2019年12月23日 · But nothing wrong with the major 7 as Cmaj7 is a major seven chord, i.e. it is not a b7 which implies it could be part of a minor chord, R-b3-5-b7 or part of a dominant seven chord, R-3-5-b7. Any major scale note, like the 8-9-11 would also fit.

2005年3月8日 · This is somewhat misleading Cmaj7 means C (major) - with a major 7th (maj7). C means C (major) C7 means C (major) - with a minor 7th (dominant 7th) or mixolidian mode.

2007年3月4日 · CM7 or CMaj7 is different; Maj doesn't refer to the quality of the chord but to the seventh. '7' just by itself is assumed to be dominant (minor), so C7 is understood as above, and CMaj7 is not synonymous; it's the major-major seventh chord or R-3-5-7. It's often written C(Maj7) to ameliorate this confusion.

2013年3月13日 · Question- I m relatively new to theory so please bear with me but I m a little confused by this. When someone tells you that a certain chord is for example Cmaj7, they are referring to from what I understand as the 7th note in the major scale of C. So B. Why wouldn t they just say the chord...

2008年6月13日 · Cmaj7 and C major 7 are the same thing. Here are the notes included with the intervals for the 3 type of 7ths you were talking about: C7 = C dominant 7 = C (r), E (3) , G(5), A# (b7)

2006年6月9日 · Am7/D7/Gmaj7/Cmaj7 The D triad from the second measure can be played again over the Gmaj7 (as the 5-7-9) and again over the Cmaj7 as the 9-#11-13. In this example you create tension by playing the same notes - the harmony continues to move even though you do not. Where does it resolve? Next four measures: F#m7b5/B7/Em/Em

2020年4月25日 · Well, yes, but then wouldn't you favor C6 arpeggio or C9 or even C13 over Cmaj7? As I understand it, C9 and C13 are extended dominant seventh chords (with an added 9 and an added 9, 11 and 13 respectively) and would not quite fit over a Cmaj7 chord (though that's mainly the seventh's fault)...

2020年6月2日 · B7 and F7 are not Maj7 chords so what I posted wouldn't apply. Then there is also the concept of the passing tone. I apologize for misunderstanding. I thought you meant CMaj, not CMaj7. If the composer has specified CMaj7 then in that case you are right to play B natural instead of B flat.

2002年3月16日 · Learning that your example is a jazz-style backing track makes a lot of sense. Secondary dominants are very common in the jazz style. If you want to take this concept to the next logical step, try changing Dmin7 to D7, so the progression goes like this: D7 - G7 - CMaj7 - …

2005年5月23日 · |Cmaj7 Dm7|Em7(b5) A7|Dm7|G7| that way, the Em7(b5) A7 is a true resolution to Dmin (and you can the use the D harmonic minor over the entire E-7 A7) - but the trouble arises when the D-7 chord is thought of as a II chord in CMajor - again, it depends on when the rest of the band decides to change key (or, said better, select voicings that ...