On October 5, 2015 at 12:41 am by Michael Daugherty
I feel like I’m missing something simple here (like I once knew but now have forgotten) ,but I was just thinking the other day about available tensions and why they exist and how they exist, etc. To me guide tones make the argument for my reasoning of this since a chord is defined really by its 3rd and/or 7th. Major chord=major 3, major 7. Dominant chord=major 3, b7. Minor=b3 and so on. So my confusion is why can we play an augmented 2 on a dominant chord with a major 3? I know it gives dissonance but then why can’t we play a major 3 on a minor chord with dissonance in mind (throwing out for a minute that it sounds horrible) as well. To me the 3rd defines whether it is minor or major so it’s kind of like utilizing the sus4. If one is in, the other is out. Any help would greatly be appreciated Willie?On October 6, 2015 at 6:18 pm by Willie
Here is my response MichaelOn November 28, 2015 at 8:33 am by Mary
Wille, could you clarify your statement at 3:21
“6th and not 13 – because the A or the 6th will not be used IN CONJUNCTION with the b7, it will usually replace the b7”On November 22, 2018 at 6:28 pm by Rebekah Price
This video was very helpful! Thank you!
One follow up question I have is this: If the 9th tension has a #9 & a b9 available, then why don’t the 11 & 13 tensions work this same way? There is a #11 tension but no 11 tension? Why no #13? I hope my question makes sense 🙂
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