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Is a “minor Seventh Chord” basically just a combination of a “minor Triad” and its Relative “Major Triad”?

All minor seventh chords are transpositions of one another, so let's take Am7 for an example. It just looks more intuitive with letters rather than numbers. The Am7 chord consists of A, C, E, G. (Root,...
Divizna's user avatar
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1 vote

Is a “minor Seventh Chord” basically just a combination of a “minor Triad” and its Relative “Major Triad”?

I think a m7 chord is 'basically' an extended minor triad. The fact that the upper structure coincides with the relative major's tonic triad is interesting, but not particularly important.
Laurence's user avatar
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Is a “minor Seventh Chord” basically just a combination of a “minor Triad” and its Relative “Major Triad”?

Let's take actual notes to explain. We'll be in key C, with its relative minor Am. The triad notes of Am are A C and E. The triad notes of C major are C E and G. Playing all four notes will produce ...
Tim's user avatar
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Is a “minor Seventh Chord” basically just a combination of a “minor Triad” and its Relative “Major Triad”?

All m7 chords comprise minor and major triads from relative keys. The tonic notes of relative major and minor scales are always a minor third apart. Put another way, any minor third can represent the ...
Aaron's user avatar
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Does a chromatic chord have tensions diatonic or chromatic to the key?

TL;DR Based on the current presentation of the problem, the only time b9 and b13 extensions on tritone substitutions for secondary dominants are problematic is on subV/iii and subV/vi. Summary Piece ...
Aaron's user avatar
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1 vote

Does a chromatic chord have tensions diatonic or chromatic to the key?

So say you are playing II-V-I in C and sub the V with the tritone sub: Dm-Db7-Cmaj your b9 and b13 tensions are D and A so literally the root and the fifth of the II chord. So essentially they are not ...
Jarek.D's user avatar
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Does a chromatic chord have tensions diatonic or chromatic to the key?

I think he's just saying that you need to be careful about using altered extensions in chromatically-rooted chords, lest it all gets a bit too 'outside'. (Isn't F♯7 a secondary dominant in C major?)
Laurence's user avatar
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Why does the C# dim chord include a minor third?

The main 4 types of chords. You have these four chords as a base and then things get added to them like 7ths or 9ths, but these are the base of which all other chords are built. All chords are a root ...
Neil Meyer's user avatar
2 votes

How do I read chords with beams?

Generally you can have anything, but classically you have a few common ways how these things can happen: Passing note: A note not part of the chord that is passed while progressing from one chord ...
Lazy's user avatar
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2 votes

How do I read chords with beams?

It depends. Sometimes the beamed notes are part of the chord, sometimes they're not (e.g., passing tones), and sometimes the "stacked" note is not a chord tone (e.g., an accented passing ...
Aaron's user avatar
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5 votes

Why does the C# dim chord include a minor third?

The easiest way to memorize (and visualize on the keyboard or fretboard) the basic chord buildup is seeing them as stacked intervals of third: minor 3rd then minor 3rd - diminished major 3rd then ...
Jarek.D's user avatar
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3 votes

Why does the C# dim chord include a minor third?

A diminished chord always contains the root, the minor third, and the diminished fifth. That's the definition of "diminished chord". In some styles there's a tendency to implicitly mean a ...
Divizna's user avatar
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1 vote

Why does the C# dim chord include a minor third?

...C# dim...so I would look for my root, third and fifth from the major scale and flatten the fifth... When you say you are starting with a major scale, I assume you mean, in this case, C# major. Let'...
Michael Curtis's user avatar
0 votes

Why does the C# dim chord include a minor third?

Yes, you were mistaken. C, E♭, G♭ is Cdim. C, E, G♭ is C(♭5).
Laurence's user avatar
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-6 votes

Why does the C# dim chord include a minor third?

The third is flattened, as well as the 5th. It is basically stacked minor 3rd intervals (strictly speaking a 4 note chord like C, Eb, F#, A is a dim 6th). So minor third is always there.
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2 votes

What chord symbol would you use to describe this voicing?

Based on the fact that this is from a jazz harmony book from Berklee it seems likely this entire example revolves around using triads and 7th chords to form upper structures of basic chords. Triads ...
John Belzaguy's user avatar
6 votes

What chord symbol would you use to describe this voicing?

It could be written B/D. It could even be written B7/D. Either of those would accurately describe the pitch content. However, presuming this is an interpretation from a lead sheet, D7 clearly ...
Aaron's user avatar
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1 vote

How do you identify chords?

It's a bit unclear whether you should consider the chord to be what's given in the symbol C7 or what is in the right hand C9. Either way, I think the important points to understand are: in the bass D ...
Michael Curtis's user avatar
2 votes

How do you identify chords?

It would be good to keep the concepts of modality and chord identification separate. First, Tim's answer above explains that it is common to add other notes to chords for color, and thus the chord is ...
nuggethead's user avatar
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2 votes

How do you identify chords?

In this situation the two important things to recognize are: This is fairly static harmony in the treble clef for both bars with some voice movement on beat 1 of bar 2. The chord is a C9 because of ...
John Belzaguy's user avatar
0 votes

Name for a minor chord progression using primarilyy Am G F E (with D or Dm and C sometimes)

It's generally known as the Spanish sequence, or the Andalusian cadence, which keeps on repeating, as it reaches the V of the key.
Tim's user avatar
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1 vote

How do you identify chords?

The main chord is actually C9. The bass line outlines this chord. We COULD analyze each beat (or each half-bar) as a separate inversion, but it would be unnecessarily fussy to do so.
Laurence's user avatar
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1 vote

How do you identify chords?

The clue is in 'tensions'. The 1st chord is simply C7, with the addition of a D note - part of the mode of F Mixolydian. Making it C9, although in jazz terms a player may well stick that extra note in ...
Tim's user avatar
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2 votes
Accepted

Identity of scale of chord progression I created

If you didn't use a scale to generate the chords, then there isn't really any reason to think all of the chords are going to fit into one scale. I've spent a long while trying to identify what scale ...
Michael Curtis's user avatar
1 vote

What is it called when the root is omitted from a chord?

You can write 'G7(omit root)' or 'G7(no root)' if you like. Yes, 'Bdim' would convey the same information. I suppose, for purposes of harmonic analysis, it might be useful to write 'G7(b9)(no root)' ...
Laurence's user avatar
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4 votes

What is it called when the root is omitted from a chord?

If you were working with one or two melodic instruments, you might get into a situation where there was an implied root note for the chord, but then the decision about the underlying harmony would ...
user121330's user avatar
1 vote
Accepted

Ballade Pour Adeline: How to understand the dyads?

In that piece the dyads in the right hand (such as the sixths in measures 2-10 and the thirds in measures 11) is simply a melodic duet where the lower note is equally important as the upper note. ...
GratefulDisciple's user avatar
5 votes
Accepted

What is it called when the root is omitted from a chord?

These are called rootless voicings, but there is no common symbol for them. Chord symbols themselves indicate a overall harmony, and the voicing is up to the performer. In that context, the performer ...
Aaron's user avatar
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1 vote

Roman Numeral Chords with Slash

The links in this post seem to be broken, but I wanted to add my two cents on the topic because I'm really curious about it myself... When it comes to notating inversions with roman numerals, there ...
Shachar Har-Shuv's user avatar

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