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Topic: Music theory question |
Chris Tarrow
From:
Maplewood, NJ
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Posted 20 Mar 2019 8:31 am |
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| Dana Blodgett wrote: |
| I understand that the way to refer to 3rds are major or minor not flatted 3rds as I was calling them. |
Both are common. |
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Rich Sullivan
From:
Nelson, NH 03457
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Posted 20 Mar 2019 10:09 am
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| In an earlier post, the sharp ninth tone in an E7#9 chord was referred to as G natural. That is the enharmonic spelling of the note. The proper way to refer to the note is F double sharp, although most people don't bother. |
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Ian Rae
From:
Redditch, England
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Posted 20 Mar 2019 10:46 am
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I'm really glad they don't, Rich. I'm even shy about calling the F lever the E# lever any more.
Dana, I told you it wouldn't stop.
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b0b
From:
Cloverdale, CA, USA
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Posted 20 Jun 2019 11:57 pm
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So here's the thing. The pentatonic (5 note) blues scale has the following notes:
1 b3 4 5 b7
but it's often played over major and dominant 7th chords in the rhythm section that are structured like this.
1 3 5 (b7)
The soloist plays his pentatonic scale in the higher octaves, so we end up with an amalgamation of notes that looks like this:
1 3 5 b7 1 b3 4 5 b7
If the chord player wants to avoid clashes with lead lines in the high octave, he can add the b3 up there as an extension. When a chord is extended in the high octave, tradition dictates that we name them with odd numbers above 8. Tradition also says that 7 in a chord name means b7 unless otherwise specified. So the chord 1 3 5 b7 b3 is named 7#9.
The language of written music has quirks that make little sense but have evolved over time and are largely understood by professional musicians. I stopped asking "why?" a long time ago, and just accepted that things are named this way.
My jazz teacher also insists that the blues scale includes the b5 note, which is why you see #11 chords on jazz charts sometimes. 
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Ian Rae
From:
Redditch, England
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Posted 21 Jun 2019 12:53 am
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Wow, b0b - just when we all thought it was safe 
But yes, musical notation is a language like any other and the well-worn bits throw up irregular forms that drive grammarians nuts.
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Bengt Erlandsen
From:
Brekstad, NORWAY
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Posted 25 Jun 2019 12:46 am
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The 7th harmonic is actually a b7 
B.Erlandsen |
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Charlie McDonald
From:
out of the blue
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Posted 25 Jun 2019 2:12 am
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(Technically, it lies between the 6th and the flat 7th, accounting for the difference in Eastern and Western scales.)
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Ian Rae
From:
Redditch, England
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Posted 25 Jun 2019 5:36 am
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If you flatten your 9th string until the beats with 8 go away, you'll get an unbelievably sonorous 7th chord. No use for anything else, though!
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Dana Blodgett
From:
California, USA
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Posted 25 Jun 2019 8:07 am
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Please close, My question was answered weeks ago!
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Dana Blodgett
From Los Osos,Ca.
'74 ShoBud 6140 3+4, Martins HD28,D-12-28, D-15,'65 Gibson LG-1, '77 Gibson Les Paul special dbl cut p-90's, Les Paul Special p-100's,Les paul Special Hybrid(maple top) hbkr's,'68 Fender Strat reissue, Fender Squire Jazz bass,Epi mandolin,Epi Wilshire '66 reissue, Kamaka Concert uke, 70's Kamaka Soprano Uke, Fender Super amp, Ampeg ba112 bass amp,60's harmony banjo,'00 Gibson SG Supreme |
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Ian Rae
From:
Redditch, England
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Posted 25 Jun 2019 8:32 am
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That'll teach you to ask questions on this forum
_________________
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Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
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