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The C7-5 and +5 in 4 String Inversions



One of the characteristics of the dominant seventh chords is that they prove so amenable to alterations that provide lush sounds. Flatting and raising the fifth intervals is at this point such a clichéd part of the jazz song repertoire that one may wish to employ them with caution only because they can start to sound very "cheesy."

Nevertheless, they are a valuable set of additions to your vocabulary, and should not be rejected out of hand.

We will also find that raising and/or lowering the fifth interval can be a very powerful means of enriching the higher partials of a root’s harmony.

Raising and lowering the fifth interval connects a chord with the more exotic synthetic modes, and allow the composer/arranger very interesting unexplored harmonic territories.

It should also be noted that the flatted fifth is synonymous with the raised eleventh interval. The distinction in terminology is frequently an artificial one, but when employed properly will indicate that the +11 interval is to be used in conjunction with the ninth and/or thirteenth interval.
E-D-G-B
[E] [A] [D] [G] [B] [E]
* * * * C *
F# * E * * *
* * * Bb * *
* * F# * * *
* * * C E *
Bb * * * * *
* * * * F# *
C * Bb * * *
* * * E * *
* * C * * *
* * * F# Bb *
E * * * * *
D-G-B-E
[E] [A] [D] [G] [B] [E]
* * * * C *
* * E * * F#
* * * Bb * *
* * F# * * *
* * * C E *
* * * * * Bb
* * * * F# *
* * Bb * * C
* * * E * *
* * C * * *
* * * F# Bb *
* * * * * E
A-D-G-B
[E] [A] [D] [G] [B] [E]
* * * * * *
* * * * * *
* C * Bb * *
* * F# * * *
* * * C E *
* * * * * *
* E * * F# *
* * Bb * * *
* F# * E * *
* * C * * *
* * * * Bb *
* * * * * *
A-G-B-E
[E] [A] [D] [G] [B] [E]
* * * * * *
* * * * * F#
* C * Bb * *
* * * * * *
* * * C E *
* * * * * Bb
* E * * F# *
* * * * * C
* F# * E * *
* * * * * *
* * * * Bb *
* * * * * *
E-A-D-G
[E] [A] [D] [G] [B] [E]
* * * * * *
F# * E * * *
* C * Bb * *
* * F# * * *
* * * C * *
Bb * * * * *
* E * * * *
C * Bb * * *
* F# * E * *
* * * * * *
* * * * * *
* * * * * *


Next we look at the augmented fifths. Again also seek out your sense of patterns. They are all over the place.

If we cross reference these 7-5 chords with the whole tone scale we will see why. They can be viewed as having a derivation from that parent scale which has the capabilityof resolving into any of six possible tonal centers.

For keyboard analysis to arrive at the identical conclusion requires the unspeakable tedium of writing everything out in note form and finding the compellng conclusion that is intuitively and visually clear to the guitarist. (A task fit for the followers of the Marquis de Sade)

Thus in keyboard analysis of jazz, there is something called the "tritone substitution." All this means is that an F#7-5 can be substituted for a C7-5, among others. But if we look at that first example, when we flatted the G to an F#, the F# ended up being in the bass, and acts as a functional root. So it’s the SAME NOTES. And in the end, it resolves wonderfully to an Fma7. However, it also resolves just as well to a Bma7, as soon as your ear adjusts to the change of tonal center. Again the principle of symmetric harmony.

In the next two tables, I do the same with the +5. That's a little more problematic. If I ever get a publishing contract and any kind of pay for doing this, perhaps I will elaborate, but for now, my fingers are starting to get itchy. Suffice it to say, see how they resolve to F major and then try the B major, D major and G# tonal centers. Not everything will work equally despite what one might surmise from conclusions you draw on paper.

In keeping with centuries of pedagogical tradition, I leave it to the ambitious student to work out and execute these alterations on the remaining four voice forms. Me? I get so many ideas just putting these bare bones on paper, I'm going to go get some of them under my hands.
C7+5
[E] [A] [D] [G] [B] [E]
* * * * C *
* * E * * *
* * * Bb * *
G# * * * * *
* * * C E *
Bb * G# * * *
* * * * * *
C * Bb * * *
* * * E G# *
* * * * * *
* * * * * *
* * * * * *
C7+5 D-G-B-E
[E] [A] [D] [G] [B] [E]
* * * * C *
* * E * * *
* * * Bb * *
* * * * * G#
* * * C E *
* * G# * * Bb
* * * * * *
* * Bb * * C
* * * E G# *
* * * * * *
* * * * * *
* * * * * *
C7+5A-D-G-B
[E] [A] [D] [G] [B] [E]
* Bb * G# C *
* * E * * *
* C * Bb * *
* * * * * *
* * * C E *
* * G# * * *
* E * * * *
* * Bb * * *
* * * E G# *
* * C * * *
* G# * * Bb *
* * * * * *
C7+5A-G-B-E
[E] [A] [D] [G] [B] [E]
* * * * * *
* * * * * *
* C * Bb * *
* * * * * G#
* * * C E *
* * * * * Bb
* E * * * *
* * * * * C
* * * E G# *
* * * * * *
* G# * * Bb *
* * * * * *
E-A-D-G
[E] [A] [D] [G] [B] [E]
* * * * * *
* * E * * *
* C * Bb * *
G# * * * * *
* * * C * *
Bb * G# * * *
* E * * * *
C * Bb * * *
* * * E * *
* * * * * *
* G# * * * *
* * * * * *
If you find yourself doing a double take on the +5 chords on the A-D-G-B group, the third table, middle strings, welcome to the club. Very interesting the way the chords seem to jigsaw. It’s accurate if you check the analysis. I was scratching my head a little on these. Turns out they’re rich and intriguing. The colors are a code to the voicings, strange as some of them look. The visual symmetries and patternings are humbling indeed.

Please also note again that since the tables only extend to twelve frets, I have elided some forms. You can figure those out yourself. I admit it about myself again. Bad author. Very naughty, bad, broke author! I promise if I ever make any for this work, I'll fix it. Send contributions. Return to table of contents.
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