Jazz theory question: #9, b13, b5...

[tee boy]

If we allow that a chord has between three and seven notes in it (which is a reasonable allowance for western music)...
There are 3,223 possible chords and 3,991,680 possible voicings.
If we allow all 12 notes to the scale...
There are 4,017 possible chords and 479,001,600 possible voicings.

If my maths is right.

Theory gives us a map of some of the possible routes through this complexity.
There are those who think that a bit of theory will somehow limit their exploration of this territory. Strangely they always seem to be on the main highways themselves. It's the f**kers who know a bit of theory who are out exploring the uncharted waters.

Too true. But I think the emphasis with jazz is on the practice rather than the theory. Spending hours jamming with a live group will make you a significantly better jazz musician than that time hitting the books.

This is what jazz is about, for me at least. I know countless PHENOMENAL jazz players. And it always amazes me how their eyes start to cloud over when I start talking chords and scales. However, play them a sweet little riff / progression and watch those eyes light up!

But Nuffick, you are correct to a large degree. If we were talking most others styles of music I'd be right behind you.

[soulata]

erm, a b13 on a minor chord is a no no (like SF said, on Amin you'd get a sound of the second inversion of a Fmaj chord, besides - having halfnotes on the top might not be the best idea.

b13 on maj7 is also a no no.

k

[kaze]

I think perhaps you are approaching theory the wrong way. I don't think it wise to advise people to use theory to restrict their expression.

[soulata]

I'm not saying he shouldn't use it. going by theory (which you can use or creatively abuse) I stand by what I said. theoretically.

k

(insert a random smiley)

[soulata]

adding: b13 on maj - use #5 (like C - E - G# - B) instead. oh f**k, do whatever.

[AndrewSimon]

Do whatever feels right.
Some great jazz players I know never learned theory.