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You should mention that this chord is most prevalent in jazz. One common example is the turnaround in Freddie Freeloader by Miles Davis.
I never saw anything about Hendrix having synaesthesia before. This may have been invented by an over-imaginative journalist because of his talk about 'auras' and the lyrics of 'Bold as Love'. One gossipy newspaper article does not a fact make. 217.44.176.159 ( talk) 08:44, 9 December 2007 (UTC)
Removed: "As Jimi was a synaesthete [1] {Fact|date=December 2007} < !--need a more authoritative citation for this statement -->, he saw this chord as a 'purple haze'; thus it is played under the word "purple" in the song." {dubious}" Hyacinth ( talk) 11:03, 1 February 2008 (UTC)
Weirdly, could it be someone has actually confused Hendrix with
Alexander Scriabin? You know,
Mystic chord,
Synesthesia and all? Unless, of course, it is actually true...
Gingermint (
talk) 01:03, 30 September 2009 (UTC)
What's going on with the big graphic in the middle of the article? It clearly is based on G and when you click on it shows a different graphic built on F, but, Hyacinth, you're saying the graphic will catch up? How does that work? I've never uploaded a graphic; are you saying there's a delay? What accounts for it? McTavidge ( talk) 03:21, 4 February 2008 (UTC)
Hyacinth, you said, "We'll say it's a G," suggesting that you've compromised or something. It is a G. —Preceding unsigned comment added by 69.38.41.253 ( talk) 23:47, 4 February 2008 (UTC)
What pentatonic blues scale goes G A#(Bb) B D F and skips the C? McTavidge ( talk) 03:24, 4 February 2008 (UTC)
OK, I looked at the article on the hexatonic scale, specifically the part about the blues scale (seemed the only part that was relevant). Here it is:
Blues scale Main articles: Blue note and Twelve bar blues The blues scale is the minor pentatonic scale plus the #4 or b5 degree[1][2][3], however, since blues notes (or blue notes) are alternate inflections, strictly speaking there can be no one blues scale[4]. As named in contemporary jazz theory its use will be based upon the key and not the immediate chord[2], unlike some chords use in jazz.
The "blues scale" may also be a diatonic scale with lowered third, fifth, and seventh degrees[5] and blues practice is derived from the "conjuction of 'African scales' and the diatonic western scales"[6]. Steven Smith argues that ""to assign blues notes to a 'blues scale' is a momentous mistake, then, after all, unless we alter the meaning of 'scale'" [7].
I must be missing it, but where does this article cover my question? Thanks. —Preceding unsigned comment added by 69.38.41.253 ( talk) 23:41, 4 February 2008 (UTC)
Somtimes things vaguely remind people of things. Sometimes things exactly resemble things. Hyacinth ( talk) 04:46, 16 February 2008 (UTC)
This is only tangential, but as long as we're naming whole chords after individual artists . . . Does anyone out there think it's semi-appropriate to refer to the E minor ninth chord as the "Pink Floyd chord"? See
Paint Box (song) for an incomplete list of all the prominent occurances of Em9 or Em(add9) in the Floyd's body of work. Basically, every album from DSOTM on, until Roger Waters left (if you count "Dogs", which is in D minor, due to downtuning) has an Em9, and not just in passing, but emphatically.
Incidentally, the Floyd did use the Hendrix chord in "
Corporal Clegg" and several other songs, but that's just a coincidence, not relevant to my question.
--
63.25.117.132 (
talk) 15:31, 22 March 2008 (UTC)
How about a sound sample? Thanks. DavidRF ( talk) 04:35, 23 March 2008 (UTC)
This article states:
"In essence," one author has written, the Hendrix chord is "the whole of the blues scale condensed into a single chord,"[3] this being possible because one version of the blues scale is pentatonic, or five notes, and the Hendrix chord is five notes: [depiction of G7#9]"
Is this quote being used out of context? Does the author literally mean, as this article currently contends, that the chord is a concatenation of the blues scale? I don't think so much sence since:
In short, I suspect this quote is being misused, leading to unnecessary confusion. Yilloslime (t) 22:04, 25 April 2008 (UTC)
Just as the Beatles had the first recorded use of guitar feedback (the opening of I Feel Fine), they also have the first recorded use in pop music (as opposed to jazz or classical) of the augmented 9th chord.
It occurs in the climactic line of "You Can't Do That" (1964):
Because I told you before Oh, you can't do that
The sound of the E7sharp9 chord there is glaringly obvious.
But, yes, Hendrix popularized it, as did Steppenwolf in Born To Be Wild (1968), a year after Purple Haze and Foxy Lady (1967, three years after the Beatles' You Can't Do That).
I can't make plain tildes on my Spanish-language keyboard, so here are four ññññ's.
Brian Cobb, brianallancobb@hotmail.com
I don't know how to correctly edit Wikipedia (my Bible), but I hope somebody will correct the erroneous information about Hendrix being the FIRST user of the augmented 9th chord. —Preceding unsigned comment added by 201.151.99.94 ( talk) 21:30, 29 April 2008 (UTC)
Just because "some" authors and persons consider this to be the Hendrix chord. That does NOT make it so. This chord predates Hendrix and is used by many who have likely never heard him play. This is just Hendrix spam. This is an wholly biased article. —Preceding unsigned comment added by 217.44.38.69 ( talk) 15:21, 3 July 2008 (UTC)
-The first poster is right. It's called a 7#9 and has been used in music way before Hendrix was born. Just because he used it in one or two pop songs doesn't make it his. His use isn't particularly groundbreaking either. Any actual musician will refer to it as a 7#9, although since many guitarists are not knowledgeable in theory, they will refer to it as the Hendrix chord, unaware of the proper name and harmonic function. —Preceding unsigned comment added by 69.127.168.163 ( talk) 01:25, 4 July 2008 (UTC)
I feel that this article should not exist. Most of its proponents are just Hendrix fan boys and have no idea of the history, theory, or use of the chord. If anything, there should be a small description of the chord in the article on the song it appears in, if it indeed is the "first" pop song the 7#9 appears in (which i highly doubt, many string arrangements in pop songs, especially older ones use the harmony of the sharp 9). —Preceding unsigned comment added by 69.127.168.163 ( talk) 01:31, 4 July 2008 (UTC)
I think the article should end at the conclusion of the first paragraph, which says all that seems necessary to identify what was, after all, a perfectly common chord long before Hendrix ever used it. Fenneck ( talk) 13:08, 23 September 2008 (UTC)
This is ridiculous, not to mention unencyclopedic. I've been an active musician for 25 years and never heard someone musically knowledgeable call a 7#9 a "Hendrix chord". Anyone who uses such a term - even the references given - is, by the term's very use, revealing themselves to be musicologically ignorant and/or unskilled. I can provide published references calling a Leslie speaker cabinet's effect a "juicy organ sound", so, shall we retitle the article on Leslies to "Juicy Organ Sound"? That's equivalent to what this article does. Hendrix was neither the first, last, orbest to use this chord in popular music - merely the only one to write a song using it that's both popular and easy enough for most beginning guitarists to learn. Steely Dan used this chord far more frequently than Hendrix did, they just didn't use it in any songs than a beginner could learn, and by the time you're proficient enough to begin tackling Steely Dan, you usually have learned proper terminology. As it stands, he title of this article promotes ignorance and incorrect terminology. If this chord must have its own article, it should be titled "Seven+Sharp Nine Chord" (or, if you want to be pedantic, "Augmented Ninth", although in my experience most people commonly use the less technically correct name.) Hyacinth above asks what the difference is between the Tristan Chord article and this one. The difference is vast. The term "Tristan Chord" is accepted by highly knowledgeable musicians and authoritative sources (and marked a revolution in fundamental understanding about the function of harmony.) Unless Hyacinth is making the argument that "Black Gold: The Lost Archives of Jimi Hendrix" and "The Complete Idiot's Guide to Rock Guitar Songs" are the authoritative equivalent of an Arnold Schoenberg treatise on harmony, the comparison is specious. And- Hendrix only even used it in like three frggin' songs for blog's sake! SteubenGlass ( talk) 08:49, 8 December 2009 (UTC)
Sorry if I'm doing this wrong, because I'm new at this. It may be of interest that guitarist Rik Emmett of the Canadian band Triumph said in a CBC Radio interview that Hendrix was shown the "sharp nine" chord by jazz guitarist Barney Kessel. Goober'sPal ( talk) 19:29, 4 January 2010 (UTC)
For me, this is a voicing of a 17th chord, leaving out some notes (like the 9th). If used in blues, it is blues minor scale and blues major scale played together in 1 chord. —Preceding unsigned comment added by 193.29.5.6 ( talk) 10:44, 29 March 2010 (UTC)
Another possible function of the chord is a double-diminished 9th chord. root - minor third, diminished fifth, diminished seventh, double-diminished nineth. (example: C-Eb-Gb-Bbb-Dbbb) —Preceding unsigned comment added by 193.29.5.6 ( talk) 08:32, 31 March 2010 (UTC)
Why don't you call it the 101th? Hyacinth ( talk) 12:10, 1 April 2010 (UTC)
It is often referred to as 'The Hendrix Chord'. Some rock guitarists may know it as such, but don't know it's formally known as E7#9 by jazz snobs who detest the term. 67.169.93.56 ( talk) 05:45, 15 August 2012 (UTC)
The result of the proposal was no move. JPG-GR ( talk) 00:28, 27 July 2008 (UTC)
It has been proposed that the title "dominant 7 sharp 9 chord" would better fit Wikipedia:Neutral point of view given that other people have used the chord ("sharp" rather than # per Wikipedia:Naming conventions (technical restrictions)). However, I believe that the article title should stay at "Hendrix chord" per Wikipedia:Article title#Use common names of persons and things. Furthermore, "dominant 7 sharp 9 chord" does not resemble any other chord article title and the existence of other chord articles titled after pieces or people though they where used elsewhere by others means that the NPOV argument above needs to be clarified. Hyacinth ( talk) 02:23, 4 July 2008 (UTC)
Hendrix chord as common name:
often referred to as the "Hendrix chord" since Jimi frequently used #9 chords in his compositions
— Capone, Phil (2006). Guitar Chord Bible: Over 500 Illustrated Chords for Rock, Blues, Soul, Country, Jazz, and Classical, p.24. ISBN 0785820833. Emphasis mine.
the 7#9 chord - which guitarists refer to as "the Hendrix chord"
— Roby, Steven (2002). Black Gold: The Lost Archives of Jimi Hendrix, p.32. ISBN 082307854X.
commonly referred to as the "Hendrix chord" by many
— Maione, John (2004). Mel Bay Jazz Chords for Rock Guitarists, p.23. ISBN 0786668741. Emphasis mine.
On the other hand:
what "rock kids" used to call the Jimi Hendrix chord
— Munro, Doug (2001). Jazz Guitar: Bebop and Beyond, p.58. ISBN 0757982816. Emphasis mine.
Hyacinth ( talk) 10:09, 5 July 2008 (UTC)
The correct term is 'sharped', not 'sharpened'. 99.232.90.74 ( talk) 22:58, 16 April 2009 (UTC)
I'm not trying to be dickish or pick a fight but I find this sentence highly problematic: "When performing "Voodoo Child (Slight Return)" live Hendrix later used the sharpened ninth not only on the tonic pedal, E, but also on C and D as well[4] which would give eleven notes, almost the full chromatic scale, rather than only five." Firstly, the way the sentence is written it's hard (for me at least) to figure out what its trying to say. What do we mean by "tonic pedal E"? Did he play E7#9 and D7#9 and C7#9 chords? Or was it E7#9, D7#9/E, and C7#9/E? I suspect it was the later, but that's only b/c I play guitar and know that the lowest string is an E, and know that you can slide 7#9 form up and down the neck while letting the E string drone. If this is in fact what Hendrix was doing, let's reword the sentence to make that clear. If it's something else, then whatever it is needs to be explained more clearly.
The second clause of the sentence--which is uncited and therefore appears to be WP:OR--is also confusing to me. It seems to say he's playing an 11 note chord, something that's impossible to do on a 6-string instrument. Maybe it should say that it "implies almost the full chromatic scale". And assuming that we are talking about Hendrix sliding the chord form around while droning on the low E (to give the progression the E7#9, D7#9/E, and C7#9/E) then that only gives 9 different notes, since the 5ths aren't voiced in the Hendrix fingering. The first chord would be E E G# D G, the next would be E D F# C F, and the last E C E Bb Eb--that's only 9 different notes, not 11 as the text says/said. If you throw in the 5th--which Hendrix doesn't actually play--then that adds B and A, and you get to 11, but this is getting into serious WP:OR. Finally, just playing these chords in the same song--even one right after another--doesn't necessarily mean that they function to imply a chromatic (or any other kind of) scale, and in this case I don't think they do. So I've removed that clause. If there's a reference that backs up this business about chromatic scales, then let's use it and I'll stand corrected, but otherwise this stuff needs to go. Yilloslime T C 01:27, 21 August 2009 (UTC)
Sorry, I meant "tell me which part" of WP:OR you feel applies (not which part of this "business" WP:OR applies to). Hyacinth ( talk) 18:21, 21 August 2009 (UTC)
Also, since the claim doesn't use multiple sources how does WP:SYN apply? —Preceding unsigned comment added by Hyacinth ( talk • contribs) 13:16, 21 August 2009
Just a minor point. It wasn't really a solo career in the strictest of senses, that is to say it wasn't really a solo career at all. Granted, the band was built around, and indeed for, Jimi, but it was a band nonetheless. Can this please be reworded to something approximating "prior to becoming a recognised musical artist in his own right with the inception of The Jimi Hendrix Experience in 1966." Thanks, The Coj ( talk) 04:22, 22 October 2009 (UTC)
The Rodgers/Hart musical On Your Toes uses this chord in its title song. Maybe someone with access to the score could verify this? (For example, Overture, bars 26 and 30)... -- megA ( talk) 22:51, 13 December 2009 (UTC)
This page should be called 7#9. Should we rename the Gsus4 chord the beatles chord because they used it in a song? how retarded. Only a complete moron would call a 7#9 the hendrix chord. This page is why I can't stand most so called musicians.-- Brian Earl Haines ( talk) 21:49, 16 April 2010 (UTC)
The chord example should be F double sharp ("FX"), not G natural. — Preceding unsigned comment added by 50.106.138.6 ( talk) 22:25, 29 August 2016 (UTC)
Nice article, guys. —Preceding unsigned comment added by 68.44.93.68 ( talk) 20:41, 13 May 2010 (UTC)
There is no 5th in the "Hendrix chord". Therefore, the musical examples do not reflect actual practice. In practice, the Hendrix chord is just one particular voicing of a 7#9. "Hendrix chord" is not exactly synonymous with "7#9." BassHistory ( talk) 07:52, 17 December 2010 (UTC)
According to Wikipedia:Manual_of_Style_(music)#Accidentals, accidentals in articles are required to be either the template, Template:Music/doc, or the words. Thus C♯, C-sharp or C sharp, rather than C# or C-#. Presumably the template should be used unless there is a reason not to. I propose the number of times the word is used in articles and books covering this subject and the number of non-'experts' involved may be a reason.
Anyone else care, have any thoughts, a vote? Hyacinth ( talk) 05:14, 30 January 2011 (UTC)
I noticed an early use of the augmented 9th chord in a Scott Joplin rag published in 1901. (C-sharp in the right hand over B-flat, D, A-flat in the left.)
--Bill 71.191.176.113 ( talk) 00:28, 17 June 2011 (UTC)
Checking the cited source the quote is found on p.172 and p.174 mentions a "major ninth chord" and a "ninth chord" but not a dominant 7♯9 chord or augmented ninth chord. Hyacinth ( talk) 09:15, 2 July 2011 (UTC)
Hendrix's contemporaries:
Present in:
I removed the above as uncited. Hyacinth ( talk) 09:26, 2 July 2011 (UTC)
Hyacinth ( talk) 02:42, 24 February 2012 (UTC)
While it is true that the INTERVAL between the top note of the "Hendrix Chord" and the bass (in Purple Haze) is indeed an "augmented ninth", this is not the most clear name for this CHORD. Admittedly, these things are hardly standard, but in general practice the term "augmented" when used in reference to a CHORD generally refers to the 5th of the chord. See the Chord Table at the bottom of the article for confirmation, where for both triads and seventh chords the term "augmented" always refers to the 5th of the chord. - -- DannyMuse ( talk) 14:05, 31 July 2011 (UTC)
Is it really necessary to have a citation for every mention of every song that uses it? I mean, the 7#9 is a very distinctive chord and easily recognizable by ear. IMHO, just listening to the song is enough citation. I would guess that most people interested in the Hendrix chord already know its characteristic sound.
IMO, if there's a citation, by all means, use it, but please remove all those [citation needed] where there aren't. The [citation needed] after every sentence makes it look very messy and it's just very distracting and annoying.
Sorry for not logging in, wp doesn't let me use my login from the nl wp. — Preceding unsigned comment added by 83.232.148.201 ( talk) 01:09, 26 January 2012 (UTC)
This article, as it stands, is problematic for a couple of reasons.
Proposed articles that this be merged with or made a section of: Altered_scale or Dominant_(music)
Short of that, this page is in serious need of revision, with the Header being changed to the name of the chord and a neutral, informed discussion of the tonality and its many uses.
Thanks, JFdove ( talk) 09:15, 31 January 2012 (UTC)
In light of the recurring concerns voiced throughout the history of this page, it is in dire need of an overhaul. First, an objective, neutral discussion of the general function and role of the tonality (dominant, altered, etc.) Second, the colloquial "Hendrix chord" appellation properly contextualized. Third, accuracy. Fourth, quality of sources. Finally, the page needs to be renamed/moved so that relevant searches lead to an appropriately informative and edifying article. In this editors view, this page should be about the 7#9 chord, or about the ALT chord, with "Hendrix chord" as a subsection.
Thanks, JFdove ( talk) 04:53, 2 February 2012 (UTC)
I have been hearing these chimes on Union Pacific locos and found documentation at http://atsf.railfan.net/airhorns/k5lla.html. According to the author, the Nathan K5LLA sounds C, D#, F#, G# and B, which I believe constitutes a (enharmonic) G##9 chord. 108.200.48.254 ( talk) 15:24, 12 July 2012 (UTC)
Ah yes, has to be B# instead of C. In production the bells are so sloppy that they are lucky to come very close to either. Does the chord have to resolve to be considered dominant? I know that's how the dominant seventh is traditionally used, but I thought "dominant" refers to the V scale degree. 108.200.48.254 ( talk) 21:03, 10 September 2012 (UTC)
As many people have pointed out, this article focuses only on some musical styles from a certain period. Music existed well before 1960, and all the harmonic devices used in Pop and Rock music were already invented. Remember WP:WEIGHT. Thus, the article must cover Classical, Jazz, and Pop/rock music, and not favour only one of them. First, I'm going to restructure the article without actually modifying the contents, then, I'll add some referenced stuff and remove OR.-- Fauban 18:23, 8 November 2012 (UTC)
Well, maybe WP:WEIGHT wasn't the exact Wikipedia policy, but I think my point was clear: The article focused almost exclusively on pop/rock music, as if they had "invented" the chord. This chord belongs to many musical styles and periods, and all must be covered equally, without favoring any of them. I think the restructuring I've done is a good thing.-- Fauban 13:43, 9 November 2012 (UTC)
I'm sorry. In an acticle about the color yellow, dark yellow shouldn't have preference over the other shades. There shouldn't be a very big section about it and then smaller ones saying that the other shades are derived from it. The page is no longer called Hendrix chord, now it's called Dominant seventh sharp ninth chord. Focusing exclusively in Hendrix's work isn't a good idea, other views should be included. I mean, if we can add referenced information saying that this chord appears in many other genres, then the article must reflect this fact (maybe I didn't say clearly that I was going to expand the article after restructuring it). I've read like 10 jazz harmony treatises, and none of them makes any reference to Jimi Hendrix, and I think jazz and classical have the same "dignity" as rock music. Cheers!-- Fauban 09:29, 10 November 2012 (UTC)
Well, I think here there's a confusion between chord and voicing. Using the narrowest definitions, if I'm not mistaken, a chord is a collection of different pitches (in this case EG#BDG), without a defined order. A voicing makes reference to the vertical arrangement and possible doublings of the notes of the chord. Thus, while usually being called a chord, the Hendrix chord should be described as a distinctive voicing of the G7#9 chord. Calling it chord would be what in math is called abuse of language; however, Hendrix and many other rock/pop musicians lack much music theory knowledge, so they tend to use inexact terminology.
Also, I'd like to ask if there's "proof" that what is called Hendrix chord is always voiced in exactly the same way. I know some gitarists that always use the same voicing for a chord (e.g. G minor has always the same voicing and inversion regardless of the existence of a more comfortable voicing following voice leading), but that doesn't make that voicing "better" over others.
Then, I'd like to point that: how many pop/rock musicians that used the G7#9 chord borrowed it from Jimi Hendrix, and how many from previous styles? The Beatles seem not to have taken it from Hendrix, thus, they didn't use the "Hendrix chord" because they might have used a different or variable voicing. If that was true for many other musicians it turns out that the Hendrix chord, described as an invariable voicing, hasn't been used by so many people. In general, a couple of treatises I have say that the "identity" of the chord comes from the pitches it contains, and that many voicings have the same general effect.
Another thing is that Wikipedia has redirects, so if somebody is looking for "Hendrix chord", he'll find it. About other chords you mention, the Elektra chord is a chord, not a voicing; while I've never agreed in the Psalms chord being a separate article (from minor chord). Thanks.-- Fauban 18:41, 15 November 2012 (UTC)
Well, as you may know, omitting the fifth of a seventh (or ninth) chord is something usual, and it's metioned in many treatises in many styles; while the doubling of the root barely deserves any mention. You won't find a separate article about a dominant seventh chord without a fifth (e.g. G B F). This voicing in particular is far from being an original Hendrix creation, I've seen it in Art Tatum's transcriptions since the 1930's, while it also appears in Gershwin's Rhapsody in Blue and Piano Concerto in F (only to give some examples).
Besides, you'll agree that we're here talking about a dominant seventh chord, but enhanced with an extra note (see the article: dominant 7th + blue note). This chord has a dominant "form", but I may be used as V or not. As you may know, since the apparition of bules music, dominant chords can also be used over other scale degrees without losing their functional identity (e.g. you can do I-IV-I-V-I all in dominant 7th chords). Thus, Hendrix wouln't be innovating by using it over scale degrees other than V.
About your alternative definitons (Hindemith, etc.), I don't have these books, but if we treat any possible pitch combination as a singular entity, there are almost infinite possibilities (if you want I can pick the calculator and do the math), and we won't be creating an article for each one. I think Wikipedia will be using the more widespread definitions. If you want, you can create articles about De Leew's theories. Besides, we're talking about an unambigously tonal context, so atonal analysis are not expected.
Apart from this, what you say about the Elektra chord being the same pitch set, it's true, but there are other things. Yes, they're the same notes, but the arrangement is very different from a normal dominant chord. Besides, in that article they're discussing its function and nature, which, unlike this chord, is much more ambiguous. The concept of any voicing and inversion retaining the original character of the original chord spaced in thirds is only partial, specially if changing the inversion. Treatisis distinguish between Ami7 and Cma6, and when voicing a full G9 chord, you can't put all the notes randomly! (first, the G and A must not be in contact, while the 4th inversion is forbidden by some theorists).
Finally, the Beatles called the chord "great ham-fisted jazz chord". Should we create a separate article with that name? Objectively speaking, It's not a secret that many rock/pop musicians and fans are completely unaware of the music composed before 1960, so when they hear something new to them, they become surprised and excited, and believe that that sound had never been used before, thus giving it a different, new name. But that's why there Wikipedia has redirects.-- Fauban 12:00, 17 November 2012 (UTC)
RhodoEn ( talk) 15:08, 17 November 2012 (UTC)
Dear Hyacinth: will you please stop editing other peoples comments? I thought Wikipedia is about writing and editing articles and reading peoples comments. If this goes on, I am out. -- RhodoEn ( talk) 10:11, 19 November 2012 (UTC)
I've consulted a leadsheet and a written piano score, and I can't see it anywehere, not even implyed. I'll remove this song.-- Fauban 14:36, 10 November 2012 (UTC)
Hyacinth, the chord does not appear in Michelle. I mean, it's very clear in "Taxman" (3rd bar), but in "Michelle" the chord is not even implyed (e.g. through blue notes, and this song isn't bluesy at all). I have the piano/organ complete songbook (I think it's the official one), and I have consulted leadsheets; and it's absolutely nowhere. There is a book with 6-7 transcriptions (The Beatles for Jazz Piano) which has this chord (or I guess so), but that's not the original harmonization at all. The reference must be alluding only "Taxman" and "the Word", and maybe later somebody else added "Michelle". Thank you. P.S. I've consulted an Amazon partial preview of the book, and there's a subchapter titled Exotic intensifiers: sharpened 9th and flattened 9th where the only mentioned song for a 7#9 chord is "Be mine".-- Fauban 15:21, 18 November 2012 (UTC)
It could be argued that "any scale can go over any chord", but that isn't really a useful approach for learning/teaching. So, what we should show here are patterns of use. The current chart is totally wrong (for example, Dorian is not an appropriate scale for a V7 chord in a minor key. I'm deleting the "Scales" box entirely, because it is so rife with errors it has the potential to mislead thousands of music students. We should come to a consensus here on the talk page, and then add something. I suggest a mainstream source, such as Jamey Aebersold, Mark Levine (musician) or something from Berklee Press. Cheers. BassHistory ( talk) 19:00, 8 January 2014 (UTC)
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So, to me, it seem like the lead should link to topics such as the domiant, the seventh chord, the major third, the root, and enharmonic. But I don't want to upset people by being so disrespectful and ignoring process on a website that tells me to be bold a take risks. So instead of creating those links I humbly ask y'all who happen to read this before I die if I should or may add those links. See: MOS:CONTEXTLINK: "The opening sentence should provide links to the broader or more elementary topics that are important to the article's topic or place it into the context where it is notable." Hyacinth ( talk) 03:59, 9 January 2021 (UTC)
This article is tagged ridiculously with {{cleanup-rewrite|date=February 2012}}, with no reason given. It is tagged with {{missing information|broader, general context and use of the chord|date=February 2012}} whose description of improvement is that the article provide context, which is presumed for all articles. It is tagged with {{expert-subject|date=February 2012|Music|talk=Expert help/rename}} yet no alternative name for the article is suggested, nor is there any information besides "Expert help", which is redundant give the tag. As such, these tag should either be removed or should be added to so that they make sense rather than being useless. It bothers me a little that I even have to discuss the improvement of tags meant to improve the article; it seems very postmodern. Hyacinth ( talk) 04:07, 9 January 2021 (UTC)
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You should mention that this chord is most prevalent in jazz. One common example is the turnaround in Freddie Freeloader by Miles Davis.
I never saw anything about Hendrix having synaesthesia before. This may have been invented by an over-imaginative journalist because of his talk about 'auras' and the lyrics of 'Bold as Love'. One gossipy newspaper article does not a fact make. 217.44.176.159 ( talk) 08:44, 9 December 2007 (UTC)
Removed: "As Jimi was a synaesthete [1] {Fact|date=December 2007} < !--need a more authoritative citation for this statement -->, he saw this chord as a 'purple haze'; thus it is played under the word "purple" in the song." {dubious}" Hyacinth ( talk) 11:03, 1 February 2008 (UTC)
Weirdly, could it be someone has actually confused Hendrix with
Alexander Scriabin? You know,
Mystic chord,
Synesthesia and all? Unless, of course, it is actually true...
Gingermint (
talk) 01:03, 30 September 2009 (UTC)
What's going on with the big graphic in the middle of the article? It clearly is based on G and when you click on it shows a different graphic built on F, but, Hyacinth, you're saying the graphic will catch up? How does that work? I've never uploaded a graphic; are you saying there's a delay? What accounts for it? McTavidge ( talk) 03:21, 4 February 2008 (UTC)
Hyacinth, you said, "We'll say it's a G," suggesting that you've compromised or something. It is a G. —Preceding unsigned comment added by 69.38.41.253 ( talk) 23:47, 4 February 2008 (UTC)
What pentatonic blues scale goes G A#(Bb) B D F and skips the C? McTavidge ( talk) 03:24, 4 February 2008 (UTC)
OK, I looked at the article on the hexatonic scale, specifically the part about the blues scale (seemed the only part that was relevant). Here it is:
Blues scale Main articles: Blue note and Twelve bar blues The blues scale is the minor pentatonic scale plus the #4 or b5 degree[1][2][3], however, since blues notes (or blue notes) are alternate inflections, strictly speaking there can be no one blues scale[4]. As named in contemporary jazz theory its use will be based upon the key and not the immediate chord[2], unlike some chords use in jazz.
The "blues scale" may also be a diatonic scale with lowered third, fifth, and seventh degrees[5] and blues practice is derived from the "conjuction of 'African scales' and the diatonic western scales"[6]. Steven Smith argues that ""to assign blues notes to a 'blues scale' is a momentous mistake, then, after all, unless we alter the meaning of 'scale'" [7].
I must be missing it, but where does this article cover my question? Thanks. —Preceding unsigned comment added by 69.38.41.253 ( talk) 23:41, 4 February 2008 (UTC)
Somtimes things vaguely remind people of things. Sometimes things exactly resemble things. Hyacinth ( talk) 04:46, 16 February 2008 (UTC)
This is only tangential, but as long as we're naming whole chords after individual artists . . . Does anyone out there think it's semi-appropriate to refer to the E minor ninth chord as the "Pink Floyd chord"? See
Paint Box (song) for an incomplete list of all the prominent occurances of Em9 or Em(add9) in the Floyd's body of work. Basically, every album from DSOTM on, until Roger Waters left (if you count "Dogs", which is in D minor, due to downtuning) has an Em9, and not just in passing, but emphatically.
Incidentally, the Floyd did use the Hendrix chord in "
Corporal Clegg" and several other songs, but that's just a coincidence, not relevant to my question.
--
63.25.117.132 (
talk) 15:31, 22 March 2008 (UTC)
How about a sound sample? Thanks. DavidRF ( talk) 04:35, 23 March 2008 (UTC)
This article states:
"In essence," one author has written, the Hendrix chord is "the whole of the blues scale condensed into a single chord,"[3] this being possible because one version of the blues scale is pentatonic, or five notes, and the Hendrix chord is five notes: [depiction of G7#9]"
Is this quote being used out of context? Does the author literally mean, as this article currently contends, that the chord is a concatenation of the blues scale? I don't think so much sence since:
In short, I suspect this quote is being misused, leading to unnecessary confusion. Yilloslime (t) 22:04, 25 April 2008 (UTC)
Just as the Beatles had the first recorded use of guitar feedback (the opening of I Feel Fine), they also have the first recorded use in pop music (as opposed to jazz or classical) of the augmented 9th chord.
It occurs in the climactic line of "You Can't Do That" (1964):
Because I told you before Oh, you can't do that
The sound of the E7sharp9 chord there is glaringly obvious.
But, yes, Hendrix popularized it, as did Steppenwolf in Born To Be Wild (1968), a year after Purple Haze and Foxy Lady (1967, three years after the Beatles' You Can't Do That).
I can't make plain tildes on my Spanish-language keyboard, so here are four ññññ's.
Brian Cobb, brianallancobb@hotmail.com
I don't know how to correctly edit Wikipedia (my Bible), but I hope somebody will correct the erroneous information about Hendrix being the FIRST user of the augmented 9th chord. —Preceding unsigned comment added by 201.151.99.94 ( talk) 21:30, 29 April 2008 (UTC)
Just because "some" authors and persons consider this to be the Hendrix chord. That does NOT make it so. This chord predates Hendrix and is used by many who have likely never heard him play. This is just Hendrix spam. This is an wholly biased article. —Preceding unsigned comment added by 217.44.38.69 ( talk) 15:21, 3 July 2008 (UTC)
-The first poster is right. It's called a 7#9 and has been used in music way before Hendrix was born. Just because he used it in one or two pop songs doesn't make it his. His use isn't particularly groundbreaking either. Any actual musician will refer to it as a 7#9, although since many guitarists are not knowledgeable in theory, they will refer to it as the Hendrix chord, unaware of the proper name and harmonic function. —Preceding unsigned comment added by 69.127.168.163 ( talk) 01:25, 4 July 2008 (UTC)
I feel that this article should not exist. Most of its proponents are just Hendrix fan boys and have no idea of the history, theory, or use of the chord. If anything, there should be a small description of the chord in the article on the song it appears in, if it indeed is the "first" pop song the 7#9 appears in (which i highly doubt, many string arrangements in pop songs, especially older ones use the harmony of the sharp 9). —Preceding unsigned comment added by 69.127.168.163 ( talk) 01:31, 4 July 2008 (UTC)
I think the article should end at the conclusion of the first paragraph, which says all that seems necessary to identify what was, after all, a perfectly common chord long before Hendrix ever used it. Fenneck ( talk) 13:08, 23 September 2008 (UTC)
This is ridiculous, not to mention unencyclopedic. I've been an active musician for 25 years and never heard someone musically knowledgeable call a 7#9 a "Hendrix chord". Anyone who uses such a term - even the references given - is, by the term's very use, revealing themselves to be musicologically ignorant and/or unskilled. I can provide published references calling a Leslie speaker cabinet's effect a "juicy organ sound", so, shall we retitle the article on Leslies to "Juicy Organ Sound"? That's equivalent to what this article does. Hendrix was neither the first, last, orbest to use this chord in popular music - merely the only one to write a song using it that's both popular and easy enough for most beginning guitarists to learn. Steely Dan used this chord far more frequently than Hendrix did, they just didn't use it in any songs than a beginner could learn, and by the time you're proficient enough to begin tackling Steely Dan, you usually have learned proper terminology. As it stands, he title of this article promotes ignorance and incorrect terminology. If this chord must have its own article, it should be titled "Seven+Sharp Nine Chord" (or, if you want to be pedantic, "Augmented Ninth", although in my experience most people commonly use the less technically correct name.) Hyacinth above asks what the difference is between the Tristan Chord article and this one. The difference is vast. The term "Tristan Chord" is accepted by highly knowledgeable musicians and authoritative sources (and marked a revolution in fundamental understanding about the function of harmony.) Unless Hyacinth is making the argument that "Black Gold: The Lost Archives of Jimi Hendrix" and "The Complete Idiot's Guide to Rock Guitar Songs" are the authoritative equivalent of an Arnold Schoenberg treatise on harmony, the comparison is specious. And- Hendrix only even used it in like three frggin' songs for blog's sake! SteubenGlass ( talk) 08:49, 8 December 2009 (UTC)
Sorry if I'm doing this wrong, because I'm new at this. It may be of interest that guitarist Rik Emmett of the Canadian band Triumph said in a CBC Radio interview that Hendrix was shown the "sharp nine" chord by jazz guitarist Barney Kessel. Goober'sPal ( talk) 19:29, 4 January 2010 (UTC)
For me, this is a voicing of a 17th chord, leaving out some notes (like the 9th). If used in blues, it is blues minor scale and blues major scale played together in 1 chord. —Preceding unsigned comment added by 193.29.5.6 ( talk) 10:44, 29 March 2010 (UTC)
Another possible function of the chord is a double-diminished 9th chord. root - minor third, diminished fifth, diminished seventh, double-diminished nineth. (example: C-Eb-Gb-Bbb-Dbbb) —Preceding unsigned comment added by 193.29.5.6 ( talk) 08:32, 31 March 2010 (UTC)
Why don't you call it the 101th? Hyacinth ( talk) 12:10, 1 April 2010 (UTC)
It is often referred to as 'The Hendrix Chord'. Some rock guitarists may know it as such, but don't know it's formally known as E7#9 by jazz snobs who detest the term. 67.169.93.56 ( talk) 05:45, 15 August 2012 (UTC)
The result of the proposal was no move. JPG-GR ( talk) 00:28, 27 July 2008 (UTC)
It has been proposed that the title "dominant 7 sharp 9 chord" would better fit Wikipedia:Neutral point of view given that other people have used the chord ("sharp" rather than # per Wikipedia:Naming conventions (technical restrictions)). However, I believe that the article title should stay at "Hendrix chord" per Wikipedia:Article title#Use common names of persons and things. Furthermore, "dominant 7 sharp 9 chord" does not resemble any other chord article title and the existence of other chord articles titled after pieces or people though they where used elsewhere by others means that the NPOV argument above needs to be clarified. Hyacinth ( talk) 02:23, 4 July 2008 (UTC)
Hendrix chord as common name:
often referred to as the "Hendrix chord" since Jimi frequently used #9 chords in his compositions
— Capone, Phil (2006). Guitar Chord Bible: Over 500 Illustrated Chords for Rock, Blues, Soul, Country, Jazz, and Classical, p.24. ISBN 0785820833. Emphasis mine.
the 7#9 chord - which guitarists refer to as "the Hendrix chord"
— Roby, Steven (2002). Black Gold: The Lost Archives of Jimi Hendrix, p.32. ISBN 082307854X.
commonly referred to as the "Hendrix chord" by many
— Maione, John (2004). Mel Bay Jazz Chords for Rock Guitarists, p.23. ISBN 0786668741. Emphasis mine.
On the other hand:
what "rock kids" used to call the Jimi Hendrix chord
— Munro, Doug (2001). Jazz Guitar: Bebop and Beyond, p.58. ISBN 0757982816. Emphasis mine.
Hyacinth ( talk) 10:09, 5 July 2008 (UTC)
The correct term is 'sharped', not 'sharpened'. 99.232.90.74 ( talk) 22:58, 16 April 2009 (UTC)
I'm not trying to be dickish or pick a fight but I find this sentence highly problematic: "When performing "Voodoo Child (Slight Return)" live Hendrix later used the sharpened ninth not only on the tonic pedal, E, but also on C and D as well[4] which would give eleven notes, almost the full chromatic scale, rather than only five." Firstly, the way the sentence is written it's hard (for me at least) to figure out what its trying to say. What do we mean by "tonic pedal E"? Did he play E7#9 and D7#9 and C7#9 chords? Or was it E7#9, D7#9/E, and C7#9/E? I suspect it was the later, but that's only b/c I play guitar and know that the lowest string is an E, and know that you can slide 7#9 form up and down the neck while letting the E string drone. If this is in fact what Hendrix was doing, let's reword the sentence to make that clear. If it's something else, then whatever it is needs to be explained more clearly.
The second clause of the sentence--which is uncited and therefore appears to be WP:OR--is also confusing to me. It seems to say he's playing an 11 note chord, something that's impossible to do on a 6-string instrument. Maybe it should say that it "implies almost the full chromatic scale". And assuming that we are talking about Hendrix sliding the chord form around while droning on the low E (to give the progression the E7#9, D7#9/E, and C7#9/E) then that only gives 9 different notes, since the 5ths aren't voiced in the Hendrix fingering. The first chord would be E E G# D G, the next would be E D F# C F, and the last E C E Bb Eb--that's only 9 different notes, not 11 as the text says/said. If you throw in the 5th--which Hendrix doesn't actually play--then that adds B and A, and you get to 11, but this is getting into serious WP:OR. Finally, just playing these chords in the same song--even one right after another--doesn't necessarily mean that they function to imply a chromatic (or any other kind of) scale, and in this case I don't think they do. So I've removed that clause. If there's a reference that backs up this business about chromatic scales, then let's use it and I'll stand corrected, but otherwise this stuff needs to go. Yilloslime T C 01:27, 21 August 2009 (UTC)
Sorry, I meant "tell me which part" of WP:OR you feel applies (not which part of this "business" WP:OR applies to). Hyacinth ( talk) 18:21, 21 August 2009 (UTC)
Also, since the claim doesn't use multiple sources how does WP:SYN apply? —Preceding unsigned comment added by Hyacinth ( talk • contribs) 13:16, 21 August 2009
Just a minor point. It wasn't really a solo career in the strictest of senses, that is to say it wasn't really a solo career at all. Granted, the band was built around, and indeed for, Jimi, but it was a band nonetheless. Can this please be reworded to something approximating "prior to becoming a recognised musical artist in his own right with the inception of The Jimi Hendrix Experience in 1966." Thanks, The Coj ( talk) 04:22, 22 October 2009 (UTC)
The Rodgers/Hart musical On Your Toes uses this chord in its title song. Maybe someone with access to the score could verify this? (For example, Overture, bars 26 and 30)... -- megA ( talk) 22:51, 13 December 2009 (UTC)
This page should be called 7#9. Should we rename the Gsus4 chord the beatles chord because they used it in a song? how retarded. Only a complete moron would call a 7#9 the hendrix chord. This page is why I can't stand most so called musicians.-- Brian Earl Haines ( talk) 21:49, 16 April 2010 (UTC)
The chord example should be F double sharp ("FX"), not G natural. — Preceding unsigned comment added by 50.106.138.6 ( talk) 22:25, 29 August 2016 (UTC)
Nice article, guys. —Preceding unsigned comment added by 68.44.93.68 ( talk) 20:41, 13 May 2010 (UTC)
There is no 5th in the "Hendrix chord". Therefore, the musical examples do not reflect actual practice. In practice, the Hendrix chord is just one particular voicing of a 7#9. "Hendrix chord" is not exactly synonymous with "7#9." BassHistory ( talk) 07:52, 17 December 2010 (UTC)
According to Wikipedia:Manual_of_Style_(music)#Accidentals, accidentals in articles are required to be either the template, Template:Music/doc, or the words. Thus C♯, C-sharp or C sharp, rather than C# or C-#. Presumably the template should be used unless there is a reason not to. I propose the number of times the word is used in articles and books covering this subject and the number of non-'experts' involved may be a reason.
Anyone else care, have any thoughts, a vote? Hyacinth ( talk) 05:14, 30 January 2011 (UTC)
I noticed an early use of the augmented 9th chord in a Scott Joplin rag published in 1901. (C-sharp in the right hand over B-flat, D, A-flat in the left.)
--Bill 71.191.176.113 ( talk) 00:28, 17 June 2011 (UTC)
Checking the cited source the quote is found on p.172 and p.174 mentions a "major ninth chord" and a "ninth chord" but not a dominant 7♯9 chord or augmented ninth chord. Hyacinth ( talk) 09:15, 2 July 2011 (UTC)
Hendrix's contemporaries:
Present in:
I removed the above as uncited. Hyacinth ( talk) 09:26, 2 July 2011 (UTC)
Hyacinth ( talk) 02:42, 24 February 2012 (UTC)
While it is true that the INTERVAL between the top note of the "Hendrix Chord" and the bass (in Purple Haze) is indeed an "augmented ninth", this is not the most clear name for this CHORD. Admittedly, these things are hardly standard, but in general practice the term "augmented" when used in reference to a CHORD generally refers to the 5th of the chord. See the Chord Table at the bottom of the article for confirmation, where for both triads and seventh chords the term "augmented" always refers to the 5th of the chord. - -- DannyMuse ( talk) 14:05, 31 July 2011 (UTC)
Is it really necessary to have a citation for every mention of every song that uses it? I mean, the 7#9 is a very distinctive chord and easily recognizable by ear. IMHO, just listening to the song is enough citation. I would guess that most people interested in the Hendrix chord already know its characteristic sound.
IMO, if there's a citation, by all means, use it, but please remove all those [citation needed] where there aren't. The [citation needed] after every sentence makes it look very messy and it's just very distracting and annoying.
Sorry for not logging in, wp doesn't let me use my login from the nl wp. — Preceding unsigned comment added by 83.232.148.201 ( talk) 01:09, 26 January 2012 (UTC)
This article, as it stands, is problematic for a couple of reasons.
Proposed articles that this be merged with or made a section of: Altered_scale or Dominant_(music)
Short of that, this page is in serious need of revision, with the Header being changed to the name of the chord and a neutral, informed discussion of the tonality and its many uses.
Thanks, JFdove ( talk) 09:15, 31 January 2012 (UTC)
In light of the recurring concerns voiced throughout the history of this page, it is in dire need of an overhaul. First, an objective, neutral discussion of the general function and role of the tonality (dominant, altered, etc.) Second, the colloquial "Hendrix chord" appellation properly contextualized. Third, accuracy. Fourth, quality of sources. Finally, the page needs to be renamed/moved so that relevant searches lead to an appropriately informative and edifying article. In this editors view, this page should be about the 7#9 chord, or about the ALT chord, with "Hendrix chord" as a subsection.
Thanks, JFdove ( talk) 04:53, 2 February 2012 (UTC)
I have been hearing these chimes on Union Pacific locos and found documentation at http://atsf.railfan.net/airhorns/k5lla.html. According to the author, the Nathan K5LLA sounds C, D#, F#, G# and B, which I believe constitutes a (enharmonic) G##9 chord. 108.200.48.254 ( talk) 15:24, 12 July 2012 (UTC)
Ah yes, has to be B# instead of C. In production the bells are so sloppy that they are lucky to come very close to either. Does the chord have to resolve to be considered dominant? I know that's how the dominant seventh is traditionally used, but I thought "dominant" refers to the V scale degree. 108.200.48.254 ( talk) 21:03, 10 September 2012 (UTC)
As many people have pointed out, this article focuses only on some musical styles from a certain period. Music existed well before 1960, and all the harmonic devices used in Pop and Rock music were already invented. Remember WP:WEIGHT. Thus, the article must cover Classical, Jazz, and Pop/rock music, and not favour only one of them. First, I'm going to restructure the article without actually modifying the contents, then, I'll add some referenced stuff and remove OR.-- Fauban 18:23, 8 November 2012 (UTC)
Well, maybe WP:WEIGHT wasn't the exact Wikipedia policy, but I think my point was clear: The article focused almost exclusively on pop/rock music, as if they had "invented" the chord. This chord belongs to many musical styles and periods, and all must be covered equally, without favoring any of them. I think the restructuring I've done is a good thing.-- Fauban 13:43, 9 November 2012 (UTC)
I'm sorry. In an acticle about the color yellow, dark yellow shouldn't have preference over the other shades. There shouldn't be a very big section about it and then smaller ones saying that the other shades are derived from it. The page is no longer called Hendrix chord, now it's called Dominant seventh sharp ninth chord. Focusing exclusively in Hendrix's work isn't a good idea, other views should be included. I mean, if we can add referenced information saying that this chord appears in many other genres, then the article must reflect this fact (maybe I didn't say clearly that I was going to expand the article after restructuring it). I've read like 10 jazz harmony treatises, and none of them makes any reference to Jimi Hendrix, and I think jazz and classical have the same "dignity" as rock music. Cheers!-- Fauban 09:29, 10 November 2012 (UTC)
Well, I think here there's a confusion between chord and voicing. Using the narrowest definitions, if I'm not mistaken, a chord is a collection of different pitches (in this case EG#BDG), without a defined order. A voicing makes reference to the vertical arrangement and possible doublings of the notes of the chord. Thus, while usually being called a chord, the Hendrix chord should be described as a distinctive voicing of the G7#9 chord. Calling it chord would be what in math is called abuse of language; however, Hendrix and many other rock/pop musicians lack much music theory knowledge, so they tend to use inexact terminology.
Also, I'd like to ask if there's "proof" that what is called Hendrix chord is always voiced in exactly the same way. I know some gitarists that always use the same voicing for a chord (e.g. G minor has always the same voicing and inversion regardless of the existence of a more comfortable voicing following voice leading), but that doesn't make that voicing "better" over others.
Then, I'd like to point that: how many pop/rock musicians that used the G7#9 chord borrowed it from Jimi Hendrix, and how many from previous styles? The Beatles seem not to have taken it from Hendrix, thus, they didn't use the "Hendrix chord" because they might have used a different or variable voicing. If that was true for many other musicians it turns out that the Hendrix chord, described as an invariable voicing, hasn't been used by so many people. In general, a couple of treatises I have say that the "identity" of the chord comes from the pitches it contains, and that many voicings have the same general effect.
Another thing is that Wikipedia has redirects, so if somebody is looking for "Hendrix chord", he'll find it. About other chords you mention, the Elektra chord is a chord, not a voicing; while I've never agreed in the Psalms chord being a separate article (from minor chord). Thanks.-- Fauban 18:41, 15 November 2012 (UTC)
Well, as you may know, omitting the fifth of a seventh (or ninth) chord is something usual, and it's metioned in many treatises in many styles; while the doubling of the root barely deserves any mention. You won't find a separate article about a dominant seventh chord without a fifth (e.g. G B F). This voicing in particular is far from being an original Hendrix creation, I've seen it in Art Tatum's transcriptions since the 1930's, while it also appears in Gershwin's Rhapsody in Blue and Piano Concerto in F (only to give some examples).
Besides, you'll agree that we're here talking about a dominant seventh chord, but enhanced with an extra note (see the article: dominant 7th + blue note). This chord has a dominant "form", but I may be used as V or not. As you may know, since the apparition of bules music, dominant chords can also be used over other scale degrees without losing their functional identity (e.g. you can do I-IV-I-V-I all in dominant 7th chords). Thus, Hendrix wouln't be innovating by using it over scale degrees other than V.
About your alternative definitons (Hindemith, etc.), I don't have these books, but if we treat any possible pitch combination as a singular entity, there are almost infinite possibilities (if you want I can pick the calculator and do the math), and we won't be creating an article for each one. I think Wikipedia will be using the more widespread definitions. If you want, you can create articles about De Leew's theories. Besides, we're talking about an unambigously tonal context, so atonal analysis are not expected.
Apart from this, what you say about the Elektra chord being the same pitch set, it's true, but there are other things. Yes, they're the same notes, but the arrangement is very different from a normal dominant chord. Besides, in that article they're discussing its function and nature, which, unlike this chord, is much more ambiguous. The concept of any voicing and inversion retaining the original character of the original chord spaced in thirds is only partial, specially if changing the inversion. Treatisis distinguish between Ami7 and Cma6, and when voicing a full G9 chord, you can't put all the notes randomly! (first, the G and A must not be in contact, while the 4th inversion is forbidden by some theorists).
Finally, the Beatles called the chord "great ham-fisted jazz chord". Should we create a separate article with that name? Objectively speaking, It's not a secret that many rock/pop musicians and fans are completely unaware of the music composed before 1960, so when they hear something new to them, they become surprised and excited, and believe that that sound had never been used before, thus giving it a different, new name. But that's why there Wikipedia has redirects.-- Fauban 12:00, 17 November 2012 (UTC)
RhodoEn ( talk) 15:08, 17 November 2012 (UTC)
Dear Hyacinth: will you please stop editing other peoples comments? I thought Wikipedia is about writing and editing articles and reading peoples comments. If this goes on, I am out. -- RhodoEn ( talk) 10:11, 19 November 2012 (UTC)
I've consulted a leadsheet and a written piano score, and I can't see it anywehere, not even implyed. I'll remove this song.-- Fauban 14:36, 10 November 2012 (UTC)
Hyacinth, the chord does not appear in Michelle. I mean, it's very clear in "Taxman" (3rd bar), but in "Michelle" the chord is not even implyed (e.g. through blue notes, and this song isn't bluesy at all). I have the piano/organ complete songbook (I think it's the official one), and I have consulted leadsheets; and it's absolutely nowhere. There is a book with 6-7 transcriptions (The Beatles for Jazz Piano) which has this chord (or I guess so), but that's not the original harmonization at all. The reference must be alluding only "Taxman" and "the Word", and maybe later somebody else added "Michelle". Thank you. P.S. I've consulted an Amazon partial preview of the book, and there's a subchapter titled Exotic intensifiers: sharpened 9th and flattened 9th where the only mentioned song for a 7#9 chord is "Be mine".-- Fauban 15:21, 18 November 2012 (UTC)
It could be argued that "any scale can go over any chord", but that isn't really a useful approach for learning/teaching. So, what we should show here are patterns of use. The current chart is totally wrong (for example, Dorian is not an appropriate scale for a V7 chord in a minor key. I'm deleting the "Scales" box entirely, because it is so rife with errors it has the potential to mislead thousands of music students. We should come to a consensus here on the talk page, and then add something. I suggest a mainstream source, such as Jamey Aebersold, Mark Levine (musician) or something from Berklee Press. Cheers. BassHistory ( talk) 19:00, 8 January 2014 (UTC)
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Cheers.— InternetArchiveBot ( Report bug) 15:40, 8 January 2018 (UTC)
So, to me, it seem like the lead should link to topics such as the domiant, the seventh chord, the major third, the root, and enharmonic. But I don't want to upset people by being so disrespectful and ignoring process on a website that tells me to be bold a take risks. So instead of creating those links I humbly ask y'all who happen to read this before I die if I should or may add those links. See: MOS:CONTEXTLINK: "The opening sentence should provide links to the broader or more elementary topics that are important to the article's topic or place it into the context where it is notable." Hyacinth ( talk) 03:59, 9 January 2021 (UTC)
This article is tagged ridiculously with {{cleanup-rewrite|date=February 2012}}, with no reason given. It is tagged with {{missing information|broader, general context and use of the chord|date=February 2012}} whose description of improvement is that the article provide context, which is presumed for all articles. It is tagged with {{expert-subject|date=February 2012|Music|talk=Expert help/rename}} yet no alternative name for the article is suggested, nor is there any information besides "Expert help", which is redundant give the tag. As such, these tag should either be removed or should be added to so that they make sense rather than being useless. It bothers me a little that I even have to discuss the improvement of tags meant to improve the article; it seems very postmodern. Hyacinth ( talk) 04:07, 9 January 2021 (UTC)