Timeline for Why aren't 9th commonly added to half diminished chords?
Current License: CC BY-SA 3.0
5 events
| when toggle format | what | by | license | comment | |
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| Mar 27, 2018 at 20:19 | comment | added | Matt L. | @MarcoA.Ferra: I don't know that book, but in practice that rule is not followed. As I've mentioned in my answer and elsewhere, the b9 is definitely available and used a lot with dominant seventh chords. There are also other examples such as major add 4 chords where there's a half step (or a b9) between a chord tone and the tension. | |
| Mar 27, 2018 at 19:53 | comment | added | Marco A. Ferra | I also discovered in the book "Modern Harmony Step by Step" by Ricky Schneider that indeed the 9th are avoided notes in III- and VII- degrees. Screenshot: i.imgur.com/GEOnKVh.png -- the book mentions in the previous page that a tension is available when it forms an interval of 9 with one of the notes of the chord and not available when it forms one of b9. Could this rule come from classical music? | |
| Mar 26, 2018 at 8:00 | comment | added | Marco A. Ferra | Excellent -- I did noticed the same dissonance when adding the 9th to the Gm7 chord in the key of E7 major, but in the half-diminished chord seemed even more harsh, perhaps just my ear. Thank you, Matt, and all that commented, it's clearer now. | |
| Mar 26, 2018 at 7:55 | vote | accept | Marco A. Ferra | ||
| Mar 25, 2018 at 17:46 | history | answered | Matt L. | CC BY-SA 3.0 |
