Zero,

I had shut the computer off and was in bed, but kept thinking about this and so I got up and rebooted the machine.

The only way I can see that you would think that the tritone used as I delineated would be dissonant is if you are not applying the right notes to the chord. Forgive if that's not the case, but I've known others who were taking the C and F# to be the tritone of C. Well, its not.

As I described the use, it would be over a dominant 7th chord.

The scale for a C7 is thus C,D,E,F,G,A,Bb

Unlike the Major Scale, there is only one tritone within that key, and it is the third and the seventh. E and Bb.

The C Major Scale would have a tritone, but it would be the tritone of the Dominant chord for that key, not the root. B and F (tritone of the G7 chord)

C,D,E,F,G,A,B

Maybe that's it, I dunno.

Here's a Stan Getz youtube, his pianist is blowin' LH tritones & shells all over the place after the head:

https://www.youtube.com/watch?v=WctZJcPwnOQ

The acknowledged Master of the Left Hand Tritone Comp, Erroll Garner, here you can dig his tritone style, including the "four on the floor" LH that puts a tritone everywhere you possibly can, two-note and sometimes three-note comps like this definee his style, actually: (See if you can hear how the tritone-shell combo becomes *chromatic* when going thru the 1-6-2-5 or 3-6-2-5 turnarounds.)

Erroll - Lady is a Tramp

Keep asking questions, we'll get to the bottom of this.

I've never heard any true jazzer ever call Bird's playing "dissonant" before. Quite the opposite. I have heard lots of newcomers struggle to be able to hear things happening outside the octave, though. I'll never forget the first time I heard the Bird. Most say that. I couldn't get a handle on what was happening. I was floored. And extremely excited. More. Wanted more. Do it 'til I figure out what's going on here, please.



--Mac

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