Thanks for saying that! It’s always my intention

You are very welcome and thank YOU for the kind words!!

You are very welcome!

You’re very very welcome!!

The 7b9 chord is also important, but it's really an altered chord, and doesn't fit in to the 7th chord menagerie.

😂

Thanks!

Nice - that also works

Thanks!

I’m glad to hear it!

altered scale harmony... minor major I can hear this in re: person I knew by bill evans and blue in green by miles davis its harmonizing a major scale with a minor 3rd scriabin was a classmate of rachmaninoff - when he started sounded more like chopin than anyone else I ever heard, if you check out his early music you will know what I'm talking about. Scirabin's "mystic chord" is typical of the harmony he experimented with late in his career - the mystic chord is basically Lydian dominant voiced in 4ths - the 4th mode of the major minor scale - g minor major is a straight major scale w a minor 3rd so g a b flat c d e F sharp - the 4th degree is the same thing starting on c - c d e F sharp g a b flat - now all you have to do is start on c - skip 2 notes play F sharp skip 2 notes keep going... as an after thought I would mention 7#9 is my favorite jazz and blues chord kind of like major in the first octave and minor in the second octave the voicing would be root major third dominant 7 and minor third on top, this is the jimi hendrix chord from purple haze, carry on my wayward son by kansas and in the bridge of born to be wild, I use the chord as a tritone substitution for the dominant chord in a 2 5 1 and as a passing tone chord in between the diatonic chords sometimes when one chord changes to another in jazz - the chord in between the chords - sort of approaching the concept of chromatic harmony, it can also be viewed as harmonizing a 8 note half whole diminished or hexatonic scale as some people call it, hexatonic can also be whole half whole half... instead of half whole half whole... augmented - the whole tone scale is whole step whole whole keep going, the chord would be maj 7#5 or sometimes written as maj7+5 the chord would simply be major 7 raise the 5th, the triad is known as augmented, i hear this sound in the music of debussy and ravel, bill evans studied debussy and I hear alot of this harmony in his music and interpretations of jazz standards, the augmented scale is a 6 note symmetrical scale constructed from two augmented triads a half step apart, the 3rd mode of melodic minor is Lydian Augmented Scale is 1-2-3-♯4-♯5-6-7. For example, a C Lydian Augmented Scale contains the notes C-D-E-F♯-G♯-A-B. The intervallic pattern for this scale is W-W-W-W-H-W-H. Other common names for this scale include Lydian #5 and Melodic Minor 3rd Mode, I think there are several other augmented scales I didnt mention, I have been messing around with a book titled the augmented scale in jazz by saxophone player and teacher walt weiskopf maj 7#11 (aka#4) is actually diatonic - lydian is the 4th mode of a major scale some people call it maj 7b5 this is the first chord I play when I play blue in green by miles davis - like c major but start harmonizing starting on the 4th note, bartok was a composer that used this sound there is also the 7b9 chord which is common in jazz we can talk about harmonzing the harmonic minor scale allan holdsworth used to talk about the lydian minor scale im sure there are may more altered chords and scales I didnt mention but i think those are most common, my interest in this stuff is wanting to be a composer, my obsession is actually the violin but I love the piano just as much, my dream is to one day have a professional soloist play my music im mostly a string player and terrible pianist but with ashlee's help maybe one day i will be at least decent

You’re welcome!

Here’s one but for primary triads! How to memorize every primary triad (FOREVER) kzfaq.info/get/bejne/os6FdpamudnKiIU.html

Thanks!

You’re welcome!

Augmented 7th is not common (not even taught in a college theory class usually) and same with the other!

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That's one of the quirks of nomenclature. A C dim is almost always a diminished seventh, so there's not much incentive to write in the 7. Outside of classical, I would never play a diminished triad.

Yes it can be but doesn’t have to be - one of those fun things that makes music interesting :) in classical analysis you’d see the 7 more and outside of classical music not as much :)