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In jazz theory, an avoid note is a scale degree which is considered especially dissonant relative to the harmony implied by the root chord, and is thus better avoided. In major-key tonality the avoid note is the fourth diatonic scale step , or 11th, which is a minor ninth above the 3rd of the chord, and thus very harsh. [ 1 ]
All of these scales were commonly used by late nineteenth and early twentieth-century composers such as Rimsky-Korsakov, Debussy, Ravel and Stravinsky, often in ways that directly anticipate jazz practice. [2] Some jazz scales, such as the eight-note bebop scales, add additional chromatic passing tones to the familiar seven-note diatonic scales.
The system is an example of the difference between the treatment of dissonance in jazz and classical harmony: "Classical treats all notes that don't belong to the chord ... as potential dissonances to be resolved. ... Non-classical harmony just tells you which note in the scale to [potentially] avoid... meaning that all the others are okay". [4]
The term side-slipping or side-stepping has been used to describe several similar yet distinct methods of playing outside. In one version, one plays only the five "'wrong'" non-scale notes for the given chord and none of the seven scale or three to four chord tones, given that there are twelve notes in the equal tempered scale and heptatonic scales are generally used. [3]
While the notes of a G 7 chord are G–B–D–F, jazz often omits the fifth of the chord—and even the root if playing in a group. [2] However, not all jazz pianists leave out the root when they play voicings: Bud Powell , one of the best-known of the bebop pianists, and Horace Silver , whose quintet included many of jazz's biggest names from ...
Many varied scales and their modes can be used in improvisation. They are often not written down in the process, but they help musicians practice the jazz idiom. A common view of what a jazz soloist does could be expressed thus: as the harmonies go by, he selects notes from each chord, out of which he fashions a melody.
In music, especially Western popular music, a bridge is a contrasting section that prepares for the return of the original material section. In a piece in which the original material or melody is referred to as the "A" section, the bridge may be the third eight-bar phrase in a 32-bar form (the B in AABA), or may be used more loosely in verse-chorus form, or, in a compound AABA form, used as a ...
Pictured are the Yellowjackets, a jazz-rock fusion band. This is a glossary of jazz and popular music terms that are likely to be encountered in printed popular music songbooks, fake books and vocal scores, big band scores, jazz, and rock concert reviews, and album liner notes.