Nice discussion! I agree with most what you write. However, the minor
fifth chords reharmonizing even a simple melody is not found in
classical music (in sofar as I know), use for example C7+9
((E-As-Bes_Es) and only change the root-note to Ges and you have the Ges
7/9 which you can play consequently. Also the II-V-I progression (you
even find it in Gregorian songs) sounds completely different when played
with th minor fifth chord progression. And that's one of the simple
things you can do.
In jazz you also often turn chords around (I mean instead of C in basic
position you play it in first or second) and e.g. the use of a minor
D-chord in 2nd position with a B as root(minor 7 also written as B(Ø) or
B(-7-5) give you much freedom accompaniment, especially when playing solo.
But another point of equality between jazz and "classical" mosic that
the old composers were all excellent instrumentalists and improvisers
pur sang. Nowadays classical musicians cannot improvise one bar but in
19th century it was rule that everybody improvised. Well known of course
by Mozart but also Chopin and Liszt were formidable improvisers.
Excellent books on chords and progressions are of course the 2 books by
Marc Levine, Jazz Piano Theory and Jazz Theory. I try (for myself!) to
write notes (some call it a book) on chord theory as my original
profession was neuroscientist and I have done some work on the auditory
system, However, it is still a chaos of notes, some short length
chapters, etc. Hopefully one time it will fall it into something I can
understand and use in writing and arranging.
But maybe we can continue this discussion individually as we digress, I
think, a lot from the original subject.
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