Maj7add9

[BassChuck]

Nope.

The 2nd and the 9th are the same note relative to the tonic, but not the same interval.

Correct. And the interval is set by the voicing the player uses. So one person might see a Maj9 and another a Maj2 and they could choose to voice the chord the same way on guitar, piano or as an arranger.

 

[RoadRanger]

It's all about the intervals - you'd not normally see the 1 played with the 2 or the 8 played with the 9. Or the major 7 played with the 8. Not pleasant intervals.

 

[RoadRanger]

The only note not mentioned here is the diminished fifth. That note is kept in a fire proof case with a red warning label. This note is used only in special circumstances, such as the last note played before firing the drummer and rage quitting. Hope this helps.

LOL - the b5 is used all the time in blues walking lines. One of my favs is / 1 3 4 b5 / 1 b5 4 3 / 1 3 4 b5 / 8 b7 6 5 / (4)
Generally you'd not use the "blue" (AKA flatted) notes on the one or three unless you want to sound bad LOL.

 

[jamro217]

LOL - the b5 is used all the time in blues walking lines. One of my favs is / 1 3 4 b5 / 1 b5 4 3 / 1 3 4 b5 / 8 b7 6 5 / (4)
Generally you'd not use the "blue" (AKA flatted) notes on the one or three unless you want to sound bad LOL.

Using the dreaded diminished fifth even as a passing tone isn't safe. There are fretless players who have developed a technique to mute it even during the most dramatic glissandos. If I'm walking by a club at night and I hear a tritone, I cross the street. You can't be too careful.

 

[joebar]

and then there's the Mu chord=1-2-3-5

 

[RoadRanger]

and then there's the Mu chord=1-2-3-5

Is that the one that you're supposed to play a lot if you want to be fired?

 

[Jloch86]

Using the dreaded diminished fifth even as a passing tone isn't safe. There are fretless players who have developed a technique to mute it even during the most dramatic glissandos. If I'm walking by a club at night and I hear a tritone, I cross the street. You can't be too careful.

I disagree. I love suggesting to the guitarist or pianist to substitute a dominant chord with a diminished or augmented chord. There are really only 3 functions a chord has: major, minor, and dominant and since dominant chords are tension chords, they can be substituted with diminished and augmented chords. As long as that tension is resolved, it'll sound beautiful. What I DO agree with is that a b5 that isn't resolved correctly can either make or break a solo.

 

[Pacman]

This has absolutely nothing to do with technique. Moved to GI

 

[Lownote38]

I disagree. I love suggesting to the guitarist or pianist to substitute a dominant chord with a diminished or augmented chord. There are really only 3 functions a chord has: major, minor, and dominant and since dominant chords are tension chords, they can be substituted with diminished and augmented chords. As long as that tension is resolved, it'll sound beautiful. What I DO agree with is that a b5 that isn't resolved correctly can either make or break a solo.

Maybe if we call it a #11 everyone can agree that it's okay to use it.

 

[Beavisplaysbass]

After contacting the poster, he did say.. "I believe you are right, it's an Amaj9." He also went on to say it's a hobby band.
So I'm really on the fence on joining. Not sure I want to invest my time, playing in the garage, and not build it up to something. I already went down this road before and was kicked from a band for being too serious for the group.

 

[mambo4]

"Maj7add9" vs "Maj 9"...
these jazz age chord notations are relatively young in music theory
so there is no "correct" , there is just more common and less common usage
it's true that in common usage , extensions above a seventh imply the presence of a seventh

I prefer explicit and unambiguous chord symbols.
"Maj7 Add 9" is nicely unambiguous

 

[Groove Master]

Is this even real? I read a post from a band looking for a bassist, and in their post they say they use a lot of maj7add9 chords. I thought when you add9, the 7th isn't there.. correct me if I'm wrong. It feels like a Frank Zappa S..t test to me.

Usually a chord like this should be written CMaj9 (C-E-G-B-D).
The odd note here is the major 7 (B) in the name of the chord because anybody that knows about chord spelling is aware that there is no need to indicate the add 9 if there is a Maj7 chord underneath. The correct spelling is CMaj9 because it includes the major 7 in it and is much easier and shorter to read.

So it is either a mistake and the chord is just a C triad with a add9 without the B OR it is a C 6/9. The best thing to do would be to check the melody during that chord. If it has a C in it then the triad with the add9 would be the preferred chord or the 6/9 but not the C Maj9 because the major 7 (b) would clash with the C in the melody.

Hope this helps,

 

[bigboy_78]

Sound like they want to sound jazzy, but only have a partial grasp on the concepts.

I’d call them out on it…..but I’m a snob who can’t stand people who try to sound more cleverer then they is.

 

[Beavisplaysbass]

Recent people obviously didn't read the thread. It's okay though, it's been resolved. Thank you for the input everyone. If a mod is reading this, please close the thread.

 

[RoadRanger]

it's been resolved.

LOL

 

[Hahaha]

That reminds me of a drummer I worked with. We were auditioning guitarists and he kept saying "We need someone who understands the root of the chord." I kept giving him the "We need a drummer who keeps his stupid mouth shut!" look.