Hello to everyone. As a relative beginner with bebop, I have a question about the C7+9 chord. Seems like a straightforward augmented 9th, however Jamey Aebersold says that this also implies an augmented 5th. Is this correct? J.A. advises what he calls the diminished whole-tone scale, i.e.,
C, Db, Eb, E, Gb, Ab, Bb, C. Obviously this differs from the whole-step/half-step (aka diminished) scale. What would be the best piano voicing for this either way, with or without the augmented 5th (I am not a pianist). Any advice on this would be appreciated.
Not sure i get that, either.
I wouldn't choose Ab in that unless it was a V chord in the key of F...what we used to call "C7 and friends", which basically includes all the black keys in a C7 (but has nothing to do with voicings).
I'm sure you'll get a better answer than this, though.
I think depending on what context the C7#9 appears, it can be applied different scales.
Following strictly the chord symbol, it contains the notes c, e, bb, and d#.
C7#9 played in a Blues context could take the blues-scale.
C7#9 as a regular dominant or secondary dominant chord could take either the altered scale (=MM7) or the Halftone-Whole tone scale.
I'm not a pianist either, but the simplest (rootless) voicing for C7alt would be E-Bb-D#
Here's some more options (from Mark Levine's Jazz Theory Book);
C-Bb in left hand, E-G#-D# in right hand
C-E in left hand, D#-G#-Bb in right hand
C-E in left hand, Bb-D#-G# in right hand
Altered dom7s - often written simply as "7alt" - are common V chords in minor keys. So C7#9 would most often be found (in jazz at least) going to Fm.
This is quite different from their usage in rock and blues as the "Hendrix" chord, where they are a blues tonic (I chord), and imply a perfect 5th.
C Db Eb E F# Ab Bb would be an altered scale (also known as 'superlocrian'). The diminished scale has a major 6th and a perfect 5th instead of the sharp 5, so it goes C Db Eb E F# G A Bb. If the chord has a sharp 5 or flat 5 you'd probably play the first scale (between those two). If it's a perfect 5th, you're more likely to play the second. If there's no piano player or guitarist comping behind, you can choose I guess.
Typical left hand voicing for C7#9 would be E Bb D#. There's no fifth there - you can add an Ab or an A between the E and Bb, depending on whether the fifth is 'altered'. I think the voicing sounds great without a fifth as well though.
Thanks to everyone who responded; every comment was very helpful
dont forget ..the blues scale works well over a dominant sharp nine pitch set.
Swing ..or I'll kill you ( Bill Potts )
May be because the #5 would give the support of a P5 to the b9 in a voicing and eliminate one of the tritones rendering the chord more stable sounding.
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