More details of this interval are at D-perf-5th. To do this, the first column we used in this step, F, will be moved to the final column of the table. In place of the a-d symbols above, figured bass symbols could be used to indicate chord positions after i: So in this key, i7 refers to the C minor 7th chord in root position. More details of this interval are at E-perf-5th. Now look at the complete Note interval table, and identify the note interval that has a distance of 3 half-tones (first column), and with an interval no. And so the complete 7th chord Name prefixes the root note, D, onto this quality, giving us the D dom 7 chord. The C dorian chord viø7 is the A half-dim7 chord, and contains the notes A, C, Eb, and G. This submediant 7th chords root / starting note is the 6th note (or scale degree) of the C dorian mode. Again the 7th note / scale degree, the distance between Eb and D is 11 half-tones, and the note interval name is major (M7). The roman numeral for number 4 is 'IV', and is used to indicate this is the 4th chord in the mode. More details of this interval are at Eb-maj-7th. To do this, the first column we used in this step, F, will be moved to the final column of the table. Still feel like those minor chords are “freeing,” like you can “play anything” over them and “explore?”. The C dorian chord ii7 is the D min 7 chord, and contains the notes D, F, A, and C. This supertonic 7th chords root / starting note is the 2nd note (or scale degree) of the C dorian mode. Instead, i could be followed by the letter b to indicate that it is C minor 7th chord in 1st inversion - C dorian mode chord ib. The next step will need to calculate the 7th chord whose root / starting note is next mode note. And so the complete 7th chord Name prefixes the root note, C, onto this quality, giving us the C maj 7 chord. For 7th chord inversions, VII65 refers to the G major 7th chord in 1st inversion, VII43 refers to the G major 7th chord in 2nd inversion, and VII2 refers to the G major 7th chord in 3rd inversion. They’re all over the place. In fact, John Coltrane must have felt this way too, because he used Impressions as a vehicle of exploration, time and time again throughout his career. The chord symbol III could be followed by the letter a to indicate that it is Eb major 7th chord in root position (ie not inverted) - C dorian mode chord IIIa. The white keys are named using the alphabetic letters A, B, C, D, E, F, and G, which is a pattern that repeats up the piano keyboard. • How to quickly describe a variety of fundamental modes and harmonic contexts (Dorian, Lydian, Mixolydian and altered-dominant) wherever you are on the fretboard. There was a problem. The dorian chord VII7 is the C maj 7 chord, and contains the notes C, E, G, and B. There are no definite “must-do” rules or requirements, only what sounds “good” to the composer and/or listener. Instead, i could be followed by the letter b to indicate that it is D minor 7th chord in 1st inversion - dorian mode chord ib. In the 3rd and 4th bars of Rhythm Changes, people often play a iii VI ii V: If you listen closely to this recording of Bird playing Kim, you can hear the root movement: This is a minor chord functioning as a iii chord. Repeating this for the 5th note / scale degree, the distance between A and Eb is 6 half-tones, and the note interval name is diminished (d5). Looking at the Seventh chord table, the name of the 7th chord quality having major(M3), perfect(P5) and minor(m7) note intervals is dominant 7th. For 7th chord inversions, VII65 refers to the Bb major 7th chord in 1st inversion, VII43 refers to the Bb major 7th chord in 2nd inversion, and VII2 refers to the Bb major 7th chord in 3rd inversion. A minor chord functions as the tonic chord when it is the key of the tune. The most common way we’re used to encountering minor chords is as a ii chord, for example, in a ii V I progression. Looking at the Seventh chord table, the name of the 7th chord quality having major(M3), perfect(P5) and major(M7) note intervals is major 7th. More details of this interval are at F#-dim-5th. The roman numeral for number 7 is 'VII', and is used to indicate this is the 7th chord in the mode. A simple way to do this is to always study chords from the root ALL the way up to the 13th. To identify the 7th chord note names, use the 1st, 3rd, 5th and 7th columns / scale degrees, which are notes D, F#, A, and C. For the 3rd interval (note 2 on the diagram) the distance between D and F# is 4 half-tones. The roman numeral for number 3 is 'III', and is used to indicate this is the 3rd chord in the mode. For the 3rd interval (note 2 on the diagram) the distance between B and D is 3 half-tones. If you choose to draw from a scale that does not accurately express the sound, and don’t know how to compensate for this, things won’t sound right. Without going into these chords too much because that’s a whole other lesson, you can quickly see why jazz theory says that the Phrygian scale fits this chord as well as the iii minor. Looking at the Seventh chord table, the name of the 7th chord quality having major(M3), perfect(P5) and minor(m7) note intervals is dominant 7th. Looking at the Seventh chord table, the name of the 7th chord quality having minor(m3), diminished(d5) and minor(m7) note intervals is half-diminished 7th. Repeating this for the 5th note / scale degree, the distance between C and G is 7 half-tones, and the note interval name is perfect (P5). For the 3rd interval (note 2 on the diagram) the distance between D and F is 3 half-tones. This completes the set of all 7th chords that harmonize with the A dorian mode. This step shows how to identify the notes and the name of a 7th chord whose root note is the, A half-diminished 7th chord in root position, A half-diminished 7th chord in 1st inversion, A half-diminished 7th chord in 2nd inversion, A half-diminished 7th chord in 3rd inversion. Depending upon the way the minor chord functions, various upper structure chord-tones (9 or b9, 11, 13 or b13) will sound more or less consonant or dissonant. Here’s a checklist for you to quickly get a grip on minor chords…. Even though this major 7th on a minor chord is theoretically from the Melodic Minor Scale, when you use the major 7th like this, you don’t even need to think of a separate scale (more on this later)…. More details of this interval are at B-dim-5th. The Lesson steps then explain the 7th chord construction from this mode, and how to name the quality of each chord based on note intervals. And so the complete 7th chord Name prefixes the root note, A, onto this quality, giving us the A min 7 chord. And there’s a lot to retain from today’s lesson…. Now, keep Impressions in mind, but now I want you to fast-forward in your memory to improvising over a tune like Rhythm Changes or All The Things You Are…, And specifically, think about the minor chords sprinkled throughout these tunes. Letter c could be used to indicate that it is F dominant 7th chord in 2nd inversion - C dorian mode chord IVc. Do you know? The A dorian chord viø7 is the F# half-dim7 chord, and contains the notes F#, A, C, and E. This submediant 7th chords root / starting note is the 6th note (or scale degree) of the A dorian mode. For example, let’s take a look at E minor functioning as a ii, iii, or vi chord: Now before you dismiss this as obvious or dumb, because it is very obvious, just think about it for a second. It is in lower case to denote that the chord is a minor chord. Getting minor under your fingers and in your mind, learning the notes from Dorian in all keys, and doing away with the shortcut so you just know the notes for every minor chord is an absolute must.

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