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Discussion in 'Music Theory [DB]' started by Hankenstein, Jan 30, 2013.
Can anyone suggest any songs with lots of dominant sharp 5 chords? I need some for a lesson.
This article cites many examples, most of which either have, or could have, the 7th in addition to the #5.
Do you want +7 with natural 9ths chords for the whole-tone scale or +7 implying the altered scale?
For the altered scale, any jazz tunes in minor could be a good source. A minor Blues for example.
Both actually - Minor blues is a good thought but I'm really looking for songs where the 7+5 is the featured sound.
Nice. Thanks. Hoping for some Jazz standards also.
Be aware that many leadsheets in fakebooks will write a 7+5 chord when, in fact, the chord is a dominant with a b9 and b13. The first chord in the bridge to "Stella..." is one example.
And, of course, there's the G7 b13 later in Stella that is often treated as 7+5. Looking for a song with vast expanses of that sound.
That's what he said ...
yikes - so he did. Sorry.
All the things you are, last chord before the last A part is C7+5.
Juju. First four bars are B7+5.
Very whole-tone-y though.
Look To the Sky
This is very true.
Take a look at the first five chords to Someday My Prince Will Come.
In Bb, it is often written as:
|| BbMaj7 | D7+5 | EbMaj7 | G7+5 | Cm7 | etc...
The second and fourth chords are commonly written as X7+5.
These chords, at the second and fourth measures, would probably be more correctly noted (from the Common Practice Period) as D7b13 (no 5th, 9th, 11th) - D, F#, C, Bb, and G7b13 (no 5th, 9th, 11th) - G, B, F, Eb, respectively.
But it's a lot easier to read X7+5 and know that it's really an X7b13 (no 5th, 9th, 11th).
Birth of the Blues:
C7 |G7 G7+5 | C7 C7+5| F7....
Thanks, guys. Very helpful.
When Your Lover Has Gone, bars 14 and 30.
Good Bye (Gordon Jenkins) bar 3 of the A section. Song construction is ABA.
The one thing that trips me out, why didn't Abersol correct all those X7+5 chords to read X7 b13? Thats why its muy importante to actually listen to the tunes instead of just reading them out of the Real Book. I remember the first time I played through Stella, and with my nascent jazz chops decided I should play G whole tone on the G7+5 chord...it just didn't work...it sounded odd and stoopid...don't get me wrong, whole tone is a beautiful thing, just play it where it works...the ears will always win...
I'll coin a new Chord Symbol: X7b6
Just yesterday, I found an example of an "E7b6"* harmony (er... X7b13) in Bach's Chorale #232, 2nd full measure, beat 2. Definitely NOT an E7+5. And, it is deceptively followed by an F-chord (not an Am-chord). Similar to measure 2 - 3, in Someday My Prince Will Come - a somewhat common Deceptive Cadence progression: V7 - VI, in a Minor Key.
If one is aching to blow a Whole-Tone Scale over a REAL "X7+5", the intro to Stevie Wonders - You Are the Sunshine of My Life - has one.
* I should clarify... There is NO Fifth in this chord. It should probably be labeled: X7b6(no 5). The Flat-6 (Minor Sixth) moves to the Perfect Fifth - no kidding.
The FOUR-VOICE writing would be: Root, Major Third, Minor Seventh, Minor Thirteenth/Sixth.