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Thread: Chord Tones

  1. #1
    Registered User sixstrings121's Avatar
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    Chord Tones

    Hey, I have a question. Are chord tones only on the 1 3(b3) 5 and 7(b7)?

    For example, say your playing a Dm9. Are the chord tones still just D F A C, or does the E now count as a chord tone since your using it in the chord?

  2. #2
    fan of the G string curiousgeorge's Avatar
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    From my understanding, any notes used from a scale beyond the four chord tones are extensions/tensions...
    Karma Chameleon...You come and go...You come and go, oh..........MAKE UP YOUR MIND!!!!!!!!!!

  3. #3
    Mode Rator Zatz's Avatar
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    To me personally, if the backing really goes Dm9 with E melody note it's a chord tone since you do include it as a 9th in your accompaniment. Actually I think it makes difference especially if backing and melody are played in different registers and/or instruments - when such a doubling is not so useless. So my vote is it IS a chord tone but I admit it's a matter of approach.
    Zadd9 -> A6 -> T#9b5 -> Zmaj7

  4. #4
    ,.¤oOo¤., theox's Avatar
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    Quote Originally Posted by sixstrings121
    Hey, I have a question. Are chord tones only on the 1 3(b3) 5 and 7(b7)?

    For example, say your playing a Dm9. Are the chord tones still just D F A C, or does the E now count as a chord tone since your using it in the chord?
    Dm7: D F A C
    Dm9: D F A C E
    D7#9#5: D F# A C F A#
    Dmaj13: D F# A C# E G B

    Chord tones = chord tones

  5. #5
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    Quote Originally Posted by sixstrings121
    Hey, I have a question. Are chord tones only on the 1 3(b3) 5 and 7(b7)?

    For example, say your playing a Dm9. Are the chord tones still just D F A C, or does the E now count as a chord tone since your using it in the chord?
    If you include the 9 in the chord, the 9th scale interval would sound good over the Dm9 chord. As it is a part of the chord, I'd call it a chord tone.

    The way I see it, if you create a "chord": D-F#-G-G#-A-C"

    Theoretically, you could say it is a chord, even if the notes it is build of, are rather bizarre. The chord would sound very harsh, but still: each of the notes construct the chord, hence; all the notes are chord tones.

    Anyone who's got any exceptions?

  6. #6
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    polychord

    if you have dm9

    you can extended it even more to a
    Polychord

    dm9,11 13

    spelling D F A C E G B
    em over dm7 = em/dm7

    dm7 9 11 #5

    spelling D F A C E G Bb

    edim over dm7

    DM7 9 #11 13

    spelling D F# A C# E G# B

    E triad over D maj 7

    check out joesph schillinger theory of harmony
    he calls this the sigma
    he identifies 32 different combinations for one root


    but i don't know why you want to do this ????????????

  7. #7
    allrounder live's Avatar
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    check out different ways and use the chord that sounds the best for you!!!
    it's all a thing of interpretation!
    for a 9th, 11th or 13th chord the lower numbers are all included in most of the cases they are composed!(So if you have a 9th chord the 7th is in it too and in a 11th chord there is the 9th and the 7th too and so on...)

    what arnold said is also right! BTW it's a great and useful technique to split (for example) 7th chords like The Cmaj7 in two triads

    C E G B becomes C E G and E G B

    you can combine this triads to arpeggios and you're able to build great things to play over a Cmaj or Cmaj7 chord!!!!


    Cheers
    live
    ________
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    Last edited by live; 03-28-2011 at 12:38 AM.

  8. #8
    Jazzman Poparad's Avatar
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    Quote Originally Posted by live
    you can combine this triads to arpeggios and you're able to build great things to play over a Cmaj or Cmaj7 chord!!!!

    This is at the heart of some of the really hip lines in modern jazz. Taking two triads and alternating through their various inversions to create some very unusual arpeggio lines.

  9. #9
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    poly chord

    the poly chords also generate
    the modes

    like c maj 7 with D maj triad

    c e g b d f#a

    is c lydian

    c Eb g Bb d f a

    is c dorian

    you can put
    any triad over
    a dominant

    D/C7 Db/C7 Eb/C7
    etc

    why would you want to do this

  10. #10
    Registered User sixstrings121's Avatar
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    You would wanna do that because it creates interesting arpeggio lines lol

  11. #11
    a little freaked out cardello's Avatar
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    play a C pedal tone, and play those arpeggios over the top of it. See how they create more interesting sounds? if you were playing over a C, using those triads in the right context would create, accordingly, more interesting solos.

    you play different arpeggios over dominant 7th chords to introduce altered tones in a structured way.
    - Dave

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