![]() ![]() It’s through the process of trial and error that we learn what works best. So always be curious when playing through jazz standards and think to yourself “what if I added….” to a specific dominant chord. When we stop and take the time to figure something out ourselves, you will find you retain the information better that way. It takes just a moment to stop and try some different alterations over a dominant chord, and it’s exactly in that ‘moment of experimentation’ that we make little discoveries like this. ![]() In the case in this arrangement I am just adding the b9 as a single alteration and not a full upper structure triad.Ībove anything else I would recommend experimenting. Think major triad off the 13th which gives 13-b9-3 as our upper structure triad tones. The b9 is a very ‘soft sounding’ alteration and it’s one of my favourites to use.Īlways pay attention to the melody note, if the melody note was the natural 9, then playing the b9 would create a clash.Ĭonversely, if we have the 3rd or 13 in the melody, the b9 will usually sound great as it can be applied in an upper structure triad. The b9 just adds a little more colour and tension than the natural 9. ![]()
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