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13

I believe the question boils down to this: we have a number of seventh chords, dominant, major, minor, diminished, and so on. So why does the dominant seventh get the "default" symbol of C7 whereas we have to qualify the others as CMaj7, CMin7, etc.? The answer is that even though a C major seventh chord would fit more "naturally" in the C major scale, the ...


7

It's a bit of all sorts. Finger/hand strength and mobility are important, and will improve with more playing.Some new chords will require adaptations of existing fingerings, such as putting a pinky down as a changed note in a barre chord for a 6th or 7th. Thus, they're easy to learn. Sometimes, one finger needs to be flat across 2 or 3 strings, whilst the ...


6

Yes it is a minor chord. The type of scale does not matter nor does the type of chord you can build off the tonic. Only the notes used to make the chord matter. A major chord will always consist of a root, major 3rd, and perfect 5th and a minor chord will always consist of a root, minor 3rd, and perfect 5th.


3

The short answer is: it just is. The longer answer is because something like "C7" is shorthand for a dominant seventh quality chord. In tonal music, this is arguably the most common type of seventh chord, so the shorthand C7 just assumes a flattened seventh for practicality's sake. By "dominant-seventh" quality above, I mean the seventh chord built on the ...


3

Since it's you and your fingers playing that guitar, then the choice must be yours. Recommendations are often made for which fingering, but it is down to personal choice. What works best for you, in other words. I'm assuming it's the open version, E3 A2 D0 G0 B0 e3. Other options include pressing a B3 instead of B0, and another consideration is where you ...


3

The chord is actually a Csus2 which contains the notes C, D, and G or in intervals a root, Major 2nd, and Perfect 5th. C5/2 is an odd way to notate it that should not be used as it looks too much like a slash chord. It would look something like this on the staff: X: 1 M: 2/4 K: Cmaj L: 2/4 |[CDG]||


3

The heart of your question--"when should I use an eleventh chord, and when should I not?"--seems decent enough, but I'm not sure you're going about it the best way. You're looking for a simple dichotomy of "use it here and here, but never use it here!". But such a dichotomy will trivialize and oversimplify the music way too much. It reminds me of the age-...


2

All 9th chords imply the inclusion of a flat seventh. This includes sharp and flat 9th chords (#9 and b9). However, there is a good reason why the 7 would usually be included in sharp and flat 9th chord names. It is because it may be unclear whether the sharp or flat symbol is "attached" to the 9 or the letter name of the chord. A couple of examples will ...


2

In a word, dissonant. For me, the 11th chords were challenging to learn because most of them, starting with the I chord, are dissonant. However, if you press on, I suspect that you will make some more pleasant discoveries. In fact, the IImin11 leads off one of my favorite tritone subs on guitar (i.e, IImin11, bIIdom7#11, Imaj7). You will likely discover that ...


2

Dom's answer is 100% correct, but I wanted to offer something else that is a little too much for just a comment; it has to do with some important musical terminology, especially between "scale"/"chord" and "tonic"/"root." (And I apologize if this is due to a language issue; as someone currently living in a foreign country, I certainly don't mean to make fun!)...


2

As you're trying to write six songs, it's probably no bad thing that they share some harmonic material, as it will help them sound like they belong together. Say songs 1 and 6 share a common chord sequence - the audience will get a satisfying feeling of closure because they're hearing material they heard earlier. If you think two of your songs sound much ...


2

Pitch matching and ear training is very useful for learning. One of the primary goals is simply to accustom your voice and your ear to a consistent set of pitches or intervals, enabling you to reproduce them with ease and recognize if you're singing off-key. Singing along with scales also helps with things like quick note transitions when doing runs of ...


2

I'm not 100% sure what you're asking, but: Yes, C7 is a dominant seventh chord. This doesn't necessarily mean that it is the dominant, just that it is the same "quality" (ie, the same make-up) as a dominant seventh chord, which is a major triad with a minor seventh. G is the dominant chord of C major This means that G7 is the dominant seventh chord of C ...


2

From a not very modern point of view, I'd analyze it as a Bb minor and E minor superimposed on top of each other. They are a triton apart and thus generate a sense of movement or tension (it's very dissonant though not bad-sounding.) The justification would be the sound as the chord is resolved. In a more classical analysis, chords need not be Functional (as ...


2

The answer is exactly what I wrote in my answer to 'What does dominant mean in music'. The dominant seventh chord has an extra note to the triad of 1,3 and 5. The sequence is followed, so it's a 7. That's where confusion sets in. It's not the 7th of the scale that the dominant chord would be the key of. In other words, G7, as a dominant of C, would have ...


2

Chords can have a variety of uses, but they are mainly used to harmonize a melody. Yes, they are usually 3 or more notes, but some people consider various 2-note configurations and arpeggios to be chords as well (see comments below). Chords are not generally random, though they can be. On the piano, there is no restriction on which hand plays them. This is a ...


1

The dominant chord has been commonly used in western music for a lot longer than any other 7th chords. The V7-Imaj7 progression is used very often in jazz, however its roots are in the more classical V7-I cadence, which again has roots in the V-I perfect cadence. The F in a G7 resolves directly to the E in a C chord. This was discovered early on, and made ...


1

"My point is: the 7th note (of the C major scale) is B (not B flat) * [C, D, E, F, G, A, B] *" You are correct. There is no B flat in the C Major scale. But, that is NOT C7. C7, what I think you are asking about, is the FIFTH in the key of F. These 7th chords come from the fifth of the scale. 1, 2, 3, 4, 5 F, G, A, B, C I tried to explain this ...


1

The dominant seventh is a chord build on the fifth scale degree of a scale. So when we say C7 we are actually operating in F Major, which has Bb in the key signature.


1

The notation developed that way due to what was used most often. In general in chord there are certain intervals that are perfected to construct harmony from. While the degrees preferred for harmony mostly line up the major scale they are not the same consent so comparing them is like apples and oranges. The minor 7th make much more sense to use as a ...


1

“I Am Confused About Dominant.” At first, this is not an easy concept when you have a seventh in the fifth of a scale and a 7th is the seventh chord as well. After a formal class in jazz theory, I got it. I will try to answer your question. We’ll use the C scale. The seventh note in C is B. It is the seventh note, seventh chord, but we are talking ...


1

A dominant is a very specific idea in functional harmony. The dominant's job is to take you back to the tonic. Why a dominant has so much pull in functional harmony is that a dominant chord utilizes the leading tone along with having the common tone with the tonic chotd which is the dominant itself. In terms of scale degrees the dominant is the scale degree ...


1

The description "Dominant 7th" is used in two ways. It can mean any major triad with added minor seventh. Or it can mean the ACTUAL dominant 7th chord in a given key. If we're in C major, G7 is the dominant 7th chord of the key. But D7, A7, Bb7, F#7... are all "dominant 7th" type chords. (And yes, all those chords can exist in a piece of music in C ...


1

As David said, the chords are almost never strung together randomly, but rather they tend to follow a loose set of rules. Some theorists group chords into three "functions": tonic, predominant, and dominant. The tonic-functioning chords (I, iii, and vi) will lead to a predominant chord (ii, iv, and sometimes vi), which will then lead to a dominant chord (V, ...


1

Seeing as the vast majority of country music has the basic 1/4/5 chord progression, and no one is really questioning Brad Paisley's artistic integrity, I think you are OK. Also there are a fair number of jazz standards than many musicians play differently, even though they may all be built on the same harmonic structure. It is clear that this... ...


1

I know your question has been answered well by Tim. Also what matters is the performance. People love a great performance and if you can do that your songs will be a success. If it pleases that is what counts. If you want to experiment you might try some chord substitutions such as tritone subs. I don't know your songs, but probably most important idea is ...


1

Both shapes you pictured are A - 7 chords. Also 6th string 5th fret, 5th string 3rd fret and 4th string 5th fret is form of A - 7. If you play the top four strings, 1,2,3,4 together leaving out the 6th string bass that is also a form of A - 7. Sometimes you don’t have to or want to play the full array of chords, just enough for the listener to get the ...


1

That is totally a matter of style, given the combination you have there. If you wanted a Spanish guitar sound and kind of dark, use phrygian. If you want a jazzy/blues feeling, use Dorian. However, if you use Dorian with the minor chords toward the beginning of the progression, I would probably give Mixolydian a try on the major chord to maintain the bluesy ...


1

The question is not crystal clear to me. Do you mean 'does it HAVE to have a seventh in it', or 'why is the seventh actually not in the key'? Richard answered the first, but be aware that by calling a chord just a 9th will incorporate the flattened 7th and an ordinary 9th. As Richard stated, it's because it becomes the dominant chord in the key of its IV. ...


1

By default, any chord with an "extension" higher than 7 includes that lowered 7th. So C9, C11, and C13 all have a B-flat implied in the chord. It doesn't matter what the accidental is on the 9, 11, or 13, the 7 will always be b7. (Thus your first sentence is technically incorrect; the 7th is not the 7th degree of the C major scale, it's actually the lowered ...



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