1. #1

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    Is there a theoretical exercise to help me find chords within chords.

    For simple example bm7b5 without the B is simply the vi chord of the subdominant in the diatonic key of C. So what could one fond if say they use a G9#5 chord?

    Well it appears that you have GBD#FA of which BD#F are found in the tritone blow G so C#9. It appears to me that if i just descend a tritone ill find something interesting to use in some way or another.

    But, is there any more logical method of approaching this, and maybe theres application of these chords when you find them?

    For example if you take a. G9#5 chord as a dominant chord you could find the C#9 chord as the V of vii right?

    Thank you so much,



    The Jazz Guitar Chord Dictionary
  3. #2

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    F A C Eb G B D ... F A C Eb


    F / Ao / Cm / Eb+ / G / / ......... Bo / Dm //


    F7 / Am7b5 / CmMa7 / Ebma7+ // .......... G7 / Bm7b5 / Dm7 //
    other possible structures to explore in a similar fashion:

    (omit 5) 1 3 7 9 ..... F A Eb G / etc.

    (omit 3) 1 5 7 9 ..... F C Eb G / etc.

    (omit 3 and 5) 1 7 9 11 .... F Eb G B / etc.

    3 and 4 note 4th chords derived from this arrangement of the same notes:

    F B Eb A D G C ... F B Eb

    Chords when understood as derived from scales (not the only way to conceive of them) have a basic triad/seventh plus a collection of extensions, essentially a 13th chord. These extensions add color and spice in support of the basic chord as well as notes that clash. The IV mode of melodic minor is an example of a mode with functionally cooperative notes . Register on guitar comes into play when focusing on extensions because playing them too low can obscure the intended chord function.

    This perspective points towards experimentation and evaluation.
    Trust your natural response to what sounds cool and applicable and
    that which is overly contradictory to represent the harmonic scenario
    of the moment. Somewhere a perfect balance of color and function is
    to be found.