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I'm putting together a weird little piece that I hear as a funk/jazz jam. It hangs on one chord for most of the body of the piece. The chord (right now) is a C7#9 which is just about the funkiest chord I can come up with. I might transpose, but for all purposes right now, that's the chord...a 7#9
I'm looking for a chord to break it up for a brief period...something that leads away and then resolves (if that word is even applicable) back the the C7#9. Two chords might work if they (together) perform the same function. More than two will not work. Melody is not an issue at present.
I don't know what key it's in either. It's possible that that the "resolution" may happen more the other way--from the C7#9 to a Root chord (or variant) in some mode or another.
I'm kind of at a loss to decide whether it needs to be something close or whether they need to be further apart, and my jazz theory is woeful. So I thought I might ask some of you jazz-heads for a few promising possibilities.
Graci.
Last edited by Tangmo; 12/26/20 05:13 PM.
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From a jazz perspective, the #9 is just a color tone. So the C7#9 functions as a C7 chord.
If you're looking for something that leads away from the C7, the most obvious chord would be a F, as that's your typical circle of 5ths progression.
If you want something to lead back, the circle of 5ths would suggest a G7 chord of some flavor.
That having been said, you don't really have a tonality in mind (you don't know what the function of the C7#9 is), or any particular plan other than a vamp. So it's a bit hard to suggest what direction you should take this one-chord song.
Does it really matter what chord you choose, as long as you move away from the C7#9 and then back to it?
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I agree with everything David said; alternatively you could try it with a half step lift which is a simple way to create tension. So in your example it'd be C#7#9. This can also be seen as a substitution for a G7.
Cheers, Uwe
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I also agree with both posts above. If you want a 'few promising possibilities', that's easy here. The possibilities are endless.
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written from a guitar players perspective 7#9 is THE funk chord. First among all funk chords. Many songs go on for minutes with only that chord and variations Perhaps just tweaking that chord will give you what you want. If you're looking for ways to embellish consider the common guitar construction of the chord. strings 5-4-3-2 in key of c notes will be c/e/Bb/Eb on the 3rd fret. An easy chord to play and a necessary shape in your book. Slide into the chord from 1/2 (fret) above or below on the and of 4. Remember the gospel of the 1 in funk. Its the only commandment. You can also vary the #9 moving to a natural 9 easily in the above form. same timing. Solid hit on the 1. A another chord that goes excellent with a vamp like this is built on strings 4-3-2-1 e/Bb/d/G with the e on second fret and the other 3 on fret 3. This is a chord you will hear all over james browns stuff as the first one above is. again the slide into the chord from a fret above or below is sweet. This chord you can also add the high a and or high e both found on the 5th fret strings 1 and 2. On can argue 6 vs 13th and what not but basically its just another voicing of a dominant 7 chord. Guitars often play chords with incomplete voicings especially those using the upper partials. Its just way the thing is put together. Point is, play it solid and the funk will come alive in you! Lastly check out Justin's Guitar Site on the web. He has a ton of funk ideas and lessons. https://www.youtube.com/watch?v=mF_LazDrYxQIf you don't play guitar I guess this won't help at all.
Last edited by mrgeeze; 12/27/20 10:24 AM.
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Thanks all. I've settled on an F9 and a G7+ to keep the D# in play as much as the RT's will. Still working on it, but it's making me smile now.
mrgeeze, I'm more of a guitar user than player, but you did help quite a bit. It's also nice to know my funk detector is working properly.
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