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

Lydian and Major Pentatonic skin scales, the Major in 7th place chord remains one of those paradoxical mysteries of music. Some audience members love the ‘timeless eternal wow! woul (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, such as Latin jazz, or slow, such as the signature song by the Carpenters, ‘Close to You’.

For me, personally, the Major in 7th place chord states a kind of wistful a solution to human potential, human dreams. The truth is, we find here an advanced form of music well suited to our fast-evolving lifestyles.

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

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 Suv 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 become 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 that which he sacrificed to create. In our often busy world, we’d like his zen-like simplicity and slow cadence more than we might realize. Satie wrote his most famous work in 1888, but still he was relatively unknown so that the early 1960’s.

Boldly utilizing the Major in 7th place chord, Satie was a real strange. One might compare his personality to the great but confusing painter, Vincent Suv Gogh. The mind of Satie was always searching for solace, 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 instinctively 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 got their start in Africa. During the 1920’s Marabi music from South Africa was becoming popular in urban United states. This new music featured syncopated rhythms and an almost constant in 7th place played high above the major chords of each song. This rep 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 safe place for Marabi songwriters, who even wrote songs about the city itself. Brazilian bossa nova and Cuban samba borrowed from these new melodic efforts. Soon Havana was becoming a hotspot for the stressful nightlife that followed this fresh tone.

In the 1930’s, composers in United states 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 unconventional 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 tension to produce 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 1950’s the Major chords and superior 7ths returned with their bold and brassy talent. The theme song for ‘Bonanza’ reproduced 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 in history to sell over one million copies of page 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 Johnny Canals, to the exotic, jazzy ‘Copacabana’ of Barry Manilow, these songs expressed a range of human feelings 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 Gary 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 flow.

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 never have 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 spring up in some new and futuristic form. The 1999 hit, ‘You Get What you Give’, by the New Radicals, is one 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 may well be that soon the bittersweet quality of the Major in 7th place chord will be back in like, 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!

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