D add9 b13 Chord

[marvinvv]

Hello could someone tell me how to play this please

I was given a lead sheet with these chords

D add9 b13

Em 11 b13

BMaj7 #4

Thanks

[KirkP]

What's the ensemble of instruments that chart will be used for? If it were a big band chart, I'd probably just play D add9 there, figuring the horns have the b13 covered..

[mr. beaumont]

Yeah...those are big chords. Gonna have to make some decisions.

Do you know how to figure out what notes are 'fair game' as far as what could go in a voicing? I mean, a Dadd9b13 could have D, F# , A, E, and Bb in it...but i wouldn't necessarily play all of those.

Can we see some context?

[KirkP]

You probably know a grip for D9b13. One quick & dirty way to play a Dadd9b13 is to grip the D9b13 but skip or mute the 7th (C). It's not the best approach but can be handy when sight-reading.

Another quick and dirty approach would be to play a Daug5 triad. That gives you the 1, 3 and b13 tones. Add an E to that and you'll have a Dadd9b13 without a 5th. No one will miss the 5th.

[docbop]

You have a D triad with a 9th and b13. I might leave the 5th out which will make it easier to voice without the half-step to b13.

Where'd you get this usually stuff like this is where they were showing the voice a full band is playing so you edit down as necessary. I run into that with a lot big band charts where the guitar was an after thought and copiest just wrote chord symbols of what band was playing.

[jasaco]

The other place you see such chords appearing is when someone decides to torture the name of the chord in order to include the melody note in the chord name. A lot of times, you don't have to do that; you can just acknowledge that the melody is a Bb while the band plays Dadd9. Where it gets really silly is when the melody note is changing faster than the underlying chords: do we really have to rename the chords every time a melody note changes? (Don't get Jimmy Bruno started on that pet peeve...)

(Readers should be aware, though, that when the chord says "add 9", it wants you to leave out the b7 tone (otherwise, it would have just said "D9")

[docbop]

Do common tool of 9 instead 1 and 13 instead of 5 (b13 in this case) and its now not hard to finger and you have all the color. If you have a bass player hit the root your golden.

[marvinvv]

Thanks to all who replied I am still a little stumped, not many chords faze me, but this is first time faced with this, help please.

the following is from a top player/composer its modern. I have to be able to play this this week.


Chords

A section

D9(add9b13) bars 1-4
Dm11 bars 4-8
B7(b9b13) bars 9-12
Em11b13 bars 13-16

B section

CM7 (#11) bars 1-4 the C & B are written C ^ Triangle (#11) i assume it is CMaj7(#11)
BM7 (#11) bars 5-8

[docbop]

Thanks to all who replied I am still a little stumped, not many chords faze me, but this is first time faced with this, help please.

the following is from a top player/composer its modern. I have to be able to play this this week.


Chords

A section

D9(add9b13) bars 1-4
Dm11 bars 4-8
B7(b9b13) bars 9-12
Em11b13 bars 13-16

B section

CM7 (#11) bars 1-4 the C & B are written C ^ Triangle (#11) i assume it is CMaj7(#11)
BM7 (#11) bars 5-8

That is a confusing chord symbol to me. To me a D9 is a dominant chord with a 9th. add9 is implying a triad with an added 9th. Then seeing b13 I'm back think dominant again. I was to see they on quick playing of a chart I would just play a D major triad to be safe, then listen to what the band is play. After the tune if a conductor/MD I'd ask for clarification, if no MD then ask another harmony instrument like piano what you you playing there? Say it loud enough some horn player with amazing ear will give you an dirty look and say "it's an $#%$#% dam guitar players"

[christianm77]

Hello could someone tell me how to play this please

I was given a lead sheet with these chords

D add9 b13

Em 11 b13

BMaj7 #4

Thanks

I'd probably just play the triads and let the horns sort it out, but that might be why I don't get these calls too often ;-)

One helpful bit of advice I got was, find a nice semitone or tone clash - for example between 5 and b13 or 1 and 9, say, and make sure you get that in. Three notes is all they want from the guitar anyway...

See if you can identify any clear voice leading from one chord to the next. In some progressions you may find common tones or intervals.

For the Bmaj7#4, I would say you'd want to get the #4 in the same octave as the 3 and the 5. Nasty stretches. I'd put 3 on top maybe, and have the 5 and #4 clash. Drop the root (unless it's a slash chord!)

Other than that - ow!!!! what are these hieroglyphics?

[mr. beaumont]

What's the style of the tune? Your role in the group? Why are you being coy with the info?

[marvinvv]

Once again thanks everyone, I am really grateful of the input, I will be honest I am nervous it is a the top brass player and composer, ( i am not in that league) I have been given the chart for Thursday, most standards or modern are fine, but this is totally new,

I think for

D add9 b13 i will play f# Bb E 3 b6 9 strings gbd 12 fret area

Dm11 ok with that

B7(b9b13) A D# G C 7 3 b6 b9 strings 4321 7/8 fret area

Em11b13 G C# E A b3 b6 R 4 strings 4321 g on 4 string

CM7#11 & BM7#11 D13 shape without D C F# B E 7 #11 M7 3 c on 4 string fret 10

BM7#11 half step below

any thoughts am I on the right track

[marvinvv]

Sorry not being coy, its not my tune, and I would rather they did not know I have no idea how to even begin. Its not for a gig but a workshop , if it was a standard no problem at all, I will ask permission once I have played at the end of the week. The chords I listed all the entire tune, the melody is not super complicated but not hummable to me its really modern, I suppose it will come to me in time.

[marvinvv]

What's the style of the tune?


Hell very modern I guess, I am guitar with band, piano, sax, trombone, drums, bass etc

[mr. beaumont]

Ok...

I'd stick to 3 and 4 note clusters, maybe 3rds + color...i think you're on the right track.

[KirkP]

If you don't know how busy and thick the piano part is, two notes on the middle strings might even be enough the first time you play it as an ensemble. Leave a lot of space the first time through. The most important thing is to keep your rhythm in the pocket.

[mr. beaumont]

kirk's right on. And keeping in the groove can be playing quite sparse.

[cosmic gumbo]

Em11b13 G C# E A b3 b6 R 4 strings 4321 g on 4 string

S'posed to be C for b6, otherwise you're on the right track with building voicings, very modal sounding piece with quartal sounding chords.

[Reg]

So generally with four bar phrases... it's the rhythm sections to create modal grooves which set up the melodies, or what ever the horns are doing.

So The D9b13... is from G melodic Min., right, the V7b13 chord. One of the basic modal characteristics of MM is that you can basically play any chord built on any scale degree of G MM. Your job is to create a modal groove...

If your suppose to hang on that one chord because the arrangement calls for it... why bother to even play. Most trumpet players don't have a clue about rhythm sections anyway.

So I'm creating a chordal groove with a lead line... I would generally listen to rest of band before creating lead line, but generally most melodies will work as long as you don't hang on down beats much.

So anyway a A7susb9 to F#7alt ,C9#11 is a cool 2 bar groove this is for the D9 add 9 b13

5 X 5 3 3 X
X X 2 3 3 5
X X 2 3 3 2

Your not just playing a chord, your creating a sound, probably some type of hip latin feel.

Then for the D-11, same thing... I'm using Dorian, just change the groove if different min is different...

5 X 5 5 3 X
X X 3 4 5 5
X X 5 5 6 5

B7b9b13 is usually also from Melodic Min... 7th degree of Cmm... same application, create a groove that works with what you played before and leads to Emin....

X X 7 8 8 10
X X 7 8 8 7
7 X 7 8 8 X

E-11b13 or aeolian...

X 7 5 7 7 7
X X 7 7 8 8
X X 9 9 11 11

For "B" section again your creating a Lyd groove... I generally get modal with C lyd and A dorian
Cmaj#11

8 X 9 9 7 X
X X 10 10 8
X X 12 12 10
8 X 9 9 7 X
X X 5 5 5 7

Then down a 1/2 step for Bma7#11

If you need an example let me know I'll record something tomorrow early

[pauln]

If this is a Latin sound, you might also explore a polychord approach, which is very Latin sounding and could simplify your execution level off effort and still contribute considerable complexity to the piece. If you know what the song sounds like, or how it is supposed to sound, see how it sounds if you substitute these chords for what you were given... nice upper four string chords, investigate inversions for voicing and playability... find a few versions of each for accents...

You can think of them as slash chords with the original roots implied underneath if that helps.... F# 6 /D, etc...

...some quick ones to see how it sounds....

A section

F# 6 xx4342
E6 xx2120
Am9 x02410
C6 x32555

B section

B Sus4 x24455
Bb Sus4 x13344

[marvinvv]

Reg that is brilliant so far, quite difficult at first a different harmony for me, but my ears are quickly taking me there, chords very playable but i know whats coming its the feel/groove that will make this. and there is no one better than you at this.

Love your playing Reg I sense you always know the architecture or slope of what you are playing its that inane sense of groove you inject.

I would like to hear that, if possible.

Kind Regards M

[Reg]

Thanks M... Yea I'll try. Grooves, and in most modern jazz is about the targets... Modal Jazz is generally about creating harmonic movement... towards those targets. A harmonic modal groove is usually using different notes to create that movement... Not V7 I. The dominant cadence is just one method of harmonic motion... contrary to popular belief by many on the forum.... anyway What I do is use the modal characteristics and play grooves, using lead lines, rhythm and again the characteristic of the mode. (not the scale pattern term mode). I'll try and post a quick vid.

[marvinvv]

D(add9b13) D harmonic major D E F# G A Bb C# D

[marvinvv]

sorry Reg rushing things insane groove not inane no disrespect here.

[docbop]

I wonder you're obsessing over this one chord have you talked to the author of the chart or someone else in the gig about how they view it. I'm assuming no one here knows the chart so it all a guessing game.