How would you finger these chords?

chtaylo2 · #1 04-24-2002, 01:04 PM

B7b9 and B79 ?? They're in a jazz song I'm working on and I'm not sure where to play these chords. Thanks.

-Chris

david_m · #2 04-24-2002, 01:38 PM

How you voice the chords is going to depend on which note is the melody note. However, this may be some help.

B7b9 (B seven flat 9) The notes of this chord are B, D, F#, A, C. The B, D and F# make up the B major triad. The A makes it a dominant 7 and the C is a flatted 9. Try barring the 7th fret. The second string will be F#, the third string will be D, then fourth string will be A, don;'t play the fifth string and the sixth string will be B. Then use another finger (pinky, ring?) to fret the first string at the eighth fret. This will be a C.

B79. I'm assuming they really mean B9 because the 9 implies a dominant 7. Simply move the note on the first string up a half step to C#. This will give you B, D, F#, A, C#.

Hope this helps.

David

chtaylo2 · #3 04-24-2002, 02:08 PM

David,

Thanks...that makes perfect sense!

-Chris

mapletrees · #4 04-24-2002, 03:28 PM

Just lost another post........

mapletrees · #5 04-24-2002, 03:34 PM

Hey,

david_m's got the right idea there...but the B triad has a D#, not a D

for B7b9 try x2121x

or x21212

or 7x7878

for

B9 try

x21222

or x2122x

or 7x7879 (clunky)...just play the high notes perhaps...

or

7x764x

there's a gazillion other forms....david_m is right...know the triads and learn how to build from there...

throw all chord-finder gizmos in the sea!

well, don't pollute..

david_m · #6 04-24-2002, 06:24 PM

I originally posted this from work while I was trying to do a couple of thins at once. What's the result? I forgot the D#. D works great for a minor chord but not too well for the questiion posed. Sorry.

David

askiak77 · #7 04-24-2002, 07:11 PM

The B7b9, B root Eb third F# fifth, A seventh and C the flat nine. Removing the B forms a diminished chord with Eb, A, F# or C as the root.

If you are playing with other musicians such as a bass playing the root, the diminished chord can add movement. If playing alone possibly playing the b7b9 and then playing a melodic line by moving the diminished chords would sound good. The diminished chord can be moved using the same form and it repeats every four frets with a different root but the same notes. It also can be played chromatically or a run using the blues scale.

An example would be A on the 4th string Eb on the 3rd sting F# on the 2nd string and C on the first string. Any form using these notes is movable.

mapletrees · #8 04-24-2002, 07:40 PM

that's what got lost eariler....

Is this chord (really) functioning as a V altered? What's the context? What's the NEXT chord?

chtaylo2 · #9 04-24-2002, 07:58 PM

The chords are from the first line of "The Shadow of Your Smile". It starts out with:
F#m7 B7(9)-(b9) Em7 A7

-Chris

askiak77 · #10 04-24-2002, 08:21 PM

The dimmished movement works nicely between the B7b9 and the Em7 of the next IIV.

RDuke · #11 04-25-2002, 06:49 AM

Arggh. You guys are making me feel like I should really improve my theory knowledge to be able to do this kind of stuff. I use to know some of this, but it's been long forgotten and few bazillion brain cells lost...forever. Lately, every time I sit down and try and learn some of this, makes me feel like I'm taking the fun out of playing, and I end up tossing the book aside and pickin up the guitar after a short time.

Rick

mapletrees · #12 04-25-2002, 08:00 AM

RDuke...

Why does learning take the fun out of doing?

Wanting to learn is natural.

Losing the desire to learn means something has gone horribly wrong.

Take what was said of diminisheds above..the repetition every few frets.....

take a simple three chord fingerstyle arrangement of Silent Night....

but in the "sleep in heavenly peace" part instead of just a V7 (simple open D7)...throw the D# (the b9) on the 4th string 1st fret and slide the shape up to the next diminished to jazz things up....

try to do it in different keys....

Key of A works well for that tune, too......(and that move)....

chtaylo2 · #13 04-25-2002, 08:18 AM

After a few years of playing standard rock/folk stuff I've recently gotten into alot of jazzy chords and I really love it. I can't get enough! And that included theory.

-Chris

cotten · #14 04-25-2002, 08:33 AM

RDuke, I agree. Studying theory can be boring.

However, PLAYING, theory-enabled, makes for the best sounds out there. A guitarist who is not well versed in music theory as it applies to his instrument is handicapped to that degree. That doesn't mean he can't play, but it does mean he can't play his best.

Learn the theory AS you play. You'll love it because of how it makes you sound.

cotten

RDuke · #15 04-26-2002, 07:43 AM

Quote:

Originally posted by mapletrees
Why does learning take the fun out of doing?
Wanting to learn is natural....

While the want to learn may be natural, the act of is usually more work than fun. The fun doesn't really come till you start applying, and hopefully improving. While pretty darn useful when you know it, theory is pretty boring to someone not well versed in the mechanics of music...dominants, subdominants, inversions, etc.. It's just a matter of getting over that initial hump. Believe me, this stuff's on my to-do list right along with a dozen other things related to music production, all equally important, for me anyway.

Rick