Re: Finding Beat One of the song.

Cliff wrote:
On 12 May, 14:53, "Lumpy" <lu...@xxxxxxxxxxxxxxxxxxxxxx> wrote:
Cliff wrote:

[tritone subs]

I like this idea a lot. I fact as it's one of the few cool subs I
know, I'm sure I go completely OTT with my use of this idea ;-)
I wrote a song once called "Flat Out Five".

I'm starting to realise just how few notes a lot of jazz players put
in their chords. Three notes do make a surprisingly good sounding dom7
chord.
The dreaded triad built on the vii degree of
the Maj scale is equivalent to a V7.

Bm7b5 = G7 without the G root

Now I have a book which talks about dividing chords into three types:
tonic, sub-dominant and dominant.

So in the key of C major you get: Cmaj7, Am7 and Em7 in the tonic
group then, Fmaj7 and Dm7 in the sub-dominant group then G7 in the
dominant group.


I'm going to say right off that I never heard if chords being divided into these types. I don't know in what sense Am7 and Em7 can be considered to be in the tonic group. Em7 doesn't even contain the tonic. These groupings don't make sense to me.


For some reason they say that Bm7b5 is a special case.

It IS a special case, just like the Bdim triad. The reason is that when building a chord on the seventh note of the major scale, you just happen to get something unique: a chord with two minor third intervals nest to each other (B to D and D to F). That doesn't happen with any other scale not.


I can't see why
they don't put Bm7b5 in the dominant group as you have. As you say,
the basic Bmb5 triad is just G7 without it's root and, the complete
Bm7b5 is only G9.

Bm7b5 is complete as Bm7b5. (B-D-F-A)
G9 is G7 with an A added (G-B-D-F-A)

They contain the same sequence but they aren't the same chord. Similarly, the Bdim is NOT a G7 chord even though the G7 contains the Bdim triad.





--
Stephen
Ballina, Australia
.

Relevant Pages

  • Re: Vid: Pat Martino Multiple Substitutions Demonstration
    ... Em7 is a chord but I hear him playing a scale. ... his lines sound like they are based primarily on the dorian scale built on the superimposed chord's root. ...
    (rec.music.makers.guitar.jazz)
  • Re: Vid: Pat Martino Multiple Substitutions Demonstration
    ... Over an A7#5 chord, he'll say something like, here's me playing Em7. ... Em7 is a chord but I hear him playing a scale. ... his lines sound like they are based primarily on the dorian scale built on the superimposed chord's root. ...
    (rec.music.makers.guitar.jazz)
  • moving around within a chord 3
    ... Moving around within a chord 3 ... Em7 ... The D major seventh has a C# note, part of the D scale; the D seventh has a C note, which is not a note in the D scale but a note in the key of G. Playing the D7 after the D tells the listener to expect a G chord, but the song instead substitutes Em7, only a partial resolution and a further tension that sets up the change to the A7 before the full resolution to the D chord at the end. ...
    (alt.guitar.beginner)
  • Re: What would be the 7th chord in a major key
    ... John B wrote: ... The viichord gives a very strong tension that wants to resolve back to the I chord. ... One of the reasons is that a dim7 chord has all the notes of a V9 chord, without the root...and in western music, variations and extensions of the V chord strongly pull you back to the I. ... a Bdim triad is a G7 chord without the G. ...
    (alt.guitar.beginner)
  • Re: How to play songs.
    ... In fact the G7 chord IS a Bdim triad with another note added. ... I don't think beginners are ready to learn subs or alt chords. ...
    (alt.guitar.beginner)