Markov additive process: Difference between revisions

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{{Infobox chord|
chord_name=augmented major seventh chord|
first_interval=[[Root (chord)|root]]|
second_interval=[[major third]]|
third_interval=[[augmented fifth]]|
fourth_interval=[[major seventh]]|
forte_number=4-19|
complement=8-19
}}
 
[[File:Augmented major seventh chord on C.png|thumb|right|Augmented major seventh chord on C {{Audio|Augmented major seventh chord on C.mid|play}}.]]
[[File:III+7M chord in C minor.png|thumb|right|III+<math>_M^7</math> chord in C [[Minor scale#Harmonic and melodic minor|harmonic]] or ascending [[Minor scale|melodic minor]]<ref>Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p.230. Seventh Edition. ISBN 978-0-07-294262-0.</ref> {{audio|III+7M chord in C minor.mid|Play}}.]]
 
In [[music]], an '''augmented major seventh chord''', '''augmented/major seventh chord''', or '''major seventh sharp five chord''' (written as +M7, +{{music|delta}}7, M7<sup>{{music|#}}5</sup>, M7({{music|#}}5), M7/{{music|#}}5, etc.) is a [[nondominant seventh chord]] comprising the [[root (chord)|root]] note, the note a [[major third]] above the root, the note an [[augmented fifth]] above the root, and the note a [[major seventh]] above the root: 1-3-{{music|#}}5-7, and is associated with the [[Hexatonic scale#Augmented scale|augmented scale]]<ref>Coker, Jerry (1976). ''The Jazz Idiom'', p.66. ISBN 0-13-509851-3.</ref> (see [[jazz scale]] and [[chord-scale system]]). When used in jazz scores, a number of [[chord notation|symbols]] can be used to represent this chord, including maj+7, and {{music|major}}+7.
 
This chord comes from the third mode of the both the [[harmonic minor]] and the [[melodic minor]] scales. For example, the third [[mode (music)|mode]] of the A minor melodic consists of C, D, E, F{{music|#}}, G{{music|#}}, A, and B. Therefore, the notes of the C maj7({{music|#}}5) chord are C, E, G{{music|#}}, and B.
 
As with [[dominant seventh chord]]s, nondominant seventh chords including the augmented major seventh usually progress according to the [[circle progression|circle]], thus III+<math>_M^7</math> resolves to vi or [[subdominant|VI]].<ref>Benward & Saker (2003), p.232.</ref> For example, C maj7({{music|#}}5) usually resolves to F. 
 
The chord can be represented by the [[Pitch class#Integer notation|integer notation]] {0, 4, 8, 11}.
 
==Augmented major seventh chord table==
{| class="wikitable"
!bgcolor=#dddddd|Chord
!bgcolor=#dddddd|Root
!bgcolor=#dddddd|Major third
!bgcolor=#dddddd|Augmented fifth
!bgcolor=#dddddd|Major seventh
|-
!align=center|Cmaj7({{music|#}}5)
|align=center|C
|align=center|E
|align=center|G{{music|#}}
|align=center|B
|-
!align=center|C{{music|#}}maj7({{music|#}}5)
|align=center|C{{music|#}}
|align=center|E{{music|#}} (F)
|align=center|G{{music|##}} (A)
|align=center|B{{music|#}} (C)
|-
!align=center|D{{music|b}}maj7({{music|#}}5)
|align=center|D{{music|b}}
|align=center|F
|align=center|A
|align=center|C
|-
!align=center|Dmaj7({{music|#}}5)
|align=center|D
|align=center|F{{music|#}}
|align=center|A{{music|#}}
|align=center|C{{music|#}}
|-
!align=center|D{{music|#}}maj7({{music|#}}5)
|align=center|D{{music|#}}
|align=center|F{{music|##}} (G)
|align=center|A{{music|##}} (B)
|align=center|C{{music|##}} (D)
|-
!align=center|E{{music|b}}maj7({{music|#}}5)
|align=center|E{{music|b}}
|align=center|G
|align=center|B
|align=center|D
|-
!align=center|Emaj7({{music|#}}5)
|align=center|E
|align=center|G{{music|#}}
|align=center|B{{music|#}} (C)
|align=center|D{{music|#}}
|-
!align=center|Fmaj7({{music|#}}5)
|align=center|F
|align=center|A
|align=center|C{{music|#}}
|align=center|E
|-
!align=center|F{{music|#}}maj7({{music|#}}5)
|align=center|F{{music|#}}
|align=center|A{{music|#}}
|align=center|C{{music|##}} (D)
|align=center|E{{music|#}} (F)
|-
!align=center|G{{music|b}}maj7({{music|#}}5)
|align=center|G{{music|b}}
|align=center|B{{music|b}}
|align=center|D
|align=center|F
|-
!align=center|Gmaj7({{music|#}}5)
|align=center|G
|align=center|B
|align=center|D{{music|#}}
|align=center|F{{music|#}}
|-
!align=center|G{{music|#}}maj7({{music|#}}5)
|align=center|G{{music|#}}
|align=center|B{{music|#}} (C)
|align=center|D{{music|##}} (E)
|align=center|F{{music|##}} (G)
|-
!align=center|A{{music|b}}maj7({{music|#}}5)
|align=center|A{{music|b}}
|align=center|C
|align=center|E
|align=center|G
|-
!align=center|Amaj7({{music|#}}5)
|align=center|A
|align=center|C{{music|#}}
|align=center|E{{music|#}} (F)
|align=center|G{{music|#}}
|-
!align=center|A{{music|#}}maj7({{music|#}}5)
|align=center|A{{music|#}}
|align=center|C{{music|##}} (D)
|align=center|E{{music|##}} (F{{music|#}})
|align=center|G{{music|##}} (A)
|-
!align=center|B{{music|b}}maj7({{music|#}}5)
|align=center|B{{music|b}}
|align=center|
|align=center|F{{music|#}}
|align=center|A
|-
!align=center|Bmaj7({{music|#}}5)
|align=center|B
|align=center|D{{music|#}}
|align=center|F{{music|##}} (G)
|align=center|A{{music|#}}
|}
 
==See also==
*[[Jazz chord]]
 
==Sources==
{{reflist}}
 
{{Chords}}
 
{{DEFAULTSORT:Augmented Major Seventh Chord}}
[[Category:Seventh chords]]

Latest revision as of 19:00, 12 June 2013

Template:Infobox chord

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III+ M7 chord in C harmonic or ascending melodic minor[1] My name: Lindsey Gavin
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In music, an augmented major seventh chord, augmented/major seventh chord, or major seventh sharp five chord (written as +M7, +Template:Music7, M7Template:Music5, M7(Template:Music5), M7/Template:Music5, etc.) is a nondominant seventh chord comprising the root note, the note a major third above the root, the note an augmented fifth above the root, and the note a major seventh above the root: 1-3-Template:Music5-7, and is associated with the augmented scale[2] (see jazz scale and chord-scale system). When used in jazz scores, a number of symbols can be used to represent this chord, including maj+7, and Template:Music+7.

This chord comes from the third mode of the both the harmonic minor and the melodic minor scales. For example, the third mode of the A minor melodic consists of C, D, E, FTemplate:Music, GTemplate:Music, A, and B. Therefore, the notes of the C maj7(Template:Music5) chord are C, E, GTemplate:Music, and B.

As with dominant seventh chords, nondominant seventh chords including the augmented major seventh usually progress according to the circle, thus III+ M7 resolves to vi or VI.[3] For example, C maj7(Template:Music5) usually resolves to F.

The chord can be represented by the integer notation {0, 4, 8, 11}.

Augmented major seventh chord table

Chord Root Major third Augmented fifth Major seventh
Cmaj7(Template:Music5) C E GTemplate:Music B
CTemplate:Musicmaj7(Template:Music5) CTemplate:Music ETemplate:Music (F) GTemplate:Music (A) BTemplate:Music (C)
DTemplate:Musicmaj7(Template:Music5) DTemplate:Music F A C
Dmaj7(Template:Music5) D FTemplate:Music ATemplate:Music CTemplate:Music
DTemplate:Musicmaj7(Template:Music5) DTemplate:Music FTemplate:Music (G) ATemplate:Music (B) CTemplate:Music (D)
ETemplate:Musicmaj7(Template:Music5) ETemplate:Music G B D
Emaj7(Template:Music5) E GTemplate:Music BTemplate:Music (C) DTemplate:Music
Fmaj7(Template:Music5) F A CTemplate:Music E
FTemplate:Musicmaj7(Template:Music5) FTemplate:Music ATemplate:Music CTemplate:Music (D) ETemplate:Music (F)
GTemplate:Musicmaj7(Template:Music5) GTemplate:Music BTemplate:Music D F
Gmaj7(Template:Music5) G B DTemplate:Music FTemplate:Music
GTemplate:Musicmaj7(Template:Music5) GTemplate:Music BTemplate:Music (C) DTemplate:Music (E) FTemplate:Music (G)
ATemplate:Musicmaj7(Template:Music5) ATemplate:Music C E G
Amaj7(Template:Music5) A CTemplate:Music ETemplate:Music (F) GTemplate:Music
ATemplate:Musicmaj7(Template:Music5) ATemplate:Music CTemplate:Music (D) ETemplate:Music (FTemplate:Music) GTemplate:Music (A)
BTemplate:Musicmaj7(Template:Music5) BTemplate:Music FTemplate:Music A
Bmaj7(Template:Music5) B DTemplate:Music FTemplate:Music (G) ATemplate:Music

See also

Sources

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Template:Chords

  1. ↑ Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.230. Seventh Edition. ISBN 978-0-07-294262-0.
  2. ↑ Coker, Jerry (1976). The Jazz Idiom, p.66. ISBN 0-13-509851-3.
  3. ↑ Benward & Saker (2003), p.232.
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