Freudian Chord Spelling Theory: Difference between revisions
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Freudian Chord Spelling Theory proposes that Jazz musicians not giving a single f*ck about chord extensions is accurately represented by the jazz chord font, which if you look closely, has the top of the number 7 curve slightly that it ends up looking like a 9. | |||
Fizz and [[Torus of Fizzosophy|its core values in the Torus]] make it clear that every note is treated with care, and even one extension can make a big difference. Learning how to play a fizz song requires the exact chord voicings to capture the compositional implications and the essence of Fizz as a whole. The experience is much different with a lead sheet of a jazz standard. | |||
There are four layers that result in a lot of jazz songs being treated like sh*t: | |||
# Jazz musicians reading chord names and adding/removing as many extensions as they would like | |||
# Jazz composers being aware of how the performers don't care about their chord names but not bothering to notate the chord voicings they envisioned | |||
# Jazz musicians reading specifically notated chord voicings and either deciding to deviate from them or being pressured by the bandleader/jazz teacher to "express themselves freely" | |||
# Jazz composers not bothering to write "play as written" or any indication of that on their chart | |||
At the end of this process, no one has honored the composition or the vision of the composer. The jazz chord font embodies this carelessness and ignorance perfectly, acting as a true freudian slip for jazzheads. | |||
''"Precision? What are we, Classical musicians?"'' - Jazz musicians, probably | ''"Precision? What are we, Classical musicians?"'' - Jazz musicians, probably | ||
[[Category:Fizz Community]] | [[Category:Fizz Community]] | ||
Latest revision as of 10:14, 10 July 2026
Freudian Chord Spelling Theory proposes that Jazz musicians not giving a single f*ck about chord extensions is accurately represented by the jazz chord font, which if you look closely, has the top of the number 7 curve slightly that it ends up looking like a 9.
Fizz and its core values in the Torus make it clear that every note is treated with care, and even one extension can make a big difference. Learning how to play a fizz song requires the exact chord voicings to capture the compositional implications and the essence of Fizz as a whole. The experience is much different with a lead sheet of a jazz standard.
There are four layers that result in a lot of jazz songs being treated like sh*t:
- Jazz musicians reading chord names and adding/removing as many extensions as they would like
- Jazz composers being aware of how the performers don't care about their chord names but not bothering to notate the chord voicings they envisioned
- Jazz musicians reading specifically notated chord voicings and either deciding to deviate from them or being pressured by the bandleader/jazz teacher to "express themselves freely"
- Jazz composers not bothering to write "play as written" or any indication of that on their chart
At the end of this process, no one has honored the composition or the vision of the composer. The jazz chord font embodies this carelessness and ignorance perfectly, acting as a true freudian slip for jazzheads.
"Precision? What are we, Classical musicians?" - Jazz musicians, probably