Return to table of contents.

The C9-5 and +5 in 4 String Inversions



Right about now you should be saying to yourself "these things look the same as the altered sevenths." In terms of fingerings, they are. In terms of actual notes and contexts they are not. That’s symmetric harmony at work.

It’s why these chords, standing alone, are harmonically equivocal, and do not develop strong cadential qualities without a pre-existing tonal center of gravity. Again I wish to cite the work of Ted Dunbar for the light he sheds on this notion in his excellent book on Tonal Convergence. Buy them! Were it not for his blessed labor and that of the late Harry Leahy for systematizing, none of what you read now would be here. However, anything you find inadequate about this presentation is certainly my failure to completely embody their brilliant elucidations.

Again look for simplifications. Time and money allowing, I will continue to expand this. However, bearing in mind the original priciple of heueristics, write things down on paper and work things out for yourself so that you make your own discoveries and discover your own voice.

Among other things, the C9+5 also functions as a E7-5, D9-5, and any possible root derived from the parent whole tone scale.

One skeleton key to developing insights into this material is they work by dynamic tension of principles of inclusion/exclusion. By excluding certain notes from the theoretical complete spelling of the chord, the voicing become capable of being included for cadencing other keys. Go figure. My fingers are itchy. Nobody’s paying me to do this, so I’m going to practice for a while. Writing this material down causes one to redefine it on the instrument and consistently return to it anew.
E-D-G-B
[E] [A] [D] [G] [B] [E]
* * * * * *
F# * E * * *
* * * Bb D *
* * F# * * *
* * * * E *
Bb * * * * *
* * * D F# *
* * Bb * * *
* * * E * *
D * * * * *
* * * F# Bb *
E * D * * *
D-G-B-E
[E] [A] [D] [G] [B] [E]
* * * * * *
* * E * * F#
* * * Bb D *
* * F# * * *
* * * * E *
* * * * * Bb
* * * D F# *
* * Bb * * *
* * * E * *
* * * * * D
* * * F# Bb *
* * D * * E
A-D-G-B
[E] [A] [D] [G] [B] [E]
* * * * * *
* * * * * *
* * * Bb * *
* * F# * * *
* D * * E *
* * * * * *
* E * D F# *
* * Bb * * *
* F# * E * *
* * * * * *
* * * * Bb *
* * D * * *
A-G-B-E
[E] [A] [D] [G] [B] [E]
* * * * * *
* * * * * F#
* * * Bb * *
* * * * * *
* D * * E *
* * * * * Bb
* E * D F# *
* * * * * *
* F# * E * *
* * * * * D
* * * * Bb *
* * * * * *
E-A-D-G
[E] [A] [D] [G] [B] [E]
* * * * * *
F# * E * * *
* * * Bb * *
* * F# * * *
* D * * * *
Bb * * * * *
* E * D * *
* * Bb * * *
* F# * E * *
D * * * * *
* * * * * *
* * * * * *


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]
* * * * * *
* * E * * *
* * * Bb D *
G# * * * * *
* * * * E *
Bb * G# * * *
* * * D * *
* * Bb * * *
* * * E G# *
D * * * * *
* * * * * *
* * * * * *
C7+5 D-G-B-E
[E] [A] [D] [G] [B] [E]
* * * * * *
* * E * * *
* * * Bb D *
* * * * * G#
* * * * E *
* * G# * * Bb
* * * D * *
* * Bb * * *
* * * E G# *
* * * * * D
* * * * * *
* * * * * *
C7+5A-D-G-B
[E] [A] [D] [G] [B] [E]
* Bb * G# * *
* * E * * *
* * * Bb D *
* * * * * *
* D * * E *
* * G# * * *
* E * D * *
* * Bb * * *
* * * E G# *
* * * * * *
* G# * * Bb *
* * D * * *
C9+5 A-G-B-E
[E] [A] [D] [G] [B] [E]
* * * * * *
* * * * * *
* * * Bb * *
* * * * * G#
* D * * E *
* * * * * Bb
* E * D * *
* * * * * *
* * * E G# *
* * * * * D
* G# * * Bb *
* * * * * *
E-A-D-G
[E] [A] [D] [G] [B] [E]
* * * * * *
* * E * * *
* * * Bb * *
G# * * * * *
* D * * * *
Bb * Ab * * *
* E * D * *
* * Bb * * *
* * * E * *
D * * * * *
* 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.

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.