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Posts: 4
Reply with quote  #1 
First of all, I would like to say that this is a wonderful website and forum. Thanks to Barbara and the rest for posting Ted's teaching materials. It's amazing what a wealth of knowledge can be found on these pages. I think Ted would be happy to see how his legacy has followed him.

Ted has been my mentor "in absentia" for the past two years. I've been studying all his books and am truly grateful to have these tomes to help me in my quest to make beautiful sounds out of this wonderful instrument.

I just had a quick question about something I've been studying in "Chord Chemistry." I have the edition where Ted is bearded on the cover.

In the Chord Substitution section, at the end, Ted discusses how minor chords with a major 7th can be used in place of dominant chords whose roots are one fret lower. Like C minor (major 7) can be used for B7. At the very end of this section (XX.), there are some chord substitutions for C / G7 where Ted uses Ab minor (maj 7) in place of G7. I understand this, but then he uses an inversion that is B major 7 +. This is apparently a synonym for Ab minor (major 7).

In the XX paragraph he says, "Remember the relationship between minor (major 7) chords and maj 9 +, maj 7 +, 6+ etc."

I've looked through the "Synonyms" section and can't find this information. I'm sorry if this is a stupid question, because I see how B major 7+ has the same notes as the Ab minor (major 7), but I'd like to be able to organize this information in my head and am having trouble with this since it doesn't seem to be listed as a substitution or synonym! Or perhaps I've missed it, or it was corrected in a future edition. If anyone can shed light on this subject, I'd appreciate it!


Posts: 176
Reply with quote  #2 
I don't know whether TG thought of it like this but Cm/maj7 can be a B7+5b9 spelled from high to low - B G D# C (b9 being the lowest note). This is a voicing I use a lot as a "synonym" (?)

ken lasaine

Posts: 940
Reply with quote  #3 

I'm not sure I understand your question. Chord spelling & chord names are all contextual. All chords have a "synonym"
Ted had many ways of organizing chords, I don't think there is one all inclusive way.

Barbara Franklin

Posts: 251
Reply with quote  #4 
I have enjoyed reading postings and have been impressed with the knowledge,  kindness and respect that appears on this forum.
If I might add a bit to this. What I think Ted is getting at with this is, while not explicitly stating it in the text of CC, these two chords come from an Ab melodic minor scale.  An  Ab Melodic Minor scale, when applied to a G7 (altered) situation,  produces all of the beautiful altered sounds b5 #5 b9 #9 in addition to the basic chord tones of 3 and b7.
When  you look at the Ab melodic minor in harmonized form you'll see that the  chords/arpeggios in question,  ( i)  Ab minor/maj 7 and the ( III) B maj7#5 (perhaps more properly called Cb min/maj7)  yield 2 of the altered notes and 2 chord tones in a nice 4 note package. (of course they can also be extended to 9 or higher if desired) I find these "packages"  to be manageable and musical. It seems that all of the chords/arpeggios produced in this fashion have their own particular quality when applied to G7, some are more fruitful than others. In addition to these two, I also really like  (vi)Fmin7b5 applied to G7alt. This way of thinking can be used both melodically and/or harmonically to achieve a level or organization that is helpful when trying to create musical results with this so called "altered scale". I would recommend looking at  how each of the chords/arpeggios in a harmonized melodic minor scale relate to an altered Dom.7 chord 1/2 step below the root of the scale. I don't recall if Ted ever talked to me about this principle specifically but I'm pretty sure he did since most of what I have come to understand about harmony and theory can be traced back to a lesson or conversations with Ted. Does anyone have any material or a memory of working on this principle with Ted?
Hope that was helpful

Posts: 251
Reply with quote  #5 
One boo boo above.
I should have typed (more properly called Cb maj7#5)


Posts: 4
Reply with quote  #6 
Hey thanks TLerch. I will look into the melodic minor scale a half step up. That's very helpful.

I think my question refers to the sentence: "Remember the relationship between minor (major 7) chords and maj 9 +, maj 7 +, 6+ etc."

I can't find in the Synonyms section or anywhere else in the book where he talks about this relationship.


Posts: 26
Reply with quote  #7 
Not a dumb question at all as a matter of fact ,at last look, there is a 30+ page blog on the mM7 chord at "all about"
I don't have a sheet on this material, but Ted might have asked "where does the  mM7 live? It lives at 1 melodic minor. Lets follow this key out. ImM7-IIsusb9-bIII7#5-IV7#11-vi half-dim-VIIalt.
whoa, first thing we notice is two dominants in this scale (minor harmony critters behave differently than traditional major harmony) 1st study: do they resolve the same way?
2nd study:example-FmM7-ab-(6 fret fourth string)-c-(5th fret 3rd string)-e(5th fret 2nd string)-g(3rd fret 1st string)((simplify fingerings if need be))Try every scale note in the bass and resolve. notice that they are all interchangible.

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