A question of Chords
Moderators: Peter Thomsen, miker
- miker
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I'm notating a piece that has a chord Dm(maj7).
Is that the same as Dm(#7)? Is there a better way to show it?
It's in a progression that goes Dm > Dm(maj7) > Dm/C
Enquiring minds want to know!
Is that the same as Dm(#7)? Is there a better way to show it?
It's in a progression that goes Dm > Dm(maj7) > Dm/C
Enquiring minds want to know!
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I wonder if that implies a descending bass line so it would be Dm -- Dm/C# -- Dm/C.
Does what you are notating give a hint to that?
::: Bill
Does what you are notating give a hint to that?
::: Bill
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My guess would be the same as Bill's (and motet's). Additionally, maybe the descending D C# C bass line could be interpreted as the top voice of the chords' progression.
Cheers,
HP.
Cheers,
HP.
- michelp
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A typical chord progression. The moving note (8, Maj7, 7) can be seen in the voicing or as as bass line.
P.S.: I wouldn't use the Dm(#7) form.
P.S.: I wouldn't use the Dm(#7) form.
Michel
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- zuill
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I also use Dm(maj7). If you want the bass to walk down chromatically, you can do Dm Dm(maj7)/C# Dm/C
Doing Dm Dm/C# Dm/C accomplishes the same result.
So, choose the one that works best for the situation. I find that the simpler the notation, the better, so the second option is very often preferred, especially when I am writing for an ensemble with guitar and bass. Some guitar players want to do a fancy Dm(maj7) voicing and a simple Dm works better, so I choose that.
Knowing your ensemble is essential when it comes to chord symbol notation, in my opinion.
Zuill
Doing Dm Dm/C# Dm/C accomplishes the same result.
So, choose the one that works best for the situation. I find that the simpler the notation, the better, so the second option is very often preferred, especially when I am writing for an ensemble with guitar and bass. Some guitar players want to do a fancy Dm(maj7) voicing and a simple Dm works better, so I choose that.
Knowing your ensemble is essential when it comes to chord symbol notation, in my opinion.
Zuill
Last edited by zuill on Fri Mar 01, 2019 6:56 pm, edited 1 time in total.
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- ebiggs1
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Me too, doesn't a Dm(maj7) already have a C# ? Doing Dm/C# simply moves the C# to the bass ? I would prefer Dm Dm/C# Dm/C.My guess would be D-F-A-C#.
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- zuill
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There are pros and cons to each of the 2 ways I mentioned: Dm(maj7)/C# or Dm/C#. Guitar players will see these one way if there is a bass player doing the split symbols. They would voice the Dm(maj7) differently if they were also handling the bass movement. Same with a piano player handling both parts of the split symbol.
So, the setting determines much about how these things are perceived and interpreted.
Zuill
So, the setting determines much about how these things are perceived and interpreted.
Zuill
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- zuill
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In the original post, Mike did not indicate that the Dm(maj7) has a C# in the bass. Somewhere along the way, some assumed that might be the case.
In any event, if the #7 is indicated with/C# to be played as a bass note, but the C# is also wanted in the chord as well (right hand for a piano player), then it is best to use Dm(maj7)/C#. If that is not the case, then Dm/C# is fine. The context determines the voicing.
Just last night I had a piece (in performance) that had G2/A. The written music had a chord with BDGA (the 2 on top). That was the specifically desired voicing. So, G2/A is the way to write the chord. If the right hand voicing was just BDG, then G/A is best.
Context is important. We deal with this every day, so it is something that needs to be understood. I teach this to my students, so they have the best voicing possible. The chord symbol must be understood in context.
Zuill
In any event, if the #7 is indicated with/C# to be played as a bass note, but the C# is also wanted in the chord as well (right hand for a piano player), then it is best to use Dm(maj7)/C#. If that is not the case, then Dm/C# is fine. The context determines the voicing.
Just last night I had a piece (in performance) that had G2/A. The written music had a chord with BDGA (the 2 on top). That was the specifically desired voicing. So, G2/A is the way to write the chord. If the right hand voicing was just BDG, then G/A is best.
Context is important. We deal with this every day, so it is something that needs to be understood. I teach this to my students, so they have the best voicing possible. The chord symbol must be understood in context.
Zuill
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- ebiggs1
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I agree totally. A Dm(maj7) would have a D in the bass or the lowest note at least. A Dm(maj7)/#C would put a C# as the bass or bottom note.
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- miker
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Zuill,
Both. Piano comping, with a bass. And maybe ukulele. This is for the Temple choir, so nothing is a surprise, anymore...
Both. Piano comping, with a bass. And maybe ukulele. This is for the Temple choir, so nothing is a surprise, anymore...
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- ebiggs1
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In combos the bassist’s primary job is to play the roots of the chords. The pianist’s primary job is to play chords but sometimes omits the root note.
I have never done Temple choir, or even any real choir work at all, nor ukulele music so I don't know if this is still true with them.
I have never done Temple choir, or even any real choir work at all, nor ukulele music so I don't know if this is still true with them.
Finale 27.4.1 - Perfect Layout Silver - Note Performer 4.4 - SmartScore Pro 64 - Windows 11
President, The Shawnee Concert Band, Composer/Arranger, retired Music Teacher.
President, The Shawnee Concert Band, Composer/Arranger, retired Music Teacher.
I agree with writing "maj7" . I would oppose strongly "#7" as it implies a raised 7th from the standard major scale, which would result in the chord's root note and thus being wrong. But obviously, the consensus here is "maj7" which is perfectly correct.miker wrote:I'm notating a piece that has a chord Dm(maj7). Is that the same as Dm(#7)?
Harald
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trombonist, pianist, conductor / Recklinghausen, Germany