11/6: Notating Scales / Inversions
Now let’s briefly list and label the various seventh chords starting on the note C. As I’ve promised before, we’ll discuss these in more depth in Chapter 14. The seventh chords which appear in traditional 12-eq classical music feature some kind of 3-limit or 5-limit seventh on top of a triad. I believe that jazz and blues composers evoke the seventh harmonic-based “septimal” minor seventh, which is considerably flatter in pitch than the sevenths we are used to. As we will see in Chapter 14, this “Blue Note” seventh is also considerably more consonant-sounding.
Figure 11-12 Seventh Chords
C7: the “dominant” seventh, can be C – E1 – G – Bb but the E1 can go up to E and the Bb can go up to B1b
C Maj 7: C – E1 – G – B1
C min 7: C – E1b – G – B1b
C min MAJ 7: C – E1b – G – B1
Cdim7: (diminished 7th chord) C – E1b – G2b – B3bb
Cs7: Septimal seventh chord, C – E1 – G – B1b
C s min 7: Septimal minor seventh chord, C – E1b – G – B1b
C min7 b5: C – E1b – G2b – B1b
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