#1
I don't know, maybe I do understand dominant sevenths, but that is as far as my understanding goes. I've tried reading lessons but I'm just getting more confused so it would be nice if someone could help.

As far as I know, a dominant seventh chord contains the root, the minor third, the major fifth, and a flat seventh. But what about the minor seventh and other variants?
#2
wut? that is the flat 7th

flat 7th = minor 7th

edit:
btw, that is a minor 7th that you have described,

minor 7th: 1 b3 5 b7

dominant 7th: 1 3 5 b7

Major 7th: 1 3 5 7
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Last edited by sacamano79 at Jun 26, 2008,
#5
Major 7th: 1 3 5 7

Minor 7th: 1b3 5 b7

Dominant 7th: 1 2 5 b7

and the occasional,

Major minor 7th: 1 b3 5 7

half diminished 7th: 1 b3 b5 b7

Diminished 7th: 1 b3 b5 bb7
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#8
Quote by chimpinatux
Major 7th: 1 3 5 7

Minor 7th: 1b3 5 b7

Dominant 7th: 1 3 5 b7

and the occasional,

Minor Major 7th: 1 b3 5 7

half diminished 7th: 1 b3 b5 b7 <also known as min7b5

Diminished 7th: 1 b3 b5 bb7

Fixed

The other 7 chords are pretty self explanatory because they are based on those but are written with variations like (+5, -5, etc.)
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#9
a dominant seventh chord contains the root, the minor third, the major fifth


No such thing.
Perfect fifth.

Also: Major third, not minor third.

1-3-5-b7
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Last edited by Archeo Avis at Jun 26, 2008,
#11
Quote by GoDrex
there's a 7th chord and a maj 7th chord - -they're not the same thing


I've been wondering about this lately. What exactly is the difference between a maj7th chord and a 7ths chord say A7 and A maj7?
#12
Quote by yearzero
I've been wondering about this lately. What exactly is the difference between a maj7th chord and a 7ths chord say A7 and A maj7?
X7 is 1 3 5 b7 and Xmaj7 is 1 3 5 7, so A7 is A C# E G and Amaj7 is A C# E G#.
#13
Quote by bangoodcharlote
X7 is 1 3 5 b7 and Xmaj7 is 1 3 5 7, so A7 is A C# E G and Amaj7 is A C# E G#.



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#14
So I've been trying to learn how to play The Lemon Song - Led Zeppelin, and the tabs I've read have me playing what I kind of assumed was some type of seventh chord. It uses the notes E, G#, D, and G. So is it a type of seventh?
#15
That's E#9, it's very common in blues and bluesy rock.

E - Root
G# - major 3
D - minor 7
G - augmented 9
Last edited by Eirien at Jun 27, 2008,
#17
Dominate means a Major with its 7th degree flatten if im not mistaken
i dont know why people name it Dominate b7 i remember the first time i saw that i thought the 7th degree was flatten again lol (G-B-D-Fbb lol)

unless thats true which i dont think it is...or at least in diatonic terms

dose anyone under stand the 7th chord as in Diatonically?
im not sure its a vii* my teacher if i can remember right calls it a minor 7b5th
i know the triad is Diminished example G Major
G--A--B--C--D--E--F#--G
I-- ii--iii--IV--V-iv--vii*--I

so F#A C thats diminished but why is it named Minor7 b5th?
if theres a Flat 5th wouldnt it be F# A Cb? but that walking out of diatonic
if its like that isnt it?

i remember him telling me or well explaining it to me but lol its been a while since i went over it. I might have this mixed up with something els and im just not realizing it right now or what ever
#18
To Stash^I'm pretty sure E#9 is correct. When you have a 9 chord it's intervals are: 1, 3, 5, b7, 9. If it's a #9 chord it's the same but with the alteration of the raised 9. In this case, it doesn't imply Emaj#9, it's just E#9. I assume to avoid confusion you could write it your way but that may confuse people that know it the regular way. I don't know, i think i drifted off in mid post, sorry.

Edit: i think Phryg may have said it, i really can't understand the post, i didn't sleep last night.
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


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#19
Quote by metal4all
To Stash^I'm pretty sure E#9 is correct. When you have a 9 chord it's intervals are: 1, 3, 5, b7, 9. If it's a #9 chord it's the same but with the alteration of the raised 9. In this case, it doesn't imply Emaj#9, it's just E#9. I assume to avoid confusion you could write it your way but that may confuse people that know it the regular way. I don't know, i think i drifted off in mid post, sorry.

Edit: i think Phryg may have said it, i really can't understand the post, i didn't sleep last night.


Nah, altered dominants are typically named with the 7 ala E7#9 aka the 'Hendrix chord'
#21
You know more than me so i'll take your word for it. Learn somethin new everyday, right?
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#22
Thats right, its almost overwhelming though, I dunno if I can do it all. I'm off for work but when I get back I'll probably have tons of questions.
#23
Quote by Stash Jam
Nah, altered dominants are typically named with the 7 ala E7#9 aka the 'Hendrix chord'


wow...lol thanks for that clearing that up
#24
Quote by metal4all
To Stash^I'm pretty sure E#9 is correct. When you have a 9 chord it's intervals are: 1, 3, 5, b7, 9. If it's a #9 chord it's the same but with the alteration of the raised 9. In this case, it doesn't imply Emaj#9, it's just E#9. I assume to avoid confusion you could write it your way but that may confuse people that know it the regular way. I don't know, i think i drifted off in mid post, sorry.

Nope...read below.

Quote by Eirien
That's E#9, it's very common in blues and bluesy rock.

E - Root
G# - major 3
D - minor 7
G - augmented 9
I'm sure you meant E7#9, because E#9 is actually enharmonic to an F9 chord!

If you wanted E7#9 without the seventh, you would write it as E(#9) or Eadd#9.

Edit: Munky.
Last edited by bangoodcharlote at Jun 27, 2008,
#25
Quote by Stash Jam
Nah, altered dominants are typically named with the 7 ala E7#9 aka the 'Hendrix chord'


+1

the 7 is generally included when labeling an altered dominant as in: E7#9


Quote by bangoodcharlote
Nope...read below.

I'm sure you meant E#9, because E#9 is actually enharmonic to an F9 chord!

If you wanted E7#9 without the seventh, you would write it as E(#9) or Eadd#9.


Im sure you meant that you were sure he meant E7#9, otherwise that correction makes no sense.

A major triad with a #9 isn't something you'll find very often, if ever. it technically could exist and would likely be noted Eadd#9 rather than E#9.
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Last edited by GuitarMunky at Jun 27, 2008,
#26
Quote by bangoodcharlote
Nope...read below.

I love how you said that even though I already figured out what Stash was saying My chord theory is adequate, i just don't know little things like that.
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#27
I didn't know you have to include the 7th on altered dominants.

Quote by bangoodcharlote
I'm sure you meant E#9, because E#9 is actually enharmonic to an F9 chord!


lol, I don't know why I didn't notice that before.
#28
Quote by Phrygian_12
Dominate means a Major with its 7th degree flatten if im not mistaken
i dont know why people name it Dominate b7 i remember the first time i saw that i thought the 7th degree was flatten again lol (G-B-D-Fbb lol)

unless thats true which i dont think it is...or at least in diatonic terms

dose anyone under stand the 7th chord as in Diatonically?
im not sure its a vii* my teacher if i can remember right calls it a minor 7b5th
i know the triad is Diminished example G Major
G--A--B--C--D--E--F#--G
I-- ii--iii--IV--V-iv--vii*--I

so F#A C thats diminished but why is it named Minor7 b5th?
if theres a Flat 5th wouldnt it be F# A Cb? but that walking out of diatonic
if its like that isnt it?

i remember him telling me or well explaining it to me but lol its been a while since i went over it. I might have this mixed up with something els and im just not realizing it right now or what ever


didn't notice your questions when I was here earlier, but dominant refers to the 5th degree of the scale and is a type of chord as well as you described (major triad with a m7)

for 7th chords, harmonizing G major gives you

Gmaj7
Am7
Bm7
Cmaj7
D7
Em7
F#m7b5

You're right that F# A C is a diminished triad, then extending it out by adding the m7(E), you get F#m7b5

F#m7 = F# A C# E then flatten the 5th(C#) and you get F#m7b5 = F# A C E
#29
dont dominant 7 chords only work on the mixolydian mode? for every other mode would be regular 7th chords right?
#30
dont dominant 7 chords only work on the mixolydian mode? for every other mode would be regular 7th chords right?
Yes. Of the modes of the major scale, only mixolydian contains a dom7 chord (1 3 5 b7). Ionian and lydian contain maj7 chords (1 3 5 7). Dorian, phrygian and aeolian contain m7 chords (1 b3 5 b7). Finally, locrian contains a m7b5 chord (1 b3 b5 b7).
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#31
Quote by woodsballplayer
dont dominant 7 chords only work on the mixolydian mode? for every other mode would be regular 7th chords right?
While that seems like a simple question, 7th chords open up a huge world of Jazz Theory. Pretty much anything but the maj7 works over a dom7 chord.

However, with the seven modes of the major scale, only the mixolydian mode has a dom7 chord. The others are either maj7 or m7.
#32
So, if someone just flat out says "seventh chord", is that a major triad and a flat seventh, or a major triad and a normal seventh?
#33
If someone were to say "C seven" that would mean C7, C dominant seven.
If someone were to say "C major 7" that would be Cmaj7.

No one would say "seventh chord" because "seventh" is something you say when talking about intervals, e.g. B is the seventh of C... aka leading tone. "seven" is a kind of chord.
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥