255:
524:
621:
698:
2102:
310:. It is functionally a dominant chord and thus "wants" to resolve to the tonic in diatonic harmony. Stuart Isacoff has called the chord "funky" or "bluesy" because of the tension "generated between the major third and the augmented ninth"; while Doug Munro deems it "jazzy" rather than bluesy. Eric Starr says, "the sharp nine tends to be edgier, bluesier, and meaner sounding ." In jazz, 7
690:
639:
33:
409:
291:
Sometimes, in a publication that includes both traditionally notated music and chord symbols, the music is notated with both a natural and a flattened third, while the chord symbol has the sharpened ninth. Other more uncommon notations and names include major/minor or 7 (add min 3). Kenn
Stephenson
271:
There are two main ways to spell the chord, depending on the musical style, kind of musical notation (score or chord symbols), and personal taste. One consists of a dominant seventh chord with an added minor third placed one or more octaves over the major third (a minor tenth); the other, more
759:
This harmonic device is one of many factors that, according to
Gleebeek and Spairo, contribute to "the dirty, raw, metallic, angular sounds of Hendrix songs". It is an example of how he embellished chords "to add new colours to the music, often derived from his own roots in black music". "In
543:
531:
263:
264:
647:
885:
A just major third (5:4), perfect fifth (3:2), minor seventh (9:5), and augmented second (75:64). Many other just tunings are possible, with higher limits allowing overtone tunings using smaller whole-number ratios, such as 10:12:14:19 or
784:". McCartney called this a "great ham-fisted jazz chord" that was taught to them by Jim Gretty, who worked at Hessey's music shop in Whitechapel, central Liverpool. George Harrison uses it as the penultimate chord of his solo on "
705:
424:
672:) in the melody is usually played against a dominant seventh chord. The third of the dominant chord is the seventh degree of the scale. The chord was used in popular music as far back as the
262:
1342:
748:. When performing "Voodoo Child (Slight Return)" live, Hendrix later used not only E, the sharpened ninth chord on the tonic, but also D and C chords, the
201:, albeit given a different note name, as the minor third degree above the root. This chord is used in many forms of contemporary popular music, including
1701:
721:
and related styles, one particular voicing of this chord is commonly called the "Hendrix Chord" by rock guitarists. This is because it was a favorite of
228:
The chord is also sometimes colloquially known, among pop and rock guitarists, as the "Hendrix chord" or "Purple Haze chord", nicknamed for guitarist
1316:
Internationales
Stockhausen-Symposion 2000: Licht: Musikwissenschaftliches Institut der Universität zu Köln, 19. bis 22. Oktober 2000: Tagungsbericht
587:
7" with a "split third" and "added minor ninth") help create, according to
Richard Bass, an "utterly sad, desolate character" throughout the piece.
254:
2340:
273:
1295:
1168:
1118:
1025:
944:
919:
67:
1656:
1247:
992:
66:
1691:
1637:
1618:
1599:
1570:
1545:
1488:
1467:
1447:
1399:
1373:
1327:
1259:
1235:
1207:
1143:
973:
523:
1823:
1733:
1838:
1271:
Bass, Richard (Autumn, 1994). "Models of
Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors", p. 161,
2249:
1848:
1833:
848:
232:, who showed a preference for the chord and did a great deal to popularize its use in mainstream rock music. When used by
2006:
815:
2077:
744:
1339:
1319:
800:
1863:
1843:
796:
469:
272:
common, consists of a dominant seventh chord with an added augmented ninth. The former can be written in popular
2376:
1828:
391:, where each degree has some range of selection from which to take its note or notes. Thus, for example, the
2371:
1853:
1273:
676:
era of the 1940s, and it appears with some regularity in blues and rhythm-and-blues of the 1950s and 1960s.
2223:
2120:
1868:
1818:
2381:
2021:
1950:
1858:
1533:
761:
620:
601:
292:
says that in rock music the sharp ninth spelling is much more prevalent than the split third version.
2244:
2228:
2062:
1726:
1674:
838:
384:
1813:
1808:
819:
609:
566:
465:
335:
9 represents a major divergence from the world of tertian chord theory, where chords are stacks of
2299:
2264:
2218:
1510:
844:
785:
772:
The chord is heard quietly at the end of the bridge in Santo and Johnny's 1959 instrumental hit "
578:
433:
222:
164:
1211:
236:
it has been called the "Gretty chord" although this can refer to a distinct six-string version.
1110:
1104:
2190:
2111:
2046:
1687:
1652:
1633:
1614:
1595:
1566:
1541:
1484:
1463:
1443:
1395:
1369:
1323:
1291:
1255:
1231:
1223:
1203:
1164:
1139:
1114:
1021:
969:
940:
915:
596:
323:
189:("dominant seven sharp nine" or "dominant seven sharp ninth") is a chord built by combining a
148:
638:
2259:
2195:
2148:
1933:
1780:
847:, a devotee of Hendrix, used the chord extensively. For example, the main riff of his song "
827:
476:
472:
461:
376:
245:
218:
194:
190:
105:
989:
764:
writes, the
Hendrix chord is "the whole of the blues scale condensed into a single chord."
697:
2210:
2082:
2026:
1986:
1976:
1960:
1901:
1785:
1775:
1719:
1346:
996:
834:
777:
491:
453:
445:
358:
354:
151:
1413:
2350:
2345:
2185:
2180:
2087:
1891:
1878:
570:
499:
484:
480:
388:
214:
140:
2365:
2254:
2200:
2172:
2128:
2101:
2041:
2036:
1996:
1795:
1757:
1742:
1351:
866:
858:
811:
807:
417:
368:
350:
119:
1502:
1322:, 116–132. Signale aus Köln: Musik der Zeit 10 (Münster: Lit-Verlag, 2004): p. 120.
387:
thirds into the theory, a typical solution in jazz is to define chords as stacks of
2304:
2158:
2031:
2016:
2001:
1981:
1955:
1922:
1803:
862:
852:
722:
456:
described as archaic or old-fashioned sounding. This pattern was primarily used by
449:
437:
229:
159:
133:
98:
1702:
The
Hendrix Chord: Blues, Flexible Pitch Relationships, and Self-standing Harmony
261:
65:
2319:
2314:
2289:
2284:
2143:
2011:
1991:
1945:
1886:
1770:
1765:
1538:
In Deep with Jimi
Hendrix: A Complete Exploration of His Innovative Guitar Style
1307:
823:
735:
665:
392:
372:
340:
336:
249:
233:
126:
2309:
2153:
2133:
1896:
792:
773:
753:
380:
198:
17:
2294:
1917:
739:
669:
591:
495:
803:", both before and after the final guitar solo, before the vocals come in.
689:
408:
32:
2335:
2162:
2067:
1210:. If the clash cadence is already, "archaic, mannered," in the music of
749:
306:
9 is an altered chord, and it is one option when seeing the chord symbol
112:
78:
833:
Use as a primary or tonic chord in funk and disco of the 1970s includes
2138:
2072:
725:, who did a great deal to popularize its use in mainstream rock music.
457:
395:
is available in flat, natural, sharp, and flat-and-sharp "alt" styles.
776:". It was also used more prominently by the Beatles in songs such as "
288:
9. 7b10 is unorthodox way to write but it is in use on some contexts.
781:
701:
Hendrix chord E, as it may be played on a guitar in an open position
581:(1913). There, the unresolved, dissonant ninth chords (at least a "C
326:. For example, a ii–V–I in C minor could be played as: Dm – G – Cm.
258:
Dominant seventh raised ninth vs. dominant seventh split third chord
210:
1039:
1037:
1561:
Shadwick, Keith (2003). "Get
Experienced: January to April 1967".
696:
688:
673:
605:
522:
407:
253:
31:
1340:
Radio: "Shiver down the backbone – Jimi
Hendrix comes to Radio 3"
818:", opening and being called the "secret ingredient" of the song "
1200:
The Development of Sacred Polychoral Music to the Time of Schütz
718:
349:
9 does not satisfy that definition, as the interval between the
206:
202:
1715:
322:
9 chords, are often employed as the dominant chord in a minor
1252:
Roots of the Classical: The Popular Origins of Western Music
1503:"EPIC RIFFS: Stevie Ray Vaughan – The Hardest Blues Riff?!"
1083:
1081:
1079:
935:
Sanders, Mike; Kitchel, Phil; Lynn, Janette, eds. (2007).
1711:
1462:(1975 Pink Floyd Music Publishers Ltd., London, England,
1442:(1973 Pink Floyd Music Publishers Ltd., London, England,
1136:
Jazz Guitar: Bebop and Beyond the 21st century pro method
664:
9 chord is usually found in blues contexts because in a
1675:
With the Power of Soul: Jimi Hendrix in Band of Gypsys.
1649:
Modern Jazz Piano: A Study in Harmony and Improvisation
432:(Incidentally, the editor has helpfully put a courtesy
193:, which includes a major third above the root, with an
1106:
What to listen for in rock : a stylistic analysis
960:
958:
956:
1054:
1052:
822:". A "brutally scraped" F features in the chorus of "
1609:
Pose, Ted; Pulling, Ken (2001). Michael Gold (ed.).
2328:
2277:
2237:
2209:
2171:
2119:
2109:
2055:
1969:
1931:
1877:
1794:
1756:
1749:
1678:
Ph.D. dissertation, University of Washington, 2003.
158:
139:
96:
728:The most notable Hendrix song that features the 7
861:referred to it as the "Hold It" chord after the
717:While this sonority has been previously used in
1355:, by Kate Chisholm, Wednesday, 21 November 2007
937:The complete idiot's guide to rock guitar songs
452:pattern particular to the authentic or perfect
1727:
1366:Black Gold: The Lost Archives of Jimi Hendrix
1288:Images and Ideas in Modern French Piano Music
1098:
1096:
8:
569:classical music. An example can be heard in
468:periods. The hallmark of this device is the
85:
1228:Music Theory in Seventeenth-Century England
1043:
964:Shapiro, Harry and Caesar Glebbeek (1995).
379:. Rather than fully allow the inclusion of
2116:
1753:
1734:
1720:
1712:
1087:
912:The 20-minute chords & harmony workout
830:rhythm guitar part's D, C, and F chords.
555:, from his second book of Préludes (1913).
851:" uses both the E and the B as part of a
814:, with D, reminiscent of the opening to "
597:Elektronische Musik vom Freitag aus Licht
1651:(Hardback ed.). Wise Publications.
1386:
1384:
1382:
1011:
1009:
984:
982:
905:
903:
619:
361:. The same also pertains to the rarer M7
1565:. San Francisco: Backbeat. p. 96.
1070:
899:
878:
1540:. Milwaukee: Hal Leonard. p. 62.
84:
1613:(Paperback ed.). Berklee Press.
1513:from the original on 21 December 2021
1440:Pink Floyd: The Dark Side of the Moon
1214:(1585–1672) it must surely be so now.
1058:
791:The chord (a D) can also be heard in
7:
629:9 dominant seventh chord (on E: m3=G
1159:Starr, Eric; Starr, Nelson (2008).
865:song. This was also a name used by
436:on the tenor's G natural. See also
1534:"The Rhythm Figures: Ninth Chords"
1188:. New York: Taplinger. p. 61.
1018:Songwriting Secrets of the Beatles
367:9, where the interval between the
221:, it most commonly functions as a
25:
1109:. Yale University Press. p.
490:The English cadence is a type of
2100:
1392:Jimi Hendrix's Electric Ladyland
1186:Jazz Theory: A Creative Approach
1020:. London: Omnibus. p. 437.
738:", while it is also implied in "
693:E, in guitar chord chart format.
637:
590:This chord can also be found in
259:
63:
1501:Davids, Paul (25 August 2020).
1277:, Vol. 38, No. 2., pp. 155–186.
1161:The Everything Bass Guitar Book
225:chord, returning to the tonic.
1460:Pink Floyd: Wish You Were Here
1310:, "Der Aspekt der Harmonik in
1:
1708:26:2 (May 2007), pp 343–364.
1412:Clay, Stephen (17 May 2016).
274:chord symbol notation systems
1592:How to Play from a Fake Book
1590:Esterowitz, Michael (1987).
1003:. Accessed 29 February 2012.
966:Jimi Hendrix: Electric Gypsy
799:", and more prominently in "
1594:. Ekay Music. p. 168.
1318:, edited by Imke Misch and
1138:. Warner Bros. p. 58.
914:. Ekay Music. p. 111.
612:, concludes on this chord.
2398:
1824:Dominant seventh flat five
939:. Alfred Pub. p. 58.
801:Shine On You Crazy Diamond
742:", both on his 1967 album
483:between the split seventh
243:
2098:
1430:Pedler (2003), p.440-441.
1184:Stanton, Kenneth (1982).
170:
146:
132:
125:
118:
111:
104:
97:Component intervals from
1345:14 February 2008 at the
1198:Carver, Anthony (1988).
1103:Stephenson, Ken (2002).
1016:Pedler, Dominic (2003).
910:Isacoff, Stuart (1987).
806:The chord is favored by
2341:Chord names and symbols
1320:Christoph von Blumröder
1286:Bruhn, Siglund (2007).
1274:Journal of Music Theory
1044:Pose & Pulling 2001
579:second book of Préludes
2224:Secondary leading-tone
1682:Valerio, John (2005).
1628:Valerio, John (2003).
1563:Jimi Hendrix: Musician
1532:Aledort, Andy (1996).
1046:, pp. 33, 76, 77.
714:
694:
655:
556:
441:
316:9 chords, along with 7
282:10 and the latter as 7
268:
82:
1700:Van der Bliek, Rob. "
1647:Waite, Brian (1987).
1479:Sisario, Ben (2006).
1414:"Sleep Walk analysis"
1364:Roby, Steven (2002).
700:
692:
623:
602:Karlheinz Stockhausen
526:
411:
257:
244:Further information:
240:Spelling and notation
213:, rock and pop. As a
35:
2229:Secondary supertonic
1611:Modern Jazz Voicings
1390:Perry, John (2004).
1248:van der Merwe, Peter
1134:Munro, Doug (2001).
745:Are You Experienced?
502:which in C would be
1684:Post-bop Jazz Piano
990:The 'Hendrix Chord'
820:Here Comes Your Man
594:. For example, the
565:9 chord appears in
296:Nature of the chord
154:160:200:240:288:375
93:
81:then simultaneously
2300:Chord-scale system
2219:Secondary dominant
1224:Herissone, Rebecca
1073:, pp. 10, 21.
995:2010-04-25 at the
845:Stevie Ray Vaughan
816:A Hard Day's Night
786:Till There Was You
715:
695:
656:
557:
442:
414:O sacrum convivium
269:
83:
2359:
2358:
2273:
2272:
2191:Chromatic mediant
2096:
2095:
2047:Viennese trichord
1296:978-0-945193-95-1
1290:, p.172 and 174.
1170:978-1-59869-483-3
1120:978-0-300-09239-4
1027:978-1-4234-1345-5
946:978-0-7390-4628-9
921:978-0-943748-41-2
610:formula technique
460:composers of the
448:is a distinctive
324:ii–V–I turnaround
265:
177:
176:
68:
16:(Redirected from
2389:
2117:
2104:
1912:
1911:
1869:Harmonic seventh
1839:Diminished major
1754:
1736:
1729:
1722:
1713:
1697:
1662:
1643:
1630:Bebop Jazz Piano
1624:
1605:
1577:
1576:
1558:
1552:
1551:
1529:
1523:
1522:
1520:
1518:
1498:
1492:
1477:
1471:
1457:
1451:
1437:
1431:
1428:
1422:
1421:
1409:
1403:
1388:
1377:
1362:
1356:
1337:
1331:
1305:
1299:
1284:
1278:
1269:
1263:
1245:
1239:
1221:
1215:
1196:
1190:
1189:
1181:
1175:
1174:
1156:
1150:
1149:
1131:
1125:
1124:
1100:
1091:
1085:
1074:
1068:
1062:
1056:
1047:
1041:
1032:
1031:
1013:
1004:
986:
977:
962:
951:
950:
932:
926:
925:
907:
887:
883:
733:
732:
712:
711:
710:
708:
663:
662:
654:
653:
652:
650:
642:
641:
634:
633:
628:
627:
586:
585:
564:
563:
550:
549:
548:
546:
538:
537:
536:
534:
518:
517:
509:
508:
479:) produced by a
477:augmented unison
473:augmented octave
462:High Renaissance
431:
430:
429:
427:
377:diminished third
366:
365:
348:
347:
334:
333:
321:
320:
315:
314:
305:
304:
287:
286:
281:
280:
267:
266:
246:Added tone chord
219:diatonic harmony
195:augmented second
191:dominant seventh
186:
185:
172:
163:
94:
91:
90:
76:
75:
70:
69:
61:
60:
55:
54:
49:
48:
41:
40:
27:A chord in music
21:
2397:
2396:
2392:
2391:
2390:
2388:
2387:
2386:
2377:Extended chords
2362:
2361:
2360:
2355:
2324:
2269:
2233:
2205:
2167:
2105:
2092:
2083:Synthetic chord
2051:
2022:Northern lights
1987:Complexe sonore
1965:
1951:Augmented sixth
1939:
1937:
1927:
1909:
1908:
1902:Upper structure
1873:
1859:Altered seventh
1854:Augmented minor
1849:Augmented major
1834:Half-diminished
1790:
1745:
1740:
1694:
1686:. Hal Leonard.
1681:
1672:Hanford, John.
1669:
1667:Further reading
1659:
1646:
1640:
1632:. Hal Leonard.
1627:
1621:
1608:
1602:
1589:
1581:
1580:
1573:
1560:
1559:
1555:
1548:
1531:
1530:
1526:
1516:
1514:
1500:
1499:
1495:
1483:, p.82 and 90.
1478:
1474:
1458:
1454:
1438:
1434:
1429:
1425:
1411:
1410:
1406:
1389:
1380:
1363:
1359:
1347:Wayback Machine
1338:
1334:
1306:
1302:
1285:
1281:
1270:
1266:
1246:
1242:
1222:
1218:
1212:Heinrich Schütz
1197:
1193:
1183:
1182:
1178:
1171:
1163:. Adams Media.
1158:
1157:
1153:
1146:
1133:
1132:
1128:
1121:
1102:
1101:
1094:
1088:Esterowitz 1987
1086:
1077:
1069:
1065:
1057:
1050:
1042:
1035:
1028:
1015:
1014:
1007:
997:Wayback Machine
987:
980:
963:
954:
947:
934:
933:
929:
922:
909:
908:
901:
896:
891:
890:
884:
880:
875:
849:Scuttle Buttin'
810:lead guitarist
770:
768:Other musicians
730:
729:
706:
704:
703:
702:
687:
682:
668:a minor third (
660:
659:
648:
646:
645:
644:
636:
631:
630:
625:
624:
618:
608:composed using
583:
582:
575:Feuilles Mortes
561:
560:
553:Feuilles Mortes
551:) of Debussy's
544:
542:
541:
540:
532:
530:
529:
528:
515:
514:
506:
505:
446:English cadence
425:
423:
422:
421:
406:
401:
389:chordal degrees
363:
362:
359:augmented third
355:augmented ninth
345:
344:
331:
330:
318:
317:
312:
311:
302:
301:
298:
284:
283:
278:
277:
260:
252:
242:
197:, which is the
183:
182:
88:
87:
73:
72:
64:
58:
57:
52:
51:
46:
45:
43:
38:
37:
28:
23:
22:
15:
12:
11:
5:
2395:
2393:
2385:
2384:
2379:
2374:
2372:Altered chords
2364:
2363:
2357:
2356:
2354:
2353:
2348:
2346:List of chords
2343:
2338:
2332:
2330:
2326:
2325:
2323:
2322:
2317:
2312:
2307:
2302:
2297:
2292:
2287:
2281:
2279:
2275:
2274:
2271:
2270:
2268:
2267:
2262:
2257:
2252:
2247:
2241:
2239:
2235:
2234:
2232:
2231:
2226:
2221:
2215:
2213:
2207:
2206:
2204:
2203:
2198:
2193:
2188:
2183:
2177:
2175:
2169:
2168:
2166:
2165:
2156:
2151:
2146:
2141:
2136:
2131:
2125:
2123:
2114:
2107:
2106:
2099:
2097:
2094:
2093:
2091:
2090:
2085:
2080:
2075:
2070:
2065:
2063:Mixed interval
2059:
2057:
2053:
2052:
2050:
2049:
2044:
2039:
2034:
2029:
2024:
2019:
2014:
2009:
2004:
1999:
1994:
1989:
1984:
1979:
1973:
1971:
1967:
1966:
1964:
1963:
1958:
1953:
1948:
1942:
1940:
1932:
1929:
1928:
1926:
1925:
1920:
1915:
1904:
1899:
1894:
1889:
1883:
1881:
1875:
1874:
1872:
1871:
1866:
1861:
1856:
1851:
1846:
1841:
1836:
1831:
1826:
1821:
1816:
1811:
1806:
1800:
1798:
1792:
1791:
1789:
1788:
1783:
1778:
1773:
1768:
1762:
1760:
1751:
1747:
1746:
1741:
1739:
1738:
1731:
1724:
1716:
1710:
1709:
1698:
1692:
1679:
1668:
1665:
1664:
1663:
1658:0-7119-08-41-9
1657:
1644:
1638:
1625:
1619:
1606:
1600:
1579:
1578:
1571:
1553:
1546:
1524:
1493:
1472:
1452:
1432:
1423:
1404:
1378:
1357:
1332:
1300:
1279:
1264:
1240:
1216:
1191:
1176:
1169:
1151:
1144:
1126:
1119:
1092:
1075:
1063:
1048:
1033:
1026:
1005:
978:
952:
945:
927:
920:
898:
897:
895:
892:
889:
888:
877:
876:
874:
871:
826:" against the
769:
766:
686:
683:
681:
678:
658:The dominant 7
617:
616:Jazz and blues
614:
571:Claude Debussy
559:The dominant 7
527:Measures 1–3 (
500:dominant chord
494:featuring the
481:false relation
405:
402:
400:
397:
297:
294:
241:
238:
215:dominant chord
179:In music, the
175:
174:
168:
167:
156:
155:
144:
143:
137:
136:
130:
129:
123:
122:
116:
115:
109:
108:
102:
101:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2394:
2383:
2380:
2378:
2375:
2373:
2370:
2369:
2367:
2352:
2349:
2347:
2344:
2342:
2339:
2337:
2334:
2333:
2331:
2327:
2321:
2318:
2316:
2313:
2311:
2308:
2306:
2303:
2301:
2298:
2296:
2293:
2291:
2288:
2286:
2283:
2282:
2280:
2276:
2266:
2263:
2261:
2258:
2256:
2255:Primary triad
2253:
2251:
2248:
2246:
2243:
2242:
2240:
2236:
2230:
2227:
2225:
2222:
2220:
2217:
2216:
2214:
2212:
2208:
2202:
2199:
2197:
2194:
2192:
2189:
2187:
2184:
2182:
2179:
2178:
2176:
2174:
2170:
2164:
2160:
2157:
2155:
2152:
2150:
2147:
2145:
2142:
2140:
2137:
2135:
2132:
2130:
2127:
2126:
2124:
2122:
2118:
2115:
2113:
2108:
2103:
2089:
2086:
2084:
2081:
2079:
2076:
2074:
2071:
2069:
2066:
2064:
2061:
2060:
2058:
2054:
2048:
2045:
2043:
2040:
2038:
2035:
2033:
2030:
2028:
2025:
2023:
2020:
2018:
2015:
2013:
2010:
2008:
2005:
2003:
2000:
1998:
1995:
1993:
1990:
1988:
1985:
1983:
1980:
1978:
1975:
1974:
1972:
1968:
1962:
1959:
1957:
1954:
1952:
1949:
1947:
1944:
1943:
1941:
1935:
1930:
1924:
1921:
1919:
1916:
1914:
1905:
1903:
1900:
1898:
1895:
1893:
1890:
1888:
1885:
1884:
1882:
1880:
1876:
1870:
1867:
1865:
1862:
1860:
1857:
1855:
1852:
1850:
1847:
1845:
1842:
1840:
1837:
1835:
1832:
1830:
1827:
1825:
1822:
1820:
1817:
1815:
1812:
1810:
1807:
1805:
1802:
1801:
1799:
1797:
1793:
1787:
1784:
1782:
1779:
1777:
1774:
1772:
1769:
1767:
1764:
1763:
1761:
1759:
1755:
1752:
1748:
1744:
1737:
1732:
1730:
1725:
1723:
1718:
1717:
1714:
1707:
1706:Popular Music
1703:
1699:
1695:
1693:0-634-06123-2
1689:
1685:
1680:
1677:
1676:
1671:
1670:
1666:
1660:
1654:
1650:
1645:
1641:
1639:0-634-03353-0
1635:
1631:
1626:
1622:
1620:0-634-01443-9
1616:
1612:
1607:
1603:
1601:9780943748191
1597:
1593:
1588:
1587:
1586:
1585:
1574:
1572:0-87930-764-1
1568:
1564:
1557:
1554:
1549:
1547:0-7935-2866-6
1543:
1539:
1535:
1528:
1525:
1512:
1508:
1504:
1497:
1494:
1490:
1489:0-8264-1774-4
1486:
1482:
1476:
1473:
1469:
1468:0-7119-1029-4
1465:
1461:
1456:
1453:
1449:
1448:0-7119-1028-6
1445:
1441:
1436:
1433:
1427:
1424:
1419:
1415:
1408:
1405:
1401:
1400:0-8264-1571-7
1397:
1394:, p.120-121.
1393:
1387:
1385:
1383:
1379:
1375:
1374:0-8230-7854-X
1371:
1367:
1361:
1358:
1354:
1353:
1352:The Spectator
1348:
1344:
1341:
1336:
1333:
1329:
1328:3-8258-7944-5
1325:
1321:
1317:
1313:
1309:
1304:
1301:
1297:
1293:
1289:
1283:
1280:
1276:
1275:
1268:
1265:
1261:
1260:0-19-816647-8
1257:
1253:
1249:
1244:
1241:
1237:
1236:0-19-816700-8
1233:
1229:
1225:
1220:
1217:
1213:
1209:
1208:0-521-30398-2
1205:
1201:
1195:
1192:
1187:
1180:
1177:
1172:
1166:
1162:
1155:
1152:
1147:
1145:0-7579-8281-6
1141:
1137:
1130:
1127:
1122:
1116:
1112:
1108:
1107:
1099:
1097:
1093:
1090:, p. 68.
1089:
1084:
1082:
1080:
1076:
1072:
1067:
1064:
1061:, p. 53.
1060:
1055:
1053:
1049:
1045:
1040:
1038:
1034:
1029:
1023:
1019:
1012:
1010:
1006:
1002:
998:
994:
991:
985:
983:
979:
975:
974:0-312-13062-7
971:
967:
961:
959:
957:
953:
948:
942:
938:
931:
928:
923:
917:
913:
906:
904:
900:
893:
882:
879:
872:
870:
868:
867:John Scofield
864:
860:
859:Johnny Winter
856:
855:progression.
854:
850:
846:
842:
840:
839:Boogie Nights
836:
831:
829:
825:
821:
817:
813:
812:Joey Santiago
809:
804:
802:
798:
794:
789:
787:
783:
779:
775:
767:
765:
763:
757:
755:
751:
747:
746:
741:
737:
726:
724:
720:
709:
699:
691:
685:Hendrix chord
684:
679:
677:
675:
671:
667:
651:
640:
622:
615:
613:
611:
607:
603:
600:(1991–94) by
599:
598:
593:
588:
580:
576:
572:
568:
567:impressionist
554:
547:
539:) and 41–42 (
535:
525:
521:
519:
510:
501:
497:
493:
488:
486:
482:
478:
474:
471:
467:
463:
459:
455:
451:
447:
439:
435:
428:
419:
418:Thomas Tallis
415:
412:Excerpt from
410:
403:
398:
396:
394:
390:
386:
382:
378:
374:
370:
369:major seventh
360:
356:
352:
351:minor seventh
342:
338:
327:
325:
309:
295:
293:
289:
275:
256:
251:
247:
239:
237:
235:
231:
226:
224:
220:
216:
212:
208:
204:
200:
196:
192:
188:
169:
166:
161:
157:
153:
150:
145:
142:
138:
135:
131:
128:
124:
121:
120:perfect fifth
117:
114:
110:
107:
103:
100:
95:
80:
34:
30:
19:
18:Hendrix chord
2382:Jimi Hendrix
2159:Leading-tone
1936: /
1923:Tone cluster
1906:
1804:Leading-tone
1705:
1683:
1673:
1648:
1629:
1610:
1591:
1583:
1582:
1562:
1556:
1537:
1527:
1515:. Retrieved
1506:
1496:
1480:
1475:
1459:
1455:
1439:
1435:
1426:
1417:
1407:
1391:
1365:
1360:
1350:
1335:
1315:
1311:
1303:
1287:
1282:
1272:
1267:
1251:
1243:
1227:
1219:
1199:
1194:
1185:
1179:
1160:
1154:
1135:
1129:
1105:
1071:Valerio 2003
1066:
1017:
1000:
965:
936:
930:
911:
886:20:24:28:37.
881:
863:Bill Doggett
857:
853:12-bar blues
843:
832:
805:
790:
771:
758:
743:
734:9 chord is "
727:
723:Jimi Hendrix
716:
680:Pop and rock
657:
595:
592:serial music
589:
574:
558:
552:
512:
503:
498:against the
496:blue seventh
489:
485:scale degree
450:contrapuntal
443:
438:musica ficta
413:
341:minor thirds
328:
307:
299:
290:
270:
230:Jimi Hendrix
227:
180:
178:
171:5–32 /
113:flat seventh
29:
2144:Subdominant
2007:Grandmother
1864:Nondominant
1844:Minor-major
1308:Jerome Kohl
828:three chord
736:Purple Haze
666:blues scale
577:, from his
466:Restoration
373:minor ninth
250:Ninth chord
234:The Beatles
127:major third
106:sharp ninth
77:9 chord as
42:9 chord, G:
2366:Categories
2278:Techniques
2265:Substitute
2260:Subsidiary
2196:Neapolitan
2154:Submediant
2134:Supertonic
1907:Dominant 7
1897:Thirteenth
1829:Diminished
1781:Diminished
1418:mrclay.org
1254:, p. 492.
1059:Waite 1987
1001:Fender.com
894:References
793:Pink Floyd
774:Sleep Walk
762:John Perry
760:essence,"
754:submediant
604:, from an
492:full close
475:(compound
434:accidental
381:diminished
223:turnaround
199:same pitch
181:dominant 7
165:Complement
86:Dominant 7
71:Dominant 7
36:Dominant 7
2295:Chordioid
2211:Secondary
2027:Petrushka
1961:Seven six
1918:Polychord
1786:Suspended
1776:Augmented
1517:26 August
1481:Doolittle
1230:, p.170.
1202:, p.136.
968:, p.144.
740:Foxy Lady
670:blue note
470:dissonant
404:Classical
385:augmented
160:Forte no.
44:G B D F A
2336:Arpeggio
2250:Contrast
2186:Borrowed
2181:Approach
2163:Subtonic
2149:Dominant
2121:Diatonic
2112:function
2068:Secundal
1970:Specific
1910:♯
1892:Eleventh
1879:Extended
1819:Dominant
1511:Archived
1368:, p.32.
1343:Archived
1250:(2005).
1226:(2001).
993:Archived
835:Heatwave
778:The Word
750:subtonic
731:♯
661:♯
632:♮
626:♯
584:♯
562:♯
516:♮
507:♭
364:♭
346:♯
332:♯
319:♭
313:♯
303:♯
285:♯
279:♭
184:♯
162: /
147:5–32 or
89:♯
79:arpeggio
74:♯
59:♭
53:♯
47:♯
39:♯
2201:Passing
2173:Altered
2139:Mediant
2078:Quartal
2073:Tertian
2056:General
2042:Tristan
2037:So What
1997:Elektra
1938:omitted
1796:Seventh
1750:By form
1584:Sources
1507:Youtube
797:Breathe
780:" and "
458:English
454:cadence
399:History
343:. The 7
211:R&B
187:9 chord
149:5-limit
92:9 chord
2351:Factor
2305:Guitar
2245:Common
2088:Tetrad
2032:Psalms
2017:Mystic
2002:Farben
1982:Bridge
1956:Lydian
1743:Chords
1690:
1655:
1636:
1617:
1598:
1569:
1544:
1487:
1466:
1446:
1398:
1372:
1326:
1314:", in
1294:
1258:
1234:
1206:
1167:
1142:
1117:
1024:
972:
943:
918:
808:Pixies
782:Taxman
643:=A9).
511:and G-
357:is an
141:Tuning
2329:Other
2320:Slash
2315:Power
2290:Block
2285:Barre
2238:Other
2129:Tonic
2012:Magic
1992:Dream
1977:Alpha
1946:Sixth
1934:Added
1887:Ninth
1814:Minor
1809:Major
1771:Minor
1766:Major
1758:Triad
1312:Licht
873:Notes
674:bebop
606:opera
393:ninth
375:is a
337:major
329:The 7
300:The 7
2310:Open
1688:ISBN
1653:ISBN
1634:ISBN
1615:ISBN
1596:ISBN
1567:ISBN
1542:ISBN
1519:2020
1485:ISBN
1464:ISBN
1444:ISBN
1396:ISBN
1370:ISBN
1324:ISBN
1292:ISBN
1256:ISBN
1232:ISBN
1204:ISBN
1165:ISBN
1140:ISBN
1115:ISBN
1022:ISBN
970:ISBN
941:ISBN
916:ISBN
837:'s "
824:Tame
795:'s "
752:and
719:jazz
707:Play
649:Play
545:Play
533:Play
520:-D.
464:and
444:The
426:Play
383:and
371:and
353:and
339:and
308:7alt
276:as 7
248:and
207:funk
203:jazz
173:7–32
134:root
99:root
2110:By
1704:,"
999:",
841:".
788:".
573:'s
416:by
217:in
2368::
2161:/
1536:.
1509:.
1505:.
1416:.
1381:^
1349:,
1113:.
1111:84
1095:^
1078:^
1051:^
1036:^
1008:^
981:^
955:^
902:^
869:.
756:.
635:=F
487:.
440:.)
420:.
209:,
205:,
152:JI
62:)
56:=B
50:(A
1913:9
1735:e
1728:t
1721:v
1696:.
1661:.
1642:.
1623:.
1604:.
1575:.
1550:.
1521:.
1491:.
1470:)
1450:)
1420:.
1402:.
1376:.
1330:.
1298:.
1262:.
1238:.
1173:.
1148:.
1123:.
1030:.
988:"
976:.
949:.
924:.
713:.
513:B
504:B
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
