Re: Chord Function?

> Now, if it's #11, that's not really an "alteration" of 4 because it's 
> coming
> from the Lydian Mode. Correct?
No I'd call that an "alteration" A common one that is played more then its

written.  Usually by the soloist so you have to keep your ear open for
when 
it happens.





> And because it's a Tonic chord, it's unlikely to have b/#5 or b/#9
(unless 
> they're for color, not function). Correct?
I would tend to agree

> Now, let's say I put in an A7 between I and ii:
>
> I - V7/ii (or VI7 if you must) - ii - V.
Sorry I must.  I VI II V.. You think the bass player gona think that's a
Vof 
II.  But technically your right its functioning as a secondary dominant, 
tonicing( is that a word. I forget what you call that) the II chord.  And
I 
think you would interpret it as a SD functioning chord.


> Now, this V7/ii has a Dominan function (locally if not globally). So it 
> can take on the same kinds of alterations any Dominant might?

Yes I would agree.

I think you already know this but a lot of "alteration" comes from the 
melody.  This was a pain SD function Chord A-7 but the melody has a C# in
it 
so why don't we try a A7#9..... Ahhh  that SOUNDS good.  and look how it 
flows nicely into D min.  And even if the Bass player didn't see/hear as a

V/ii and just played it as Amin; what he/they were playing would most
likely 
work.  And again it the soloist just played a simple A Dorian... Again it 
would likely work.  What would cause problems is if the Bass player is
using 
A Dorian. And the soloist is using A Phy. And your playing A7b9#5#11. 
That 
may be a Train wreck.  F# God Damit.... No F Nat... you MF...
> Right Track?
I guess.  Were are you going?  You want a List of most commonly use 
Alterations and or Substations use in the jazz idiom?  Look no farther
them 
your local Fake book; Or the hundred so way to play a blues.  Or better
yet' 
the way player's interpret an Ellington song.  Joe Pass vs Monk for
example.