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on development of "side-slipping"

1930

• lester young using dwelling on flat2 of the key
• frequently on the bridge of rhythm changes

1950

• parker on a blues IV-7, III-7, bIII-7, II-7
• overlay of the dominant chord
• parker would apreggiate the 1/2 step 9th chord against a tonality
• sometimes done without accompaniment

late 50s

• moments notice 1st 2 chords: 1/2 step slide from below (rather than from above)

1959

• in modal situation there is an increased need to create melodic interest
• cannonball on so what solo sideslips (intentionally?)

1961

• final trane chorus on impressions intentionally crosses tonality
• (coker labeled this 30 years later)

1964

• love supreme chromatic "planing"
• B maj pent or Ab min pent over a C min blues

1970

• miles and herbie disguise key so much it is difficult to tell if they are in or out of the key

late 70's-early 80's

• berg, mintzer, brecker, liebman
• B7 against Bb minor vamp
• builders of the harmonic superhighways after the innovators set the pathway

general rules

• if bass follows it is not good (removes the tension)
• for it to work you must toniscize or clearly state the alternative tonality