Altering Dominant Chords with a Major 7th

[cfwoodland]

I found a chord that I really like recently: the bII7(addmaj7)

In C minor, that would be Db7(addmaj7), or alternatively Db7(b15) (seeing as 15ths are becoming more popular in recent years). I think it slides really nicely into Cm(maj7).
Here's an example:
Cm(maj7) Db7(addmaj7) vamp - YouTube

I find that it has to be voiced in fourths to work well. Here, I'm voicing it as a (C-F-B) quartal triad over a Db bass note.

[ragman1]

I'm not sure I understand this. I think you've produced an effect rather than a new chord, if you see what I mean.

[cfwoodland]

I'm not sure I understand this. I think you've produced an effect rather than a new chord, if you see what I mean.

While I agree that the sound demonstrated in the video is a unique minor effect, I do believe that this is a chord. It is merely the result of mixing the notes in Dbmaj7 and Db7, and playing them simultaneously, (albiet without the fifth in this example). I am vamping on two chords in the example; the other being Cm(maj7) (the example video starts on this chord).
If the symbol is confusing to you, I definitely understand -- it's still kind of confusing to me.
Another way to notate it is Dbmaj7(#13). #13s are not normally used, though. If this were Dbmaj7(13), it would have the notes:
Db, F, (Ab), C, Bb
Because the 13th is sharp, the notes are:
Db, F, (Ab), C, B
If you move the F up an octave and omit the Ab, you have the voicing I used:
Db, C, F, B
I hope this helps.

[ragman1]

I'm not sure that giving it an authentic sounding name means it's a real chord! Otherwise any random collection of notes could be added to the chord dictionary. Just think what would happen if we started to chordify some of Stockhausen's stuff!

[ragman1]

I give in. If we have Am/M7 then we can have Db7/M7. Who can argue with that?

[Reg]

You can have almost anything you want.... the labeling is generally based on the reference.... the root.

I think I posted years ago about using the Blues approach when playing with a maj 7th on dom7 chords.

Kind of like flipping the traditional Blue Note thing around. Anyway I think I went into expanding Blue Note concepts to any harmony etc...

[pauln]

I found a chord that I really like recently: the bII7(addmaj7)

In C minor, that would be Db7(addmaj7), or alternatively Db7(b15) (seeing as 15ths are becoming more popular in recent years). I think it slides really nicely into Cm(maj7).
Here's an example:
Cm(maj7) Db7(addmaj7) vamp - YouTube

I find that it has to be voiced in fourths to work well. Here, I'm voicing it as a (C-F-B) quartal triad over a Db bass note.

I like the sound of chord pairs like that. Yours reminds me of the old Genesis,
"And I'm hovering like a fly; waiting for the windshield on the freewaaaaaaay".
At the 6 minute mark...

[rintincop]

Db7?

Play Mixo. scales of Db7 E7 G7 and B7 ("family" of four doms.) each over Db7 ...
that B7 Mixo. takes you to the "chord" being talked about in the OP.

[Lionelsax]

I found a chord that I really like recently: the bII7(addmaj7)

In C minor, that would be Db7(addmaj7), or alternatively Db7(b15) (seeing as 15ths are becoming more popular in recent years). I think it slides really nicely into Cm(maj7).
Here's an example:
Cm(maj7) Db7(addmaj7) vamp - YouTube

I find that it has to be voiced in fourths to work well. Here, I'm voicing it as a (C-F-B) quartal triad over a Db bass note.

Hi !
It sounds like you inverted a pedal.
C is the pedal and you put it in another place.

[KingKong]

I found a chord that I really like recently: the bII7(addmaj7)

In C minor, that would be Db7(addmaj7), or alternatively Db7(b15) (seeing as 15ths are becoming more popular in recent years). I think it slides really nicely into Cm(maj7).
Here's an example:
Cm(maj7) Db7(addmaj7) vamp - YouTube

I find that it has to be voiced in fourths to work well. Here, I'm voicing it as a (C-F-B) quartal triad over a Db bass note.

I was thinking htf would you play that on the guitar until I saw that u are an ivory man lol.

So anyway, hmmmmm this basically means that you play 3 consecutive semitones at the same time right, i.e. if you were playing 'C7(addMaj7)' you'd be hitting b flat, b, and C. I can only see that not sounding completely horrible if those 3 notes were spaced across different octaves, is that how you do it? U got a pic of you playing it?

[princeplanet]

In C minor, Fm7b5 or Abm6 are common ways to get to G7b9b13. If instead you play Abm7, then there's your F# (Gb). I found this too, to be a nice cadence. Try it like this - Dm7b5 - Abm6 - Abm7 - Cm7 - Cm6.
I hear the the Gb in the Am7 pulling back to the Eb in Cm like a blue note "resolution". YMMV...

[Christian Miller]

I like

8 x 8 9 8 7