What’s Your favorite Chord? : Mine’s the Versatile Major Seventh

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Lydian and Major Pentatonic weighing machines, the Major in 7th place chord remains one of those paradoxical mysteries of music. Some audience members love the ‘timeless endless wow! a (my definition), that is evoked by slowly strumming these chords on the guitar. Some say this original sound makes them feel somewhat sad and disoriented. Others experience liberation when hearing these chords played fast, like for example Latin jazz, or slow, like for example the signature song by the Carpenters, ‘Close to You’.

For me, personally, the Major in 7th place chord communicates a kind of wistful a cure for human potential, human dreams. The truth is, we find here today’s form of music well suited to your fast-evolving lifestyles 안전놀이터.

Here are four generations of composers and arrangers responsible for the distinct impact of this subtle sound, so you can better understand your music.

1890 TO 1920. First of all, the of this chord takes us to scenes of make fun of and scorn, this being added upon young composers such as DeBussey, Satie and Ravel.

Eric Satie’s : music’s Vehicle Gogh…. Music schools in the late nineteenth century are not kind to free thinkers and aficionados of ‘African music’. The bombast worthy of war and walking in line bands had full control. Music degrees were rejected to those who dared to stray into new, exotic sounds or rhythms. Erik Satie, today famous for his introspective ‘Trois Gymnopedies’ (especially The Colours of Autumn), sipped himself to death. Teachers and music critics described him as useless’ and worse, ‘untalented’. One only has to hear his tranquil compositions to realize which he had to cloak himself in his music to retain any sanity. Now we, the rapt audience members, can enjoy the result of whatever he sacrificed to create. In our often busy world, we’d like his zen-like simplicity and slow cadence more than we would realize. Satie wrote his most famous work in 1888, but still he was relatively unknown before early 1960’s.

Plainly utilizing the Major in 7th place chord, Satie was an honest odd. One might compare his personality to the great but confusing electrician, Vincent Vehicle Gogh. The mind of Satie was always searching for peace, which he found while composing his calm songs. Though it is true his works have been classed by some as ‘bland’ and ‘early elevator music’, Satie naturally knew that the modern mind needed some music therapy. He clung to his songs, even though this owned him to becoming reclusive. 1920 TO 1950.

Another source of the emergence of the Major in 7th place Chord originated in Photography equipment. During the 1920’s Marabi music from South Photography equipment was becoming popular in urban The us. This new music featured syncopated rhythms and an almost constant in 7th place played high above the major chords of each song. This duplication bored some audience members, but those who truly tried to understand it became hypnotized by the subtle changes and subtleties of sound.

Egoli, the Zulu name for Johannesburg, became a cultural dreamland for Marabi songwriters, who even wrote songs about the city itself. Brazilian bossa nova and Cuban samba borrowed from these new melodic projects. Soon Havana was becoming a hotspot for the rapid nightlife that complemented this fresh tone.

In the 1930’s, composers in The us started using the Major in 7th place to introduce slow songs, such as Tara’s Theme in the movie Gone with the Wind, as well as Over the Rainbow, in the Magician of Oz.

Stravinsky’s Major in 7th place causes Riot : In 1944, the great Igor Stravinsky became the subject ‘of a police incident’, this due to his unusual arrangement of the Star Spangled Banner. He introduced a major in 7th place into the anthem and this caused some consternation in the crowd, enough worry to create a riot.

Ella Fitzgerald, with her interpretation of Misty, was far more successful in winning fan support for her novel vocalism. 1950 TO 1980. During the fifties the Major chords and dominating 7ths returned with their bold and brassy pizzazz. The theme song for ‘Bonanza’ shown this swing to a more conventional, more joyful type of sound. The theme for ‘Gunsmoke’, however, still incorporated the mysterious Major in 7th place to a small degree.

Back to the 1890’s for a moment, Scott Joplin could weave similar themes in songs such as ‘The Maple Leaf Rag’, which was actually the first song ever sold to sell over one million copies of piece music! The 1960’s was a heavy decade for major in 7th place usage, with “Baby Baby’ by the Miracles, ‘California Dreamin’, by the Mamas and Papas, to call just a few songs. From the plaintive’Poor Side of Town’ delivered by Arthur Streams, to the exotic, jazzy ‘Copacabana’ of Barry Manilow, these songs expressed a range of human passion that found a ready audience.

A breakthrough tune for Jerry and the Pacemakers was their iconic ‘Don’t Allow the Sun Catch You Crying’, with an interesting climb that led to a stellar crescendo.

During the 1970’s the Major in 7th place chord was still in vogue, with Bacarach’s ‘Close to You’, as previously mentioned and well sung by the Carpenters, the theme from ‘Rocky’, songs by America, the Eagles and Steely John. Even the existential hit, ‘Hotel California’, had a small but perfect role for that special chord, almost hidden in the guitar introduction.

The 1960’s chromatic trick using D Major to D Major in 7th place to D7 to F Major was now more refined and smooth. Some songs were actually more simple, such as ‘Horse with no Name’, which could be played almost entirely using just two Major in 7th place chords and a slow, undulating Moroccan beat.

The rock ballad classic, ‘Stairway to Heaven’ was loaded up with beautiful Major 7th’s and played out perfectly on the electric 12-string guitar by Jimmy Page of Led Zeppelin. The interplay between minor, major and major 7ths in this song is actually amazing and it is no wonder millions are still entranced by it.

1980 TO 2010. The previous couple of decades have never seen a heavy demand for the Major in 7th place chord. Perhaps it ran it out of heavy steam or is just resting, waiting to sprout in some new and futuristic form. The 1999 hit, ‘You Get What you Give’, by the New Radicals, is an example of this.

The Afro-Celt Speakers, a wonderful band formed by Peter Gabriel, still keeps that sound alive. Their use of the ‘talking drum’ is very cool!

Well, there it is, about 120 years of musical innovation. Journey through history and listen to Satie, Marabi, Manilow and the New Radicals, just to gain an audio sense for this great chord. It will be that soon the bittersweet quality of the Major in 7th place chord will be back in favor, but if not, the ‘sound of forever’ will still have helped us humans to slow down and reflect on life for a while. Now, I’ll pick up my guitar and slowly strum E Major, then the Major in 7th place. Groovy!