Dominant seventh sharp ninth chord

There are two main ways to spell the chord, depending on the musical style, kind of musical notation (score or chord symbols), and personal taste. One consists of a dominant seventh chord with an added minor third placed one or more octaves over the major third (a minor tenth); the other, more common, consists of a dominant seventh chord with an added augmented ninth. The former can be written in popular chord symbol notation systems as 710 and the latter as 79. Writing it as 710 is unorthodox but it is in use in some contexts. Sometimes, in a publication that includes both traditionally notated music and chord symbols, the music is notated with both a natural and a flattened third, while the chord symbol has the sharpened ninth. Other more uncommon notations and names include major/minor or 7 (add min 3). Kenn Stephenson says that in rock music the sharp ninth spelling is much more prevalent than the split third version. ==Nature of the chord==

The 79 is an altered chord, and it is one option when seeing the chord symbol 7alt. It is functionally a dominant chord and thus "wants" to resolve to the tonic in diatonic harmony. Stuart Isacoff has called the chord "funky" or "bluesy" because of the tension "generated between the major third and the augmented ninth"; rather than bluesy. Eric Starr says, "the sharp nine tends to be edgier, bluesier, and meaner sounding [than the flat nine]." In jazz, 79 chords, along with 79 chords, are often employed as the dominant chord in a minor ii–V–I turnaround. For example, a ii–V–I in C minor could be played as: Dm75 – G79 – Cm7. The 79 represents a major divergence from the world of tertian chord theory, where chords are stacks of major and minor thirds. The 79 does not satisfy that definition, as the interval between the minor seventh and augmented ninth is an augmented third. The same also pertains to the rarer M79, where the interval between the major seventh and minor ninth is a diminished third. Rather than fully allow the inclusion of diminished and augmented thirds into the theory, a typical solution in jazz is to define chords as stacks of chordal degrees, where each degree has some range of selection from which to take its note or notes. Thus, for example, the ninth is available in flat, natural, sharp, and flat-and-sharp "alt" styles. ==History==

Classical . (Incidentally, the editor has helpfully put a courtesy accidental on the tenor's G natural. See also musica ficta.) The English cadence is a distinctive contrapuntal pattern particular to the authentic or perfect cadence described as archaic or old-fashioned sounding. This pattern was primarily used by English composers of the High Renaissance and Restoration periods. The hallmark of this device is the dissonant augmented octave (compound augmented unison) produced by a false relation between the split seventh scale degree. The English cadence is a type of full close featuring the blue seventh against the dominant chord which in C would be B and G-B-D. The dominant 79 chord appears in impressionist classical music. An example can be heard in Claude Debussy's Feuilles Mortes, from his second book of Préludes (1913). There, the unresolved, dissonant ninth chords (at least a "C7" with a "split third" and "added minor ninth") help create, according to Richard Bass, an "utterly sad, desolate character" throughout the piece. This chord can also be found in serial music. For example, the Elektronische Musik vom Freitag aus Licht (1991–94) by Karlheinz Stockhausen, from an opera composed using formula technique, concludes on this chord. Jazz and blues The dominant 79 chord is usually found in blues contexts because in a blues scale a minor third (blue note) in the melody is usually played against a dominant seventh chord. The third of the dominant chord is the seventh degree of the scale. The chord was used in popular music as far back as the bebop era of the 1940s, and it appears with some regularity in blues and rhythm-and-blues of the 1950s and 1960s. Pop and rock Hendrix chord While this sonority has been previously used in jazz and related styles, one particular voicing of this chord is commonly called the "Hendrix Chord" by rock guitarists. This is because it was a favorite of Jimi Hendrix, who did a great deal to popularize its use in mainstream rock music. both on his 1967 album Are You Experienced?. When performing "Voodoo Child (Slight Return)" live, Hendrix later used not only E79, the sharpened ninth chord on the tonic, but also D79 and C79 chords, the subtonic and submediant. It was also used more prominently by the Beatles in songs such as "The Word" and "Taxman". McCartney called this a "great ham-fisted jazz chord" that was taught to them by Jim Gretty, who worked at Hessey's music shop in Whitechapel, central Liverpool. George Harrison uses it as the penultimate chord of his solo on "Till There Was You". and more prominently in "Shine On You Crazy Diamond", both before and after the final guitar solo, before the vocals come in. The chord is favored by Pixies lead guitarist Joey Santiago, with D79, reminiscent of the opening to "A Hard Day's Night", opening and being called the "secret ingredient" of the song "Here Comes Your Man". A "brutally scraped" F79 features in the chorus of "Tame" against the three chord rhythm guitar part's D, C, and F chords. Use as a primary or tonic chord in funk and disco of the 1970s includes Heatwave's "Boogie Nights". Johnny Winter referred to it as the "Hold It" chord after the Bill Doggett song. This was also a name used by John Scofield. ==Notes==