![]() You may be tempted to call such a chord a minor chord with a ♭11, but ♭11 is not used because it is the major third of a chord.īoth alterations of 5 and 9 may occur simultaneously (☙/±5). The ♯9 is often spelled enharmonically on the staff as ♭10 for ease of reading therefore, a dominant seventh chord with a ♯9 will appear to have both a major and minor 3rd (C–E–G–B♭–E♭). The Deceptive Cadence with ♭\(\left.\text\right.\)5 or –5) and can be respelled enharmonically (the ♯5 of a C7♯5 could be written as an A♭ instead of G♯) for ease of reading because the chromatic spelling agrees with B♭ (the 7th of the chord)-it is easier to read a chord where the accidentals agree (all sharps or all flats).ĩth may be raised or lowered (♯9 or ♭9, which can also be written in the lead-sheet symbol as +9 or –9).Harmonization of Borrowed Scale Degrees.Secondary Diminished Chords in Major and Minor.Irregular Resolutions of Secondary Chords.The Subtonic VII Chord in Popular Music.Exceptions Created by Harmonic Sequences.Shorter Progressions from the Circle of Fifths.9 Harmonic Progression and Harmonic Function.Roman Numerals of Diatonic Seventh Chords. ![]() How to Write Perfect, Major, and Minor Intervals.How to Identify Perfect, Major, and Minor Intervals. ![]()
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