Haley Reinhart's Voice

[Miguel]

Chris Fischer
58 mins ·

I had the honor of charting arrangements for Haley Reinhart during her stint on American Idol so it was so sweet to see her perform on my "home stage" at Bethesda Blues & Jazz last night with a jazz orchestra doing the classics and the new stuff with an old school twist. She has such a sultry voice but has the chops and theory to hang with the 13th #11 chords with ease, a feat lost on a lot of the naive newcomers who think singing jazz is just putting on a long dress and scooping every note. But best of all-- night out with my baby! Who, I might add, showered Haley with the technical and spiritual praise only another singer could understand, leaving her quite surprised and moved, lol. ‪#‎datenight‬

https://www.facebook.com/photo.php?fbid=...=3&theater

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Chris Fischer is a New Jersey born NYC bred and now DC area living jazz/funk/R&B/Gospel musician. Old schooled by Jackie McLean in Jazz Studies at the Hartt School of Music, he cut his teeth for 20 years based in NYC and touring around the world playing with groups like The Temptations, Atlantic Starr, Blood, Sweat & Tears, Bobby Brown, and Brass Construction and his own groups Skin Tight and Live Funk Nouveau. He has played all the venues that matter- Carnegie Hall, The Apollo Theatre, B. B. Kings, The Blue Note, The Village Underground, The Fillmore in SF, The Greek Theater in LA, and at several Royal Palaces for the King of Morocco.

Chris' experience as a multifaceted composer and arranger has brought him together playing or writing/arranging for artists such as Stevie Wonder, Michael McDonald, Jennifer Hudson, Ledisi, Chaka Khan, Keith Urban, Mariah Carey, Lady Antebellum, Marvin Sapp, Usher, BeBe Winans, Richard Smallwood, Faith Hill, Shirley Caesar, Chrisette Michelle and many others. He works as a top call arranger for such tv shows as American Idol and BET's Celebration of Gospel with television's most sought after music director, Ray Chew. Chris also lays it down every Sunday as band director at First Baptist Church of Sterling while being a busy dad of three.

(Reverb Nation bio)

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In music or music theory, a thirteenth is the interval between the sixth and first scale degrees when the sixth is transposed up an octave, creating a compound sixth, or thirteenth. The thirteenth (an octave plus a sixth) is most commonly major or minor.

A thirteenth chord is the stacking of six (major or minor) thirds, the last being above the 11th of an eleventh chord.[1] Thus a thirteenth chord is a tertian (built from thirds) chord containing the interval of a thirteenth, and is an extended chord if it includes the ninth and/or the eleventh. "The jazzy thirteenth is a very versatile chord and is used in many genres."[2] Since 13th chords tend to become unclear or confused with other chords when inverted they are generally found in root position.[3] For example, depending on voicing, a major triad with an added major sixth is usually called a sixth chord

because the sixth serves as a substitution for the major seventh, thus considered a chord tone in such context. However, Walter Piston, writing in 1952, considered that, "a true thirteenth chord, arrived at by superposition of thirds, is a rare phenomenon even in 20th-century music."[4] This may be due to four part writing, instrument limitations, and voice leading and stylistic considerations. For example, "to make the chord more playable [on guitar], thirteenth chords often omit the fifth and the ninth."

Most commonly 13th chords serve a dominant function (V13),[6] whether they have the exact intervals of a dominant thirteenth or not...

In modern pop/jazz harmony, after the dominant thirteenth, a thirteenth chord (usually notated as X13, e.g. C13) contains an implied flatted seventh interval. Thus, a C13 consists of C, E, G, B♭, and A. The underlying harmony during a thirteenth chord is usually Mixolydian or Lydian dominant (see chord-scale system). A thirteenth chord does not imply the quality of the ninth or eleventh scale degrees. In general, what gives a thirteenth chord its characteristic sound is the dissonance between the flat seventh and the thirteenth, an interval of a major seventh.

In the common practice period the "most common" pitches present in V13 chord are the root, 3rd, 7th, and 13th; with the 5th, 9th, and 11th "typically omitted".[8] The 13th is most often in the soprano, or highest voice, and usually resolves down by a 3rd to the tonic I or i. If the V13 is followed by a I9 the 13th may resolve to the 9th.

https://en.wikipedia.org/wiki/Thirteenth