I like to make up my own definitions, so I define altered 7th’s as any chord with a major 3rd and a flat 7th (dom7) that has an altered 9th, 11th, 5th, OR 13th. Which means there are only 4 of them:Ĭheck out my article on the G7#5#9 chord and the handful of closed and open chord shapes for a 7#5#9 chord. 7alt chords are defined as a dominant 7th chord (major 3rd & flat 7) that have an altered 5th AND an altered 9th. The 7♭5♭9 chord is one of the 7alt chords used in jazz. I cover the 7♭5♭9 and 7#11 chords for the keys of G and D♭. As an example, the notes in G7♭5♭9 are the same as in a D♭7#11. It just so happens that a 7♭5♭9 chord equals a 7#11 on the flatted 5th. I like to define 7alt chords as any dominant 7th chord with an altered 9th, 11th, 5th OR 13th. And V13 is V7 with III in the melody.The 7♭5♭9 chord is an example of a 7alt chord, where 7alt is defined as a chord with both an altered fifth and an altered ninth. This leaves 1, 7, 10, and 13, the top 3 tones of which are all separated by a perfect 4th. The 13th is sometimes referred to as a "chord of 4ths" due to the practice of raising the 3 by an octave, giving it to the altos, and making it into more of a 10. The 1, 3, and 7 function as a V7 chord (with the 5 "harmonically implied") and the 13 functions almost as a non-harmonic tone. It is also usually only built on the V of the scale. The 13th omits three notes: 5, 9, and 11, leaving 1, 3, 7 and 13. (Usually major if you don't want a clash with the root) If you were translating chords from Roman to Chord notation, V11 in C Major would usually be F/G, not G11 for ease of playing. Yes, it technically determines the quality, but in this case it's really the 9th acting as a 3rd of the IV chord and giving it a quality. (In C Major, these would be F A C, forming an F Major chord with G in the bass) This is why it's ok to omit the 3rd of the chord. These happen to be the same notes as a IV chord with a V in the bass. The 11th chord is almost exclusively built on the V of the key, so these would be the IV, VI and I, with V in the bass. Notice that the top three notes are all thirds apart and form a triad. Leaving out 5 and 3 gives us 1, 7, 9, 11. (Now, this does mean that you usually can't tell the actual quality of an 11th chord, but this is one case where that's ok) The 5th for reasons discussed above, and the 3rd for reasons discussed below. The 9th is the only one of the three chords you mentioned that can be built on just about any note of the scale.Īn 11th chord has to omit two notes and they are usually the 5th and the 3rd. The 5th is part of the harmonic structure of the root of the chord, so you can still hear it (sort of) even if it's not being played. I mean, you could, but then it'd just be a 7th chord. You can't omit the 7th, because then it just sounds like an add9, rather than an actual 9th chord. You can't omit the 3rd because that note gives the quality (major or minor) of the chord. You can't omit the root, because that's what the whole chord is based on. In a 9th chord, you would have to omit 1 note, and it's usually the 5th. Usually though, you'll only be writing for about 4 voices. If you were to include everything, the 9th would have five notes, the 11th six, and the 13th all seven. The following may not apply to jazz and other styles. My background is mostly hymns and other SATB settings. does this then mean that the interval is now a flat8 interval and not a flat9 interval? does that then make it acceptable (edit: i realise anything is 'acceptable' in music but couldn't find a better word)? i'm referring to the jazz rules where they say avoid semi tone and flat9 intervals. Let's say we voice it so that the 11 is BELOW the 3. let's say we decide to include both the 3 and the 11. This also got me thinking about something else. Is that true? Wikipedia article says we usually flat the 13 if we are going to resolve to a minor chord, but that would introduce a flat9 interval to the 5, so I guess we leave the 5 out in that case? interval between 1 and 9 is not a flat9, and the interval between 5 and 13 is usually only a flat 9 if we are anticipating a resolution to a minor chord. are these 'clashes' less important because it is not clashing with the integral 3 or 7 of the chord? edit: I think I messed this up. What about the interval between (1 and 9) and also (5 and 13) is a flat9 interval too. it would clash and hence we usually leave out the 11 as you said. in the dominant13 chord we have a flat9 interval between the 3rd and 11th which you alluded to. Just reviewing this thread to make sure this all sunk in and noticed something.
0 kommentar(er)
