AboutPhil Kelly Expertise I can answer questions regarding jazz performance, jazz theory , composition,arranging and jazz recording and production..And overview of my CV /Bio and some sound samples of my work can be found on my website:
www.philkellymusic.com
Experience In addition to more than 40 years as a composer / arranger for
film, TV, and other media applications, I've written for bands like
Bill Watrous' NY Wildlife Refuge, the Old Tonight show band ,
Doc Severinsen, Si Zentner, as well as functioning as arranger/
conductor / drummer for vocalists Buddy Greco, Julius LaRosa,
Frank D'Rone, Sylvia Syms, John Gary, Jenny Smith, and Al
?TNT? Braggs among others..
Early on in my career, I also logged several years as a jazz
drummer with artists such as Terry Gibbs ,Red Garland, and
Denny Zeitlin as well as years of work as a studio and recording
drummer. In addition to his film and TV writing, I've written music
for over 500 national commercials , ESPN, ABC Sports , NFL
Films, and industrial films and shows for Cadillac, Chevrolet,
Volkswagen, American Airlines and Zales Jewelers.
I've also been the primary arranger for the Fort Worth ( TX)
Symphony Pops series for more than 25 years,and has been
commissioned to provide custom pop symphonic scores for Doc
Severinsen and Peter Nero., and have had arrangements played
by the Houston , Dallas, Detroit, Cincinnati, and North Carolina
Symphony orchestras.
Now semi-retired and residing in Bellingham WA, I still write jazz
and pop orchestra arrangements for publication and on
commision, and I'm beginning an auxiliary career in the
educational field as a clinician in film scoring and music for the
media at various colleges around the USA , as well serving as a
big band coach at the Bud Shank Centrum Jazz camp in Port
Townsend WA. for the past several years.
Organizations Amer. Fed. of Musicians
ASCAP
Amer. Soc. of Music Composers and Arrangers
Production Music Assn>
Publications Experts.com ..music composition and theory pages
Education/Credentials BFA major in music and graphic arts: Miami OH and Cincinnatti Coll/Cons /Music'60
Expert: Phil Kelly Date: 11/8/2006 Subject: 6 vs. 13
Question Why is there a 13 in dom. 7 harmony and a 6 in major, minor harmony? Or, to put it another way, why don't you call a Cmin6 a Cmin13?
Thanks!
Answer Hi Harry:
Since traditional harmony is based both on scales ( in a C tonality, major or minor C=1, D=2 E or Eb=3 etc ) and chords traditionally built by thirds,
( C E G B or Bb D etc ), the chordal extensions above the seventh are considered the ninth (D) , eleventh ( F or F# ) and thirteenth (A).
in dominant and major extended chords the 11th is normally sharp..
additionally in Dominant chords, the seventh will be lowered as well ...
in minor extended chords, the third, seventh are lowered and the 11 is normally natural.
Since a 6th chord doesn't exceed the range of an octave in the thirds system, the step above the fifth is referred to as a sixths. ( A similar situation exists if the D is added to a C triad ..it is referred to as an "add2 chord" or C2
However, if an EXTENDED chord is employed, that same A ( and the F or F# if used ) will be referred to as the 13th and 11th ..
