release.
In other words, every classical dissonance (should) come from somewhere, e.g. a note of the previous chord.
To such an ear, modern jazz divorced from its blues roots may sound like a wash of rare colors, playing fast and loose with the process of harmonic push-pull. But, the jazz player knows that the style is really underpinned by guide tone movement, just like classical.

[@JAMonVID]

Very interesting!

[@basicsforbaroqueimprovisation]

Great work and presentation here Christian. I appreciate your carefully considered insights on this topic. Best Wishes - John

[@JazzGuitarScrapbook]

Thanks John!

[@mannoplanet]

And I thought it was all about the rhythm. 🙂

[@insidejazzguitar8112]

Perhaps what matters when the root is placed above the seventh is the minor second interval it creates, which is asking to be resolved

[@JazzGuitarScrapbook]

Possibly - but there are some examples where it’s a major second such as with the E on the Gmaj7, and you still feel that dissonance…. Maybe it intensifies it.

[@insidejazzguitar8112]

@@JazzGuitarScrapbook good point

[@someguy5261]

I'm sure you're no stranger to anticipations , common tones and descending lines as devices for justifying dissonances. F is not troublesome and neither is B in Cmaj7 as both of these have been exposed in the previous chord, you mention Cmaj9; a result of following the b13 above the G to its logical conclusion. Investigating any 'jazz progression' reveals the typical tricks of dissonance handling though not usually as neat as older styles of harmony (the 3rd preparing the 7ths of 2-5 is half a trick since they don't resolve down to 6ths but are left hanging to be justified by line cliche.) The point about 'minor chords' existing above the basses of major 7th chords is confused as is the idea of scales seeking to find chord tones: Yes that's a stronger resolution than nothing but the chord does not exist separate from the bass it harmonizes against and neither does the scale, the octave bass will of course sound queer because it takes its place with a b2 relation to a chord member as another chord member raise it further and the effect will diminish. When jazzers look at their fanciest chords they tend to overlook how they're almost always contrapuntal passing chords and for that reason do not demand anything coming close to consonant qualities, that's why we like them. Stella has many very hip chords but it ends on a Bbmaj7 after making sure to show off a scalar 6-b6-5 line that illustrates the nature of how we work the most dissonant extension above a bass.

[@guidemeChrist]

Nah I hear it the normal way, they're borrowed notes. Extensions are a jazz school thing

[@JazzGuitarScrapbook]

But what of the 6th on the 5th, eh? Case in point…..

[@guidemeChrist]

@@JazzGuitarScrapbook borrowed notes of borrowed notes, it is dialectical

[@JazzGuitarScrapbook]

@@guidemeChrist I don’t understand what that means … F6 on C6 sounds like what I’m talking about to me (Cmaj9.) Also important minor etc

[@guidemeChrist]

@@JazzGuitarScrapbook F6 -> borrow two notes from the diminished -> you get C6 - > now that has its own sixth diminished scale -> borrowed notes of borrowed notes

[@JazzGuitarScrapbook]

@@guidemeChrist I don’t see why that contradicts what I’m talking about…