{"id":11683,"date":"2016-01-10T00:00:00","date_gmt":"2016-01-10T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=11683"},"modified":"2024-10-14T17:51:42","modified_gmt":"2024-10-15T01:51:42","slug":"dominant-7-b9-chords","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/dominant-7-b9-chords\/","title":{"rendered":"The Secret Link Between Dominant 7 [b9] Chords"},"content":{"rendered":"

The dominant seventh chord is undoubtedly one of the best things that ever happened to chord progressions.<\/p>\n

“In fact, is it possible to create as strong of a pull or resolution to a chord without the introduction of the dominant seventh?<\/em>”<\/p>\n

The answer is a resounding: No<\/strong>.<\/p>\n

The dominant seventh chord family has several varieties (aka – “extended dominant chords”) that can be created using extensions (or compound intervals<\/em>). We covered a few of them in this previous post<\/a>.<\/p>\n

In today’s lesson, we’ll be focusing on the dominant 7 [b9]<\/strong>, which is one of the extended dominant chord varieties, dissecting it to reveal the secret link dominant 7 [b9] chords share.<\/p>\n

The “Dominant Seventh Flat Nine” Chord<\/h2>\n

Below is the dominant 7 [b9] chord:<\/p>\n

Before going any further, let’s go back to the regular dominant seventh chord.<\/p>\n

After all, the base chord is a dominant seventh,<\/em> even before you consider the “flat nine.”<\/p>\n

Dominant Seventh – Explored<\/h3>\n

Remember that the dominant seventh is the chord of the fifth degree.<\/p>\n

Using the major scale of F:
\n
\n…we can form a dominant seventh chord on the fifth scale tone (C) by stacking thirds<\/a>.<\/p>\n

C:
\n
\n\u2026followed by E:
\n
\n\u2026G:
\n
\n\u2026followed by Bb:
\n
\nAltogether, we have the Cdom7 chord:
\n
\n*Shortcut: When creating chords from a major scale, simply start on a desired tone and select every other note until you have three or four notes pressed down. Three notes will create a triad, four notes will create a seventh chord. That’s all we did here (aka – “pick n skip<\/a>“).<\/p>\n

Someone’s probably asking at this point, \u201cThat\u2019s the dominant seventh, what about the flat nine<\/strong>?\u201d<\/em><\/p>\n

“…flat nine”<\/h3>\n

The ninth degree from this C:
\n
\n…is this D:
\n
\n\u2026therefore a flat nine suggests the lowering of D (remember, the “flat” tire always lowers the car):<\/em>
\n
\n…to Db:
\n
\n…and will produce the b9.<\/p>\n

If we go ahead and add Db (the b9) to our C dom 7 chord, we\u2019ll have a dominant seventh chord with a flat nine (aka \u2013 \u201cdominant 7[b9]\u201d):
\n<\/p>\n

The name, dominant 7 [b9], at this point, should bring this picture:
\n<\/p>\n

…to mind.<\/p>\n

This is because you can clearly see the dominant seventh:<\/em>
\n<\/p>\n

…and the flat nine:<\/em>
\n<\/p>\n

…all in one chord (dominant 7[b9]).<\/p>\n

Dissection of the Dominant 7 [b9]<\/h2>\n

Let\u2019s get into the dissection of this chord by answering one simple question:<\/p>\n

\u201cIf the root of a dominant 7 [b9] chord is transposed an octave lower:<\/em>
\n
\n\u2026what chord quality<\/strong> can best describe its upper part?<\/em><\/p>\n

If the dominant 7[b9] chord is played without its root (rootless voicing):
\n
\n\u2026the chord quality that best describes the right hand part is the E diminished seventh<\/strong> chord.<\/p>\n

There is a system of chord writing (aka – “chord notation”) known as the slash chord.<\/p>\n

In this system of writing, C dominant 7[b9] is written as E diminished 7th \/ C<\/strong>. The slash chord name of the dominant 7[b9] makes it easier for us to see it in terms of right hand \/ bass<\/strong>.<\/p>\n

“E diminished7 \/ C” simply means “playing an E diminished 7th chord over C on the bass”<\/em>.<\/p>\n

Having discovered the upper part and identified it as the diminished 7th chord, let’s dwell a little more on it before finding the secret link.<\/p>\n

Diminished 7th Chord<\/h2>\n

The diminished 7th chord shows signs of symmetry<\/a>.<\/p>\n

Symmetrical chords are chords that have equal intervals between chord tones. <\/p>\n

The E diminished 7th chord:
\n
\n…can be broken down into a string of minor third intervals.<\/p>\n

E to G:
\n
\n…that’s a minor third.<\/p>\n

G to Bb:
\n
\n…that’s another one.<\/p>\n

Bb to Db:
\n
\n…that, of course is a minor third.<\/p>\n

One striking feature about symmetrical chords when played in all keys is that they are related by inversion<\/em>. <\/p>\n

Inverting E diminished 7th:
\n
\n…will produce:
\n
\n…which is essentially G diminished 7th, but spelled differently (same sound though). Here’s the correct spelling:
\n<\/p>\n

Two other inversions will produce chords that sound like Bb and Db diminished 7th chords, respectively. I only say “sound like” because of their spelling. However, informally they are Bb and Db diminished 7th chords! <\/p>\n

Here’s what I mean:<\/p>\n

Bb diminished 7th:
\n
\n…even though it is spelled as Bb-Db-Fb-Abb, the second inversion of E diminished is enharmonic (spelled differently but makes the same sound).<\/p>\n

If we compare the tones side by side:<\/p>\n

\n\n\n\n\n\n\n\n
\nBb diminished seventh<\/strong>\n<\/td>\n\nE diminished seventh
(2nd<\/sup> inversion)<\/strong>\n<\/td>\n<\/tr>\n
\nBb\n<\/td>\n\nBb\n<\/td>\n<\/tr>\n
\nDb\n<\/td>\n\nDb\n<\/td>\n<\/tr>\n
\nFb\n<\/td>\n\nE\n<\/td>\n<\/tr>\n
\nAbb\n<\/td>\n\nG\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

…we can see that the clear difference is the spelling of Fb as E and Abb as G.<\/p>\n

Db diminished 7th:
\n
\n…even though its proper speling is Db-Fb-Abb-Cbb, the third inversion of E diminished is enharmonic.<\/p>\n

If we compare the chord tones of both chords side by side:<\/p>\n

\n\n\n\n\n\n\n\n
\nDb diminished seventh<\/strong>\n<\/td>\n\nE diminished seventh
(3rd<\/sup> inversion)<\/strong>\n<\/td>\n<\/tr>\n
\nDb\n<\/td>\n\nDb\n<\/td>\n<\/tr>\n
\nFb\n<\/td>\n\nE\n<\/td>\n<\/tr>\n
\nAbb\n<\/td>\n\nG\n<\/td>\n<\/tr>\n
\nCbb\n<\/td>\n\nBb\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

…we can see that the clear difference is the spelling of Abb as G and Cbb as Bb.<\/p>\n

Attention:<\/strong> There are situations where you can ignore spelling guidelines. This lesson is one of them. The goal of this post is to show you a secret link<\/em>. Sometimes, it is necessary to step out of\u00a0orthodox methods to see the links and connections between notes, scales, chords, and progressions.<\/p>\n

From this point on, we’ll use E diminished seventh to represent similar diminished seventh chords, ignoring wrong spellings (for my theorists<\/em> out there).<\/p>\n

Come to think of it, which of these is easier?<\/p>\n

Db diminished spelling vs E diminished seventh<\/p>\n

Use of Fb vs Use of E<\/p>\n

Use of Abb vs Use of G<\/p>\n

Use of Cbb vs Use of Bb<\/p><\/blockquote>\n

So you clearly see the reason we’ll have to sacrifice the strict spelling guideline… so you can see the secret link!<\/strong><\/p>\n

“Show Me That Secret Link…!”<\/em><\/h2>\n

Now that we’ve explored the dominant [7b9] chord inside out, let me show you the secret link.<\/p>\n

Below is E diminished 7th \/ C<\/strong> (aka – “C dominant 7 [b9]”):
\n<\/p>\n

Movement of the bass note in three half steps (aka – “sesquitone progression<\/a>“), will show us the secret link.<\/p>\n

Pay close attention here…<\/strong><\/p>\n

Moving our C bass note up by three half steps will take us to Eb:
\n<\/p>\n

Moving the Eb bass note (in turn) up by three half steps will take us to Gb:
\n<\/p>\n

Moving the Gb bass note by another three half steps in the ascending direction will take us to A:
\n<\/p>\n

We’re not done yet…<\/p>\n

If we this A bass note up by three half steps, this will take us back to C:
\n
\n…and that’s another C dominant 7[9].<\/p>\n

“So, what were we doing all along?”<\/em><\/h3>\n

We took the bass notes up by three half steps each.<\/p>\n

This bass movement produced three other bass notes – Eb, Gb and A.<\/p>\n

If we stack them above C:
\n
\n…this will produce a C diminished seventh chord (a topic for another day).<\/p>\n

E diminished 7th:
\n
\n…can be played over any of these bass notes:
\n<\/p>\n

This will link four dominant 7[b9] chords:<\/p>\n

C dominant 7[b9]:<\/strong>
\n<\/p>\n

Eb dominant 7[b9]:<\/strong>
\n<\/p>\n

Gb dominant 7[b9]:<\/strong>
\n<\/p>\n

A dominant 7[b9]:<\/strong>
\n<\/p>\n

Final Words<\/h2>\n

We can link up dominant 7[b9] chords that are related to each other by moving bass notes in a diminished seventh<\/em> chord outline.<\/p>\n

For example, if given D dominant 7[b9]:
\n
\n…feel free to move the bass notes in three half steps (in a diminished seventh<\/em> outline).<\/p>\n

If you’re familiar with diminished seventh chords, instead of counting three half steps in each case, you can visualize the D diminished seventh chord:
\n
\n…and using each of the bass notes above, you can play the following dominant 7 [b9] chords:<\/p>\n

D dominant 7 [b9]:<\/strong>
\n
\nF dominant 7 [b9]:<\/strong>
\n
\nAb dominant 7 [b9]:<\/strong>
\n
\nCb dominant 7 [b9] (aka – “B dominant 7[b9]”):<\/strong>
\n<\/p>\n

A “4 for 1” special. Without moving a thing on your right hand, you’ve now learned how to produce 4 different chords.<\/p>\n

I hope someone will find this useful.<\/p>\n

I’ll see you next time.<\/p>\n","protected":false},"excerpt":{"rendered":"

In today’s lesson, we’ll be focusing on the dominant 7 [b9], which is one of the extended dominant chord varieties, dissecting it to reveal the secret link dominant 7 [b9] chords share.<\/p>\n","protected":false},"author":9,"featured_media":22980,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,9],"tags":[1284,1848,1947,1946,1948],"class_list":["post-11683","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-piano","tag-diminished-7","tag-dominant-7th","tag-dominant-7th-b9","tag-dominant-7th-flat-9","tag-slash-chords","post-wrapper","thrv_wrapper"],"yoast_head":"\nThe Secret Link Between Dominant 7 [b9] Chords - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In today's lesson, we'll be focusing on the dominant 7 [b9], which is one of the extended dominant 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