{"id":770,"date":"2009-06-23T08:26:24","date_gmt":"2009-06-23T15:26:24","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/chord-alterations-add-x-half-diminished-7-chords-and-more"},"modified":"2024-12-25T18:02:25","modified_gmt":"2024-12-26T02:02:25","slug":"chord-alterations-add-x-half-diminished-7-chords-and-more","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/chord-alterations-add-x-half-diminished-7-chords-and-more\/","title":{"rendered":"Chord alterations, &#8220;add X,&#8221; half diminished 7 chords, and more&#8230;"},"content":{"rendered":"<p>Here is a question that came in from Chris Myhre:<\/p>\n<p>Flat 9, flat 5, flat 7th&#8230; this stuff is confusing &#8212; and for that matter the ADD 9, ADD 5, ADD 6, and the #9, #5 as well.\u00a0 I guess I should also throw in the <a href=\"https:\/\/my.leadpages.net\/leadbox\/141e8f273f72a2%3A14dcc288eb46dc\/5650082896543744\/\" target=\"_blank\" rel=\"noopener\">half-diminished chords<\/a><script type=\"text\/javascript\" src=\"\/\/my.leadpages.net\/leadbox-714.js\"><\/script>, whatever those are.\u00a0 I&#8217;m still trying to figure it out.\u00a0 It all sounds beautiful but it seems that a #9 would be a minor note and a flat 7th is still just a regular 7th.\u00a0 It&#8217;s hard to understand why the notation has to be so complicated.\u00a0 Maybe things will become more apparent as I go along and learn more.<\/p>\n<p>Anyway, I hope to understand more of this as I go along and I appreciate what you have done.\u00a0 God bless,<\/p>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8211;<\/p>\n<p>Hi Chris,<\/p>\n<p>Thanks for your question.<\/p>\n<p>It is understandable why you would be confused as some of the upper level courses just tell you what they are rather than covering their construction from the beginning (that&#8217;s for the 300pg course and the starter stuff to cover, which do a fine job btw).<\/p>\n<p>But just to answer some of your questions.<\/p>\n<p>Flat 7th just let&#8217;s you know to take the natural 7th (which is B in the key of C) and flat it one half step. If I just said &#8220;7,&#8221; you should automatically think B, not B flat. But the minute we say &#8220;flat 7th&#8221; then that means take the 7 and flat it (lower it) a half step&#8230; aka, &#8220;dominant 7th&#8221; or &#8220;<a href=\"https:\/\/my.leadpages.net\/leadbox\/141e8f273f72a2%3A14dcc288eb46dc\/5650082896543744\/\" target=\"_blank\" rel=\"noopener\">minor 7th<\/a><script type=\"text\/javascript\" src=\"\/\/my.leadpages.net\/leadbox-714.js\"><\/script>.&#8221;<\/p>\n<p>Knowing numbers is crucial. It&#8217;s probably the best thing you can learn. Knowing your scales as numbers.<\/p>\n<p>9 is basically the 2nd tone of the scale<br \/>\n11 is basically the 4th tone of the scale<br \/>\n13 is basically the 6th tone of the scale<\/p>\n<p>How are they determined?<\/p>\n<p>Just number your scale up two octaves<\/p>\n<p>C = 1<br \/>\nD = 2<br \/>\nE = 3<br \/>\nF = 4<br \/>\nG = 5<br \/>\nA = 6<br \/>\nB = 7<br \/>\nC = 8<br \/>\nD = 9<br \/>\nE = 10<br \/>\nF = 11<br \/>\nG = 12<br \/>\nA = 13<br \/>\nB = 14<\/p>\n<p>But if you think about it, D is 9 (sure enough when playing <a href=\"https:\/\/my.leadpages.net\/leadbox\/141e8f273f72a2%3A14dcc288eb46dc\/5650082896543744\/\" target=\"_blank\" rel=\"noopener\">extended chords<\/a><script type=\"text\/javascript\" src=\"\/\/my.leadpages.net\/leadbox-714.js\"><\/script>) but the shortcut is to just immediately think &#8220;2&#8221; (but up an octave usually). Same with the 11th, which is the 4th, and the 13th which is essentially the 6th.<\/p>\n<p>When you&#8217;re instructed to &#8220;add 9,&#8221; that&#8217;s basically what you&#8217;re doing. You&#8217;re taking the original chord and adding whatever the 9th tone of the scale is. That&#8217;s it. Same with 13 or 6 or 2.<\/p>\n<p>As for the &#8220;alterations,&#8221; (b9, #5, etc)&#8230; just like you flat the 7th tone (per the instructions above), you do the same with the 9th and other extended tones. Very simple. So if I&#8217;m in the key of C and instructed to play a b9 (aka &#8211; &#8220;flat 9&#8221;), I would first determine my 9th tone (D), and then lower it one-half step to Db. NEVER CHANGE THE ALPHABET LETTER when you&#8217;re doing this. For example, if I used C#, I would no longer be flatting the &#8220;9th tone&#8221; &#8212; instead I&#8217;d be raising the 8th tone (C) to C#, and that&#8217;s not what the instructions call for. So keep that in mind.<\/p>\n<p>Also, yes, sharping the 9th tone is like playing a minor chord. But the big difference is that you cannot call it a minor chord because it still may be a major or dominant chord. In other words, a C7 #9#5 may still have an &#8220;E&#8221; in there (which makes this chord either major or dominant). What we are doing is essentially adding the 9 and then sharping it. So it&#8217;s giving you a chord with both a major third &#8220;E&#8221; and a &#8220;D#&#8221; (which isn&#8217;t quite a minor third because if you understand theory, that would be called an augmented second if it were played in the lower octave). So that&#8217;s why you need the alterations. Sometimes, though, you can just say &#8220;augmented&#8221; instead of #5&#8230; this is a case where sometimes they are pretty much synonyms.  But be careful.<\/p>\n<p>Let&#8217;s move on to your question about the &#8220;half diminished seventh&#8221; chord. But first, let&#8217;s back up and cover a more common chord first. This will help us to lead to the construction of the half-diminished seventh chord.<\/p>\n<p>A <a href=\"https:\/\/my.leadpages.net\/leadbox\/141e8f273f72a2%3A14dcc288eb46dc\/5650082896543744\/\" target=\"_blank\" rel=\"noopener\">diminished seventh chord<\/a><script type=\"text\/javascript\" src=\"\/\/my.leadpages.net\/leadbox-714.js\"><\/script> is basically constructed of 3 minor third intervals.<\/p>\n<p>It is important to note that:<\/p>\n<p>Major third intervals have 4 half steps (like from C to E)<br \/>\nMinor third intervals, on the other hand, have 3 half steps (like from C to Eb)<\/p>\n<p>You basically construct a diminished 7th chord by taking 3 minor thirds and piling them on top of each other&#8230;<\/p>\n<p>C# to E is a minor third.<br \/>\nE to G is another minor third.<br \/>\nG to Bb is another minor third.<\/p>\n<p>C# E G Bb would be a C# diminished 7 chord, for example.<\/p>\n<p>For a lesson on why I used the notes above to name this chord, visit <a href=\"https:\/\/www.hearandplay.com\/main\/heres-a-foolproof-guide-thatll-have-you-naming-chords-correctly-tonight\">this link<\/a> (you will use a mixture of sharps and flats for chord like this&#8230; see details at the <a href=\"https:\/\/www.hearandplay.com\/main\/heres-a-foolproof-guide-thatll-have-you-naming-chords-correctly-tonight\">link<\/a> above).<\/p>\n<p>Now, this leads me to the half diminished 7th chord.<\/p>\n<p>The only difference is that you are taking the last &#8220;minor third&#8221; in the equation and making it a major third (which means you need to make it bigger by one half step since major thirds have 4 half steps in them). So instead of playing Bb, you&#8217;ll be playing &#8220;B.&#8221; Thus &#8211; C# E G B.<\/p>\n<p>A half-diminished 7 chord is basically the same as a minor 7th chords with a flat 5 (aka &#8211; &#8220;min7 b5&#8221;). This is another way to look at half diminished 7th chords &#8212; just take a regular minor 7th chord, locate the 5th tone of the scale and lower that tone a half step.<\/p>\n<p>Whewww! My fingers are tired.<\/p>\n<p>I hope this answers all your questions!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Here is a question that came in from Chris Myhre:<\/p>\n<p>Flat 9, flat 5, flat 7th&#8230; this stuff is confusing &#8212; and for that matter the ADD 9, ADD 5, ADD 6, and the #9, #5 as well.  I guess I should also throw in the half-diminished chords, whatever those are.  I&#8217;m still trying to figure it out.  It all sounds beautiful but it seems that a #9 would be a minor note and a flat 7th is still just a regular 7th.  It&#8217;s hard to understand why the notation has to be so complicated.  Maybe things will become more apparent as I go along and learn more.<\/p>\n<p>Anyway, I hope to understand more of this as I go along and I appreciate what you have done.  God bless,<\/p>\n<p>&#8212;&#8212;&#8212;&#8212;&#8212;&#8211;<\/p>\n<p>Hi Chris,<\/p>\n<p>Thanks for your question&#8230;<\/p>\n","protected":false},"author":1,"featured_media":23188,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25],"tags":[1386,1384,1077,1385,17,1181,1346,1432,1387],"class_list":["post-770","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","tag-1386","tag-add-6","tag-add-9","tag-b9","tag-basic-songs","tag-chord-alterations","tag-half-diminished-7","tag-half-diminished-7th-chord","tag-minor-7-b5-chords","post-wrapper","thrv_wrapper"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Chord alterations, &quot;add X,&quot; half diminished 7 chords, and more... - Hear and Play Music Learning Center<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/hearplaymain.wpenginepowered.com\/chord-alterations-add-x-half-diminished-7-chords-and-more\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Chord alterations, &quot;add X,&quot; half diminished 7 chords, and more... - Hear and Play Music Learning Center\" \/>\n<meta property=\"og:description\" content=\"Here is a question that came in from Chris Myhre:  Flat 9, flat 5, flat 7th... this stuff is confusing --- and for that matter the ADD 9, ADD 5, ADD 6, and the #9, #5 as well. I guess I should also throw in the half-diminished chords, whatever those are. I&#039;m still trying to figure it out. It all sounds beautiful but it seems that a #9 would be a minor note and a flat 7th is still just a regular 7th. It&#039;s hard to understand why the notation has to be so complicated. Maybe things will become more apparent as I go along and learn more.  Anyway, I hope to understand more of this as I go along and I appreciate what you have done. 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I guess I should also throw in the half-diminished chords, whatever those are. I'm still trying to figure it out. It all sounds beautiful but it seems that a #9 would be a minor note and a flat 7th is still just a regular 7th. It's hard to understand why the notation has to be so complicated. Maybe things will become more apparent as I go along and learn more.  Anyway, I hope to understand more of this as I go along and I appreciate what you have done. God bless,  -----------------  Hi Chris,  Thanks for your question...","og_url":"https:\/\/hearplaymain.wpenginepowered.com\/chord-alterations-add-x-half-diminished-7-chords-and-more\/","og_site_name":"Hear and Play Music Learning Center","article_published_time":"2009-06-23T15:26:24+00:00","article_modified_time":"2024-12-26T02:02:25+00:00","og_image":[{"width":1000,"height":667,"url":"https:\/\/hearplaymain.wpenginepowered.com\/wp-content\/uploads\/2009\/06\/chord-alterations-add-x-half-diminished-7-chords-and-more\u2026.jpg","type":"image\/jpeg"}],"author":"Hear &amp; Play Team","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Hear &amp; Play Team","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/hearplaymain.wpenginepowered.com\/chord-alterations-add-x-half-diminished-7-chords-and-more\/#article","isPartOf":{"@id":"https:\/\/hearplaymain.wpenginepowered.com\/chord-alterations-add-x-half-diminished-7-chords-and-more\/"},"author":{"name":"Hear &amp; 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