Talk:Jazz chord

message: I propose to add a section on more complex standard jazz chords such as those with raised 2nds and raised 5ths.  I"ll post a draft of it here to see what comments anyone may have. Dawgknot 03:38, 1 February 2006 (UTC)
thread_title: Complex standard chords

message: ===Complex dominant chords===
====Descriptions====
Dominant #9/#5 (written e.g. C7#9/#5)
:r  3  #5  b7  #9
Dominant b9/#5 (written e.g. C7b9/#5)
:r  3  #5  b7  b9
====Notes====
These chords can be voiced in a great variety of ways including building the chord on the b7.  They very often, but not always, lead to a minor chord built on an interval 4th up from the root.  It is also not unusual for either the #9 or b9 or the #5 to be expressed in the melody.
I think it would be good to make this section a little more clear.  They often lead to a minor chord built on an interval a 4th up from the root.  Ok... the root of the dominant chord in discussion, the tonic chord, are we expressing a 5-1 resolve, if this is a secondary dominant, a 4th up from it's home key?
Dawgknot 04:42, 1 February 2006 (UTC)
replies: text:  I've noticed the "C7(♯5♭9)" chord (last on the page) is written on the staff as C7(♭5♭9). WillieBlues (talk) 00:19, 4 March 2018 (UTC)
thread_title: Complex chord types

message: ====Descriptions====
Dominant #9/#5 (written e.g. C7#9/#5)
:r  3  #5  b7  #9
Dominant b9/#5 (written e.g. C7b9/#5)
:r  3  #5  b7  b9
====Notes====
These chords can be voiced in a great variety of ways including building the chord on the b7.  They very often, but not always, lead to a minor chord built on an interval 4th up from the root.  It is also not unusual for either the #9 or b9 or the #5 to be expressed in the melody.
I think it would be good to make this section a little more clear.  They often lead to a minor chord built on an interval a 4th up from the root.  Ok... the root of the dominant chord in discussion, the tonic chord, are we expressing a 5-1 resolve, if this is a secondary dominant, a 4th up from it's home key?
Dawgknot 04:42, 1 February 2006 (UTC)
replies: text:  I've noticed the "C7(♯5♭9)" chord (last on the page) is written on the staff as C7(♭5♭9). WillieBlues (talk) 00:19, 4 March 2018 (UTC)
thread_title: Complex dominant chords

message: These chords can be voiced in a great variety of ways including building the chord on the b7.  They very often, but not always, lead to a minor chord built on an interval 4th up from the root.  It is also not unusual for either the #9 or b9 or the #5 to be expressed in the melody.
I think it would be good to make this section a little more clear.  They often lead to a minor chord built on an interval a 4th up from the root.  Ok... the root of the dominant chord in discussion, the tonic chord, are we expressing a 5-1 resolve, if this is a secondary dominant, a 4th up from it's home key?
Dawgknot 04:42, 1 February 2006 (UTC)
replies: text:  I've noticed the "C7(♯5♭9)" chord (last on the page) is written on the staff as C7(♭5♭9). WillieBlues (talk) 00:19, 4 March 2018 (UTC)
thread_title: Notes

message: I think it would be instructive to add textbook style staff images from score-writing software that show examples of the chords in this article demonstrating both their uses and voicings.  I will produce some from Sibelius and post them here for comment.Dawgknot 22:03, 1 February 2006 (UTC)
replies: text: You might look around Wikipedia. For instance, there's a 7#11 chord in the altered chord article, :File:Db7sharp11 chord.png, that may or may not work as a dominant 7th 11. Hyacinth (talk) 16:25, 10 March 2010 (UTC)
thread_title: Staff images

message: The midi example of the dominant 13th chord on C is wrong.  The chord is meant to be C-E-Bb-A, yet the midi example sounds to me as if it contains three or four extra notes to this, clustered together in a rather dissonant way.  I think the entire 13th chord is *included*; but the extra notes obscure the essential chord.  I think it needs to be changed, but don't know how to - if someone else would like to deal with it.
Thanks. M.J.E. (talk) 11:09, 3 July 2010 (UTC)
thread_title:  Midi example of dom. 13 chord is wrong. 

message: Do this article and jazz harmony need to be separate 1Z (talk) 14:23, 16 September 2010 (UTC)
thread_title: Merge ?

message: The start of the article defines 7 and M7.
The rest of the article uses 7 and M7 in the chord symbol, but b7 and 7 respectively in the explanation.
By "explanation", I mean the box that says "r 3 5 b7 9" or whatever.
This is confusing at best, and basically assumes that the reader already knows what's going on.
I suppose we could add a section which explains that two different conventions are in force,
namely Mixolydian symbols and Ionian explanations, but that seems even more confusing to me.
So I just went through and changed the explanations to agree with the definitions.
In other words, I changed b7 to 7 and 7 to M7 in the explanations.
I'm posting this on the talk page because I expect disagreement.
I'm not saying my solution is good, I'm just saying I think it's better than the alternatives.
Adam1729 (talk) 04:02, 8 August 2015 (UTC)
thread_title:  Minor seventh (7) versus flat seventh (b7) 

message: I don't want to kill the piano player, whose contributions to wikipedia are very good and innumerable, but rather than just playing the chord, it might be better to play an arpeggio with pedal. Then the notes can be more easily distinguished. Some of these chords are only subtly different and sound very much alike, and the high notes, 9ths and 13ths for instance,  are not easy to hear in the examples. At least I'm not hearing them well, even after I turn up the treble on my amp. Wastrel Way (talk) Eric Wastrel Way (talk) 17:32, 12 December 2023 (UTC)
thread_title:  Piano examples