#1
So a D7#9 sounds really cool but I can't find any chords that that sound good with it (my chord knowledge is limited so yea) can anyone name some chords and scales that go with this chord. I don't expect all the chords or scales but just a few would be nice!
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#3
l lV V is umm out of my knowledge. I don't know what that even means. Doesn't it have to do with intervals?
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#5
Well.. thanks for the above info!

EDIT: More info is realllllllllllllllllly appreciated.

EDIT2: Dude I looked at a thing that tells the chords that go with the scale and I didn't see D7#9 anywhere...
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Last edited by Kilty Boxers at Mar 27, 2012,
#6
I IV V refers to which chord in a key. It's related to the step in the scale of that key. For example, D major. The key of D major is made up of D E F# G A B C# D. The I chord is the chord where the root of that chord is the 1 in the scale. So the I is a D. The IV and V follow the same principle, where the IV and V chords' roots start on the 4th and 5th steps of the scale, G and A respectively. D blues what mentioned above as a key to use with your chord. It would look like this: I7 I7 I7 I7 IV7 IV7 I7 I7 V7 IV7 I7 I7 (or some variation of this. In D, the I7 is a D7, IV7 is G7, and V7 is A7. Since you want to use D7#9, try substituting that in for all the I7s.
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#7
Maybe you shouldn't be thinking terms of a chord and scale necessarily being directly correlated. The chord is an optional flavor you can use; it carries no inherent association with a scale or another chord.

When it comes to "chords that sound good with it", so that you could presumably try to use it in a progression, you basically just need knowledge of functional harmony, which will inform you on how to use the chord in a musical context. Based on your response above, it appears that this is something you'll need to learn about.
#8
D7#9

Note: If you lack an understanding of the basic principles of music theory (basic chord construction, intervals etc then it will be difficult to discuss many ideas with you in detail as you won't understand the language being used to convey the idea - as you have already found out earlier in this thread when roman numerals came up.

The chord D7#9 is made up of

D F# A C E#

there are a number of options here.

the first is that considering this chord is an extended D7 chord we treat it as a dominant chord which would suggest a G tonic as chronowrap suggested. (The perfect fifth in a scale is called the dominant scale degree because after the fundamental sound of the root note the dominant sound in a scale is that of the perfect fifth. The perfect fifth is also the strongest harmonic overtone in the harmonic series and so is actually present in the sound of the fundamental itself. Thus when you move from a note down a perfect fifth it can sound as though you have moved to the fundamental as your mind will retrospectively hear that original pitch in relation to the tone that followed. When we construct chords by harmonizing the major scale the seventh chord built from the dominant scale degree is a root major third perfect fifth and minor seventh. It is the only major triad with a minor seventh and the resulting seventh chord is thus named a dominant seventh. Because we don't always have to stay in key we can play dominant seventh chords anywhere. They have a specific quality to them with the major third and minor seventh forming a tritone between them. Interestingly when we go from the dominant seventh down a perfect fifth not only does the root movement provide a sense of moving to the fundamental but the dissonance of the tritone is resolved by way of the notes forming this interval both move a half step toward each other to form major third found in the root and third of the tonic. Also at play is the fact that one part of the tritone moves up a half step to reach the tonic. These three things together form a strong sense of a tonal centre on that next chord.)

In the D7#9 we have the chord tones
D F# A C E#
the tritone is between the F# and the C. The F# moves up to the G and the C moves down to B the overall root sound moves from D down to G but the D is also found in the G as a perfect fifth stabilising the G root.

There are other dissonances at play here as well. the F# E# for example. Even though they most likely occur in different octaves they are still dissonant. You can resolve this by bringing those notes back together in unison. This could be achieved by resolving them to F# for example.

that same dissonance could also be resolved by moving those notes away from each other by a half step so the F# might go up to G and the E# down to E to form a minor third. This minor third might form the root and third of Em or the third and fifth of C major or the fifth and seventh in Am7 or A7.

There are a whole lot of other options that you might use with this chord and it all depends on what you want to acheive with it.

Perhaps you might try getting inside the sound of the chord. Find the voicing you like and listen to it. Play a note and then the whole chord listening for that note in the chord. Then play two notes from the chord together and listen to the sound theyy make together. Try playing the whole chord and seeing if you can hear that interval inside the chord. Listen in particular for dissonances. They should be easier to spot inside the chord.

Then go through and do this two note exercise again. This time when you play two notes you think have an interseting sound or a dissonance sound try moving one or the other or both notes up or down a half step or a whole step to try to find a nice sounding interval. Then play the original interval followed by the one you found. Then around that new interval see if you can build a chord by adding another note or two, or by doubling the notes in the interval.

It is trial and error but with a specific method and purpose. It may not work for you. Personally I do this often. If I get stuck on "where to go next" I will often hone in on a particular dissonance or interval inside the chord, find where it wants to go, then build the rest of the chord around that. That one chord change will usually then result in a stream of ideas that follow because I've figured out what it is the music is trying to do.

Anyway best of luck to you.
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Last edited by 20Tigers at Mar 28, 2012,