Seven chords, their voices and why we use them

Chords are what we make music every day. Written on the page, they can be as simple as "A" or absolutely awful "Amaj7 # 11b9"! Discussing the seventh chord, we begin to understand the nature of the extended chords, what they mean and why they are not as scary as we imagined. Further chords allow us to better understand harmony, not just jazz, but all areas of music. So, whether you play in classical music, rock music, jazz or musicals, you can apply this harmonious knowledge to outstanding results. In this lesson, the first chord extension, the seventh, is introduced, which allows us to play the seventh chord, for example, the youngest 7, the main 7 and the dominant 7.

What is an extension? What is the seventh?

A trio, a chord with three notes, comes from the scale. For example, in key C, the tonic triad has the value C major.

As discussed in the previous article, this triple is created by stacking the third interval, taken from the ruler, in this case the major. If we want to use this three-in-one add-on and add extensions, we will continue to stack one-third. We can even do this until we actually have a chord consisting of all the major's notes (C-E-G-B-D-F-A-C)!

As we know, the nutritional triad consists of scales (1), 3-rd and 5-th notes. If we add only one extension, then for the third interval we get the 7th! In doing this, we have 4 chord notes 1, 3, 5 and 7.

As we know from the previous article, the quality of the interval (junior 3rds or basic 3rds) is determined depending on the scale we use, and the seventh time to determine whether it is flat 7 (C-Bb, in classical music) Theoretically this is called the seventh 7 interval) or natural 7 (CB, also known as the basic 7th interval in the classical theory of music).

We call C-B the seventh natural, because it is naturally part of the scale C. Flattening this interval, it gives us a plane of 7, because Bb is not major.

Type 7 of the chord

For this explanation, let's look at the progress of our II VI in key C. Now you can remember that these are Dm, G and C. These chords are taken from the key (scale) C major, and the intervals in the form scale determine the quality (primary or secondary) of each chord. Now let's add the seventh to each of the three triples that we learned in the previous article.

Perhaps you noticed that now we have three different chords: the major 7, the small 7 and the dominant 7. These are the three main seventh chords that we will see. The two factors that determine these types of chords are the interval and the combination of a small third and two thirds, so how do we build them to look like this:

  1. The main triad + major 3 (nat7) = main 7 chord (M7)
  2. Secondary underground world + secondary small three (b7) = secondary 7 chord (m7)
  3. The main triad + secondary 3 (b7) = the dominant 7 chords (7)

These three chords are the most important chords in jazz, which is the greater part of the progress that you will encounter, especially since almost all jazz music will use 7 chords. When writing or reading these chords in the score or jazz chart, they are assigned different short hands. The main seventh is often written as the capital letter M with 7 (CM7), but can be written as Cmaj7, or ordinary in jazz, with a small triangle C ^ 7. A small seventh chord is usually written in the lowercase Dm7, Dmin7 or D-7. The dominant chord is always written as 7, so the G-dominant 7 will be written as G7.

Adding the 7th does not mean re-learning the beam of new chords and arpeggios from scratch. As we know now, this is just an addition to the triples, so compare them with the trolls that you already know, and see what nuances exist between them. The chord shape will be changed to include the seventh, and the arpeggio will contain only one additional note.

  • Practice playing II V I performance in C major with 7 chords.
  • Use the 7th chord for progress in II V I in C major.
  • Now use Minor 7 shape to disable line E and Dominant 7 to disable line A in the key to G-major.
  • G major uses the Minor 7 form to disable line E and Dominant 7 to disable line A.
  • If you want to learn jazz guitar with Rowan, check out his course called "Jazz improvisation profile"

Use the 7th vote for improvisation

Adding the 7th actually simplifies the sound connection, because we have an additional note for use. Focusing on the performance level II V I, the voice will look like this:
The following example shows three ways to connect an arpeggio with a straight 8 notes without changing the rhythm.