Английская Википедия:Dominant seventh sharp ninth chord
G B D F AШаблон:Music (AШаблон:Music=BШаблон:Music) Файл:Hendrix chord.oggDominant 7Шаблон:Music9 chord as arpeggio then simultaneously
In music, the dominant 7Шаблон:Music9 chord[1] ("dominant seven sharp nine" or "dominant seven sharp ninth") is a chord built by combining a dominant seventh, which includes a major third above the root, with an augmented second, which is the same pitch, albeit given a different note name, as the minor third degree above the root. This chord is used in many forms of contemporary popular music, including jazz, funk, R&B, rock and pop. As a dominant chord in diatonic harmony, it most commonly functions as a turnaround chord, returning to the tonic.
The chord is also sometimes colloquially known, among pop and rock guitarists, as the "Hendrix chord" or "Purple Haze chord", nicknamed for guitarist Jimi Hendrix,[2][3] who showed a preference for the chord and did a great deal to popularize its use in mainstream rock music.[4] When used by The Beatles it has been called the "Gretty chord" although this can refer to a distinct six-string version.[5]
Spelling and notation
There are two main ways to spell the chord, depending on the musical style, kind of musical notation (score or chord symbols), and personal taste. One consists of a dominant seventh chord with an added minor third placed one or more octaves over the major third (a minor tenth);Шаблон:SfnШаблон:Sfn the other, more common, consists of a dominant seventh chord with an added augmented ninth.Шаблон:Sfn The former can be written in popular chord symbol notation systems as 7Шаблон:Music10 and the latter as 7Шаблон:Music9. 7b10 is unorthodox way to write but it is in use on some contexts.
Sometimes, in a publication that includes both traditionally notated music and chord symbols, the music is notated with both a natural and a flattened third, while the chord symbol has the sharpened ninth.Шаблон:SfnШаблон:Sfn Other more uncommon notations and names include major/minor or 7 (add min 3).Шаблон:Sfn Kenn Stephenson says that in rock music the sharp ninth spelling is much more prevalent than the split third version.[6]
Nature of the chord
The 7Шаблон:Music9 is an altered chord, and it is one option when seeing the chord symbol 7alt. It is functionally a dominant chord and thus "wants" to resolve to the tonic in diatonic harmony. Stuart Isacoff has called the chord "funky" or "bluesy" because of the tension "generated between the major third and the augmented ninth";[1] while Doug Munro deems it "jazzy"[7] rather than bluesy. Eric Starr says, "the sharp nine tends to be edgier, bluesier, and meaner sounding [than the flat nine]."[8] In jazz, 7Шаблон:Music9 chords, along with 7Шаблон:Music9 chords, are often employed as the dominant chord in a minor ii–V–I turnaround. For example, a ii–V–I in C minor could be played as: Dm7Шаблон:Music5 – G7Шаблон:Music9 – Cm7.
The 7Шаблон:Music9 represents a major divergence from the world of tertian chord theory, where chords are stacks of major and minor thirds. The 7Шаблон:Music9 does not satisfy that definition, as the interval between the minor seventh and augmented ninth is an augmented third. The same also pertains to the rarer M7Шаблон:Music9, where the interval between the major seventh and minor ninth is a diminished third. Rather than fully allow the inclusion of diminished and augmented thirds into the theory, a typical solution in jazz is to define chords as stacks of chordal degrees, where each degree has some range of selection from which to take its note or notes.[9] Thus, for example, the ninth is available in flat, natural, sharp, and flat-and-sharp "alt" styles.
History
Classical
The English cadence is a distinctive contrapuntal pattern particular to the authentic or perfect cadence described as archaic[10] or old-fashioned[11] sounding. This pattern was primarily used by English composers of the High Renaissance and Restoration periods. The hallmark of this device is the dissonant augmented octave (compound augmented unison) produced by a false relation between the split seventh scale degree.
The English cadence is a type of full close featuring the blue seventh against the dominant chord[12] which in C would be BШаблон:Music and G-BШаблон:Music-D.
The dominant 7Шаблон:Music9 chord appears in impressionist classical music. An example can be heard in Claude Debussy's Feuilles Mortes, from his second book of Préludes (1913). There, the unresolved, dissonant ninth chords (at least a "CШаблон:Music7" with a "split third" and "added minor ninth"[13]) help create, according to Richard Bass, an "utterly sad, desolate character" throughout the piece.[14]
This chord can also be found in serial music. For example, the Elektronische Musik vom Freitag aus Licht (1991–94) by Karlheinz Stockhausen, from an opera composed using formula technique, concludes on this chord.[15]
Jazz and blues
The dominant 7Шаблон:Music9 chord is usually found in blues contexts because in a blues scale a minor third (blue note) in the melody is usually played against a dominant seventh chord.Шаблон:Sfn The third of the dominant chord is the seventh degree of the scale. The chord was used in popular music as far back as the bebop era of the 1940s, and it appears with some regularity in blues and rhythm-and-blues of the 1950s and 1960s.
Pop and rock
Hendrix chord
While this sonority has been previously used in jazz and related styles, one particular voicing of this chord is commonly called the "Hendrix Chord" by rock guitarists. This is because it was a favorite of Jimi Hendrix, who did a great deal to popularize its use in mainstream rock music.[4]
The most notable Hendrix song that features the 7Шаблон:Music9 chord is "Purple Haze", while it is also implied in "Foxy Lady",[17][18] both on his 1967 album Are You Experienced?. When performing "Voodoo Child (Slight Return)" live, Hendrix later used not only E7Шаблон:Music9, the sharpened ninth chord on the tonic, but also D7Шаблон:Music9 and C7Шаблон:Music9 chords, the subtonic and submediant.[18]
This harmonic device is one of many factors that, according to Gleebeek and Spairo, contribute to "the dirty, raw, metallic, angular sounds of [...] Hendrix songs".[3] It is an example of how he embellished chords "to add new colours to the music, often derived from his own roots in black music".[3] "In essence," John Perry writes, the Hendrix chord is "the whole of the blues scale condensed into a single chord."[18]
Other musicians
The chord is heard quietly at the end of the bridge in Santo and Johnny's 1959 instrumental hit "Sleep Walk".[19] It was also used more prominently by the Beatles in songs such as "The Word" and "Taxman".[20] McCartney called this a "great ham-fisted jazz chord" that was taught to them by Jim Gretty, who worked at Hessey's music shop in Whitechapel, central Liverpool. George Harrison uses it as the penultimate chord of his solo on "Till There Was You".[5]
The chord (a D7Шаблон:Music9) can also be heard in Pink Floyd's "Breathe",[21] and more prominently in "Shine On You Crazy Diamond", both before and after the final guitar solo, before the vocals come in.[22]
The chord is favored by Pixies lead guitarist Joey Santiago, with D7Шаблон:Music9, reminiscent of the opening to "A Hard Day's Night", opening and being called the "secret ingredient" of the song "Here Comes Your Man". A "brutally scraped" F7Шаблон:Music9 features in the chorus of "Tame" against the three chord rhythm guitar part's D, C, and F chords.[23]
Use as a primary or tonic chord in funk and disco of the 1970s includes Heatwave's "Boogie Nights".[6]
Stevie Ray Vaughan, a devotee of Hendrix, used the chord extensively. For example, the main riff of his song "Scuttle Buttin'" uses both the E7Шаблон:Music9 and the B7Шаблон:Music9 as part of a 12-bar blues progression.[24]
Johnny Winter referred to it as the "Hold It" chord after the Bill Doggett song.[25] This was also a name used by John Scofield.[26]
Notes
References
Sources
Further reading
- Hanford, John. With the Power of Soul: Jimi Hendrix in Band of Gypsys. Ph.D. dissertation, University of Washington, 2003.
- Шаблон:Cite book
- Van der Bliek, Rob. "The Hendrix Chord: Blues, Flexible Pitch Relationships, and Self-standing Harmony," Popular Music 26:2 (May 2007), pp 343–364.
- ↑ 1,0 1,1 Шаблон:Cite book
- ↑ Шаблон:Cite book
- ↑ 3,0 3,1 3,2 Shapiro, Harry and Caesar Glebbeek (1995). Jimi Hendrix: Electric Gypsy, p.144. Шаблон:ISBN.
- ↑ 4,0 4,1 "The 'Hendrix Chord' Шаблон:Webarchive", Fender.com. Accessed 29 February 2012.
- ↑ 5,0 5,1 Шаблон:Cite book
- ↑ 6,0 6,1 Шаблон:Cite book
- ↑ Шаблон:Cite book
- ↑ Шаблон:Cite book
- ↑ Шаблон:Cite book
- ↑ Carver, Anthony (1988). The Development of Sacred Polychoral Music to the Time of Schütz, p.136. Шаблон:ISBN. If the clash cadence is already, "archaic, [and/or] mannered," in the music of Heinrich Schütz (1585–1672) it must surely be so now.
- ↑ Herissone, Rebecca (2001). Music Theory in Seventeenth-Century England, p.170. Шаблон:ISBN.
- ↑ van der Merwe, Peter (2005). Roots of the Classical: The Popular Origins of Western Music, p. 492. Шаблон:ISBN.
- ↑ Bass, Richard (Autumn, 1994). "Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors", p. 161, Journal of Music Theory, Vol. 38, No. 2., pp. 155–186.
- ↑ Bruhn, Siglund (2007). Images and Ideas in Modern French Piano Music, p.172 and 174. Шаблон:ISBN.
- ↑ Jerome Kohl, "Der Aspekt der Harmonik in Licht", in Internationales Stockhausen-Symposion 2000: Licht: Musikwissenschaftliches Institut der Universität zu Köln, 19. bis 22. Oktober 2000: Tagungsbericht, edited by Imke Misch and Christoph von Blumröder, 116–132. Signale aus Köln: Musik der Zeit 10 (Münster: Lit-Verlag, 2004): p. 120. Шаблон:ISBN.
- ↑ Radio: "Shiver down the backbone – Jimi Hendrix comes to Radio 3" Шаблон:Webarchive, The Spectator, by Kate Chisholm, Wednesday, 21 November 2007
- ↑ Roby, Steven (2002). Black Gold: The Lost Archives of Jimi Hendrix, p.32. Шаблон:ISBN.
- ↑ 18,0 18,1 18,2 Perry, John (2004). Jimi Hendrix's Electric Ladyland, p.120-121. Шаблон:ISBN.
- ↑ Шаблон:Cite web
- ↑ Pedler (2003), p.440-441.
- ↑ Pink Floyd: The Dark Side of the Moon (1973 Pink Floyd Music Publishers Ltd., London, England, Шаблон:ISBN [USA Шаблон:ISBN])
- ↑ Pink Floyd: Wish You Were Here (1975 Pink Floyd Music Publishers Ltd., London, England, Шаблон:ISBN [USA Шаблон:ISBN])
- ↑ Sisario, Ben (2006). Doolittle, p.82 and 90. Шаблон:ISBN.
- ↑ Шаблон:Cite webШаблон:Cbignore
- ↑ Шаблон:Cite book
- ↑ Шаблон:Cite book
