Web Site: Jazz Theory, General Theory + much more.

[Aaron Saunders]

Bye!

[slybass3000]

This whole thing gets a big :eyeroll: at this point. I'm done with this arguement, it's like trying to pound a square peg into a round hole.

There is a reason why it doesn't fit!!!

SB

[geoffkhan]

Originally Posted by slybass3000

Well,the examples he gives on upper extensions don't have the #11.
They are based on the scale of C Maj with the perfect 11 instead of the raised one.
If you really want an 11 on a major 7 chord YOU HAVE TO raise the 11 so you won't have the minor 9th interval in the chord.
But that is not what he is showing.
The actual written chords should be C MA9(#11) and C MA13(#11).

SB

If you're nice you write the C MA13 with a (#11), but as a keyboardist, you always put in the #11 when they have a MA13 chord because otherwise the chord will sound... different.

As you said, the correct way of writing a MA11 chord is to write MA9(#11). In theory class, actually I was taught that the #11 is always sharped in major chords involving the 11th.

The reason that you don't use a natural 11th, of course, is because then the normally beautiful-sounding major 7th becomes its tritone. :P

[geoffkhan]

Originally Posted by slybass3000

I am talking about the NEW REAL BOOK!!!!
Read carefully the post A*?%$&%#$!

Heh, I've found mistakes in the New Real Book, too. Really, no fake books are going to be 100% correct. The best way is to learn the tunes on your own from the records. That way you can actually hear the feel of the songs.

[Chris A]

Ok, I think we're done here...........



Chris A.