Cmaj7 arpeggio

[Nashrakh]

Well, yes, but then wouldn't you favor C6 arpeggio or C9 or even C13 over Cmaj7?

As I understand it, C9 and C13 are extended dominant seventh chords (with an added 9 and an added 9, 11 and 13 respectively) and would not quite fit over a Cmaj7 chord (though that's mainly the seventh's fault). Well, depends on what you want in your sound...

 

[SteveCS]

Because the chord asked about was explicitly a "regular C chord".
I'd play all the notes of C major that my experience and ear have told me sound good over a "regular C chord" ,
given the conventions of whatever style the song is in.
I would not spend mental effort thinking of some unspecified chord substitution.

Once you get past the triad, style has as much to say as harmony about what sounds good.

Indeed, and we don't redefine/rename the chord for every auxilliary note in the melody.

 

[IamGroot]

@Gregorski ,

May I suggest you take a song for which you have the melody, chords, and bassline and reverse engineer it to see what scales/modes are involved.

If you don't know how to do this, pick a song you know well and we can do it together on line.

Music theory is a great thing, but sometimes the best way to demonstrate its power is to use it to unlock mysteries in the music.

 

[Whousedtoplay]

for harmonic use, 7th chords are grouped into "stable" and "unstable", based on the 7th. If a chord contains a major 7th it is considered stable, and doesn't "want" to move to another chord. If it has a flat 7th, it is "unstable" and wants to resolve to the cord a 5th below (or to some substitute thereof)

Just some clarification.

From "How Music REALLY Works" by Wayne Chase.

Introduction to How Music Really Works - How Music Really Works

"Unlike basic three-note major and minor
triads, all seventh chords are dissonant.
Here's why:

 

[Whousedtoplay]

I have been playing music (true, not jazz) for some years now...

Well, yes, but then wouldn't you favor C6 arpeggio or C9 or even C13 over Cmaj7?

You've been playing music for "some years"; therefore, you should be able to look at the chord sheet and play "some kind of" bass line.
Let's take a look at the sheet below. We have Maj7 chords, min7 chords, Dom7 chords, even one min7b5 chord.

Would you "favor" F7 chord with Fmaj7 in Measure 1?

 

[Whousedtoplay]

Super short answer: if all you ever play is rock, soul, funk, country, hip-hop, blues and never play any jazz or "American Songbook" stuff (Sinatra, Tony Bennett, Harry Connick Jr., etc.) you may never need to play a Cmaj7 chord.

Would you say, Stevie Wonder is jazz????

In short.
Pop, SOUL(!!!), funk, etc., music has LOTS of maj7 chords.

 

[Whousedtoplay]

Pop music "without" maj7 chords.

 

[Whousedtoplay]

Super short answer: if all you ever play is rock, soul, funk, country, hip-hop, blues and never play any jazz or "American Songbook" stuff (Sinatra, Tony Bennett, Harry Connick Jr., etc.) you may never need to play a Cmaj7 chord.

I need to run. And I truly believe you were joking about "no maj7 chords in Pop music".

Coldplay. What could be MORE POP than Coldplay?

 

[SteveCS]

Would you say, Stevie Wonder is jazz????

In short.
Pop, SOUL(!!!), funk, etc., music has LOTS of maj7 chords.
...

Also:
David Bowie, Talking Heads, Roxy Music, Gary Numan, Duran Duran, Madonna, Clean Bandit, King Crimson, Madness, Supertramp, Cyndi Lauper,
to name just a tiny few I know for certain.

 

[Pacman]

Super short answer: if all you ever play is rock, soul, funk, country, hip-hop, blues and never play any jazz or "American Songbook" stuff (Sinatra, Tony Bennett, Harry Connick Jr., etc.) you may never need to play a Cmaj7 chord.

um...nothing could be further from the truth.

 

[Whousedtoplay]

Simple answer, it fills out a C chord, and gives a fuller sound.

I know you like that kind of "explanations".
From "Piano for Beginners".

About another similar chord - min7.

 

[Whousedtoplay]

This morning, I was listening to a new track from McClenney's "Just Stay" - simple new pop song.
N.B. It has an interesting texture in Verse - Drums, Bass and Vocal.

In Verse - Emaj7 and Amaj7

Parental warning: Explicit lyrics



Here are the notes of the bass fill around 0:10, at the end of Amaj7 before going back to Emaj7.
G# A B C# E D# and E.

https://www.talkbass.com/attachment...1/?temp_hash=6b0b3640faea92e53f13aa76e01d4e73

 

[crankypants]

So that when you're walking down to the V you don't hit the Bb.

 

[Whousedtoplay]

So that when you're walking down to the V you don't hit the Bb.

I'd like more info about your comment.

 

[crankypants]

I'd like more info about your comment.

If you're in C Major and you need to walk down from C to the V chord (G7) you usually want to use B and not Bb to get there, otherwise it sounds like a dominant 7 chord and not C Maj.

 

[Mushroo]

So that when you're walking down to the V you don't hit the Bb.

Every blues song ever (and quite a few rock and pop songs) uses Bb on the walk down to the V chord.

 

[crankypants]

Every blues song ever (and quite a few rock and pop songs) uses Bb on the walk down to the V chord.

I guess you don't play jazz or country.

 

[Whousedtoplay]

I guess you don't play jazz or country.

Here is a page of different interpretations of different jazz DB players, when they go back from Bb7 to F7 (tonic).
From Mike Downes, "The Jazz Bass lines".
Some use B natural, some Ab...

 

[crankypants]

B7 and F7 are not Maj7 chords so what I posted wouldn't apply. Then there is also the concept of the passing tone.

 

[Whousedtoplay]

B7 and F7 are not Maj7 chords so what I posted wouldn't apply.

If I see the chord Cmaj7 I would not try to play it as C7.