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Eric Starr says, "the sharp nine tends to be edgier, bluesier, and meaner sounding [than the flat nine]." [12] In jazz, 7 ♯ 9 chords, along with 7 ♭ 9 chords, are often employed as the dominant chord in a minor ii–V–I turnaround. For example, a ii–V–I in C minor could be played as: Dm 7 ♭ 5 – G 7 ♯ 9 – Cm 7.
0 3 7 9: Minor Minor sixth ninth chord ... 0 3 7: Minor Thirteenth flat ninth chord [2] ... Approach chord; Chord names and symbols (popular music)
A dominant minor ninth chord consists of a dominant seventh chord and a minor ninth. In C: C E G B ♭ D ♭. Fétis tuned the chord 8:10:12:14:17. [8] In notation for jazz and popular music, this chord is often denoted, e.g., C 7 ♭ 9. In Schubert's Erlkönig, a terrified child calls out to his father when he sees an apparition of the ...
In a 2011 interview, Anastasio recalled his method for composing the guitar solo for the track "Billy Breathes": On the song "Billy Breathes" there's a guitar solo I like a lot. That's a composed solo. I didn't labor over it. What I did is, I walked around the kitchen—my daughter had just been born and we were living out in the woods in Vermont.
In music, a minor seventh chord is a seventh chord composed of a root note, a minor third, a perfect fifth, and a minor seventh (1, ♭ 3, 5, ♭ 7). In other words, one could think of it as a minor triad with a minor seventh attached to it. [2] For example, the minor seventh chord built on A, commonly written as A− 7, has pitches A-C-E-G:
Example 1: Below, a common voicing used by jazz pianists is given for the chord C 7 ♯ 9 (C major chord with a minor 7th, and extended with an augmented 9th). In the lower stave the notes E ♮ and B ♭ are given. These form a tritone which defines the dominant sound, and are the major 3rd and minor 7th of the C 7 ♯ 9 chord.
When the Freygish scale is used in Klezmer music, the sixth degree may be left unflatted if it is melodically approached and left from above, [7] or the seventh degree may be raised as well. The Phrygian dominant scale is often used in jazz composition and improvisation over secondary dominants of minor chords in a major key, such as the VI 7 ...
For example, the interval from A 3 to G 4 is a minor seventh, as the note G 4 lies ten semitones above A 3, and there are seven staff positions from A 3 to G 4. Diminished and augmented sevenths span the same number of staff positions, but consist of a different number of semitones (nine and twelve, respectively).
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