Major 7ths

[mattbn73]

Originally Posted by SunnyDee

All sorts of learners are reading this and will find it in search engines later. As someone who is learning, I disagree. This thread has been very helpful. While I appreciate being able to instantly apply "E augmented sounds good going to A minor" very much, all the other information is very helpful in figuring out how to apply augmented chords generally. I appreciate the extra words and the generosity of those willing to share their knowledge.

Ok then.

Another thought: the main "problem" with "aug" or "#5" or "+", as they are often indicated on lead sheets, is that they are going to basically be in CONFLICT with notated part-writing.

That's because the conventions for naming chords written above the staff are different from the conventions used in naming individual pitches on the staff. The names of chord symbols are based on sound only basically. So if something is notated in the score as E G# C D, we'd write the chord symbol: E7#5. That's because chord symbols are based on sound and ease of reading. If the 5th isn't voiced in that chord, basically, it sounds like a #5, when technically, "theory people" might say it's really a E7b13(no 5th) or something.

Musicians at different levels eventually just learn to see E7#5 as being the V7 scale degree of harmonic minor, with all of the harmonic subs available to that sound: melodic minor modes, other modes, augmented scale, whole tone scale etc.

[SunnyDee]

Originally Posted by mattbn73

Ok then.

Another thought: the main "problem" with "aug" or "#5" or "+", as they are often indicated on lead sheets, is that they are going to basically be in CONFLICT with notated part-writing.

That's because the conventions for naming chords written above the staff are different from the conventions used in naming individual pitches on the staff. The names of chord symbols are based on sound only basically. So if something is notated in the score as E G# C D, we'd write the chord symbol: E7#5. That's because chord symbols are based on sound and ease of reading. If the 5th isn't voiced in that chord, basically, it sounds like a #5, when technically, "theory people" might say it's really a E7b13(no 5th) or something.

Musicians at different levels eventually just learn to see E7#5 as being the V7 scale degree of harmonic minor, with all of the harmonic subs available to that sound: melodic minor modes, other modes, augmented scale, whole tone scale etc.

Good to know.

[zhunter]

Originally Posted by MC5C

A diminished chord is just a stack of minor thirds, is how I look at it. I use diminished arpeggios all the time when improvising.

Here is a theory question that I have been pondering for a week or so. The first four bars of "My Funny Valentine" (at least the version I have) are Cm/// Cm(maj 7)/// Cm7/// Cm6///. It's obvious that it's just four bars of Cm but with the root modulating down a semi tone every bar. What is a good way to voice this? My instinct is always to put the root on the bottom, and I would add a second root up an octave and modulate that down. But what I also hear in my head is a Cm, then modulating the bass note down with the next chords having the C root somewhere else in the chord, so I get a walking bass line modulating down. I can't play it, though.

Any ideas?

Called falling sevenths and usually on a minor chord. I don't worry about the clash. Just Drop the root down 1/2 step at a time. I do em on top, on the bottom and in the middle. Spelled:

Cm, Cmin-maj7, Cm7, Cm6

Kind of a cliché in some circles but I like the way they sound in the right place. Want to get fancier? You can reharmonize em if you like. For example:

Cm - G/B - Eb/Bb - F/A

or

Cm - B7 - Bbm7 (or Eb/Bb) - F7

or

Cm - Bdim7 - Bbm7 (or Eb/Bb) - Adim7

Voicings to suit. To me just as effective to play it straight.

Similarly you can have rising fifths too.

hunter

[B3N]

Originally Posted by zhunter

Called falling sevenths and usually on a minor chord. I don't worry about the clash. Just Drop the root down 1/2 step at a time. I do em on top, on the bottom and in the middle. Spelled:

Cm, Cmin-maj7, Cm7, Cm6

Kind of a cliché in some circles but I like the way they sound in the right place. Want to get fancier? You can reharmonize em if you like. For example:

Cm - G/B - Eb/Bb - F/A

or

Cm - B7 - Bbm7 (or Eb/Bb) - F7

or

Cm - Bdim7 - Bbm7 (or Eb/Bb) - Adim7

Voicings to suit. To me just as effective to play it straight.

Similarly you can have rising fifths too.

hunter

+1

since I talked about it in another thread, here is (what a coincidence) the first progression Ted Greene takes as an example to illustrate his introduction to chord chemistry. It is in Eb minor, if you want to play it in Cm, just go down 3 frets. You'll have to change the strings set though :-)

Ebm
x68876
Ebm/maj9
x5436x
Ebm7
x4x342
Cm7/11
x3x341

Note that the chromatic motion is on the bottom note. Just didn't want to charge the name of the chords by adding another slash ;-)
Note that the Cm7/11 voicing, in this case, can be seen as a Ebm6, since no G is played in the chord (and that would make a that Eb major.

Beautfiul isn't it ?
That's Ted Greene.