#1
Im looking for the phrygian dominant 7th chords, and I have this..
Phrygian Dominant is Phrygian but with a major 3rd (1 b2 3 4 5 b6 b7)

0 1 4 5 7 8 10 12 13 16 17 19 20 22 24

i 1 3 5 b7____________Maj___dom7
ii 1 3 5 7 ____________Maj____M7
iii 1 b3 b7 bb7 (6?)_____Dim___Dimadd6 ????
iv 1 b3 5 7 ___________Min___Min/Maj7
v 1 b3 b5 b7_________Dim___m7b5????
vi 1 3 #5 7___________Aug___M7#5????
vii 1 b3 5 b7__________Min____m7

So I need someone to give me the correct chord names for the ones I am missing, as well as correct whatever needs to be corrected. Thanks
Gibson SG Standard
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Last edited by sacamano79 at Mar 24, 2008,
#2
I didn't check your intervals, but you seems to have it right based on the intervals you posted.

Your chords in question:
iii 1 b3 b7 bb7 Dim Dim7
v Correct
vi Correct

You should use capital Roman Numerals when describing major chords, though.
#4
Quote by frigginjerk
i = just a 7 chord, ie: A7, B7, C7, etc... a major triad with a minor seventh

ii = just a maj7 chord.


Is 'just a 7th chord' a dominant 7th chord? Cause dominant has the flat 7th on the major triad right?
Gibson SG Standard
Ibanez S2170FB
Peavey JSX
Marshall 1960A
TEXAS A&M
#5
Quote by sacamano79
Is 'just a 7th chord' a dominant 7th chord? Cause dominant has the flat 7th on the major triad right?


Correct.
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#6
You should use capital Roman Numerals when describing major chords, though.


one last question, what do you mean by this?
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Marshall 1960A
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#7
Quote by sacamano79
one last question, what do you mean by this?
You used all lowercase letters when forming your Roman Numerals. You shouldn't do that. Capital letters are for major chords, lowercase for minor.

For instance, the major scale goes I ii iii IV V vi 7, which makes sense because the C major scale goes C Dm Em F G Am Bdim. I don't actially know what you do for the diminished chord. Someone please clarify.
#8
Okay, thanks for that
Gibson SG Standard
Ibanez S2170FB
Peavey JSX
Marshall 1960A
TEXAS A&M
#10
Quote by bangoodcharlote
I don't actially know what you do for the diminished chord. Someone please clarify.


I believe you use the degree symbol (I can't be assed to figure it out on the computer, but you get the idea).
#11
Quote by bangoodcharlote
You used all lowercase letters when forming your Roman Numerals. You shouldn't do that. Capital letters are for major chords, lowercase for minor.

For instance, the major scale goes I ii iii IV V vi 7, which makes sense because the C major scale goes C Dm Em F G Am Bdim. I don't actially know what you do for the diminished chord. Someone please clarify.


Diminished chords have a minor third. This means it must be lowercase. To indicate a diminished fifth, one must use the diminished sign.

Augmented chords must also use upper case (major third), with the augmented sign (augmented fifth).

Phrygian dominant harmonized:

I7 - IIΔ7 - iii° 7 - ivΔ7 - vø7 - VI+7 - vii7

The major symbol (Δ, augmented symbol (+), and half-diminished symbol (ø, should be superscripted.
#12
Don't you need to indicate the intervals of the scale using flats/sharps, on II, VI, and vii for phrygian dominant?

I7 - bIIΔ7 - iii° 7 - ivΔ7 - vø7 - bVI+7 - bvii7
#13
Quote by titopuente
Don't you need to indicate the intervals of the scale using flats/sharps, on II, VI, and vii for phrygian dominant?

I7 - bIIΔ7 - iii° 7 - ivΔ7 - vø7 - bVI+7 - bvii7

I think that I remember gpb saying in one thread last year that it could be either. You flatten the appropriate degrees when referring it to it's parallel major key, but you can leave it if your just talking about the key itself or something.

I didn't quite understand it myself, and I can't find it.
#14
Quote by kirbyrocknroll
I think that I remember gpb saying in one thread last year that it could be either. You flatten the appropriate degrees when referring it to it's parallel major key, but you can leave it if your just talking about the key itself or something.


I'm almost positive that way of thinking would be correct.
#15
Yes, i have most commonly seen the chords written out without the b's noted, this requires the musician to know the scale formula already, for example Phrygian Dominant is r b2 3 4 5 b6 b7.

I personally find it more confusing to combine the 2 methods of notation, but i can see merits to writing-
I7 - bIIΔ7 - iii° 7 - ivΔ7 - vø7 - bVI+7 - bvii7
as it givess 100% of the info required to play.
#16
I thought the Delta (triangle) implied major seventh by itself.
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#18
Quote by HammerAndSickle
I thought the Delta (triangle) implied major seventh by itself.


I have never actually seen a delta triangle (in music), which was not followed by a 7, 9 , 11, or 13. I have always assumed it meant major, and the number referred to how far the extensions would go.

I could be wrong though.
#20
Quote by branny1982
All i know is what i learnt in the JohnLJones school of theory..... where it meant major7


Your probably right than. All I have for musical training is guitar lessons, and a self-taught theory course. Most things I know are just from 1. Common Sense and 2. My Observations.
#21
Quote by isaac_bandits
Your probably right than. All I have for musical training is guitar lessons, and a self-taught theory course. Most things I know are just from 1. Common Sense and 2. My Observations.


+1 to that...
#22
My theory books all say Delta = major seventh. I doubt it matters, anyway. The point still gets across, no use getting smothered with technicalities.
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Ibanez RG7321
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'78 Ibanez Les Paul copy
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Fender Telecaster
Vantage Semihollow
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#23
Quote by HammerAndSickle
My theory books all say Delta = major seventh. I doubt it matters, anyway. The point still gets across, no use getting smothered with technicalities.


Yup, and if Δ means major seventh, then if one writes Δ7, it will still make sense.