WesG Posted June 22, 2016 Share Posted June 22, 2016 I sat in with a 10-piece last night that was playing Stan Kenton(?) Dectet material. Whoever the arranger was, dude loved his flat-9 chords, holy crap there was a lot of them. I stumbled on an interesting way of playing these that I thought worked pretty well. So, C flat9 - CEGBb Bb Db or E Bb Bb Db depending on density-need (no guitar). Anybody else ever given these much thought? I really liked having the dominant 7 and the flat 9 really far apart, thumb and pinky of my right hand usually. This guy also liked C+b5-type chords. So like CEGbG#. Wierd. I mostly played the flat 5 and sharp 5 together in the same octave, guessing he was going for dissonance, and figured the root and 3 weren't really important. Wes Hammond: L111, M100, M3, BC, CV, Franken CV, A100, D152, C3, B3 Leslie: 710, 760, 51C, 147, 145, 122, 22H, 31H Yamaha: CP4, DGX-620, DX7II-FD-E!, PF85, DX9 Roland: VR-09, RD-800 Link to comment Share on other sites More sharing options...
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