loxley11 Posted January 29, 2008 Share Posted January 29, 2008 What's that horn chord that ends just about every uptempo jazz or Mowtown tune? (think the ending to "I Feel Good") I'm guessing there's usually a #5#9b9 in there somewhere but i think there's something more going on. My ear really isn't attuned to the nuances of huge brass chords. Any arrangers out there? What are some of the most commone voicings? regards,drew "Everyone has a plan until they get punched in the face" -Mike Tyson Link to comment Share on other sites More sharing options...
Bobadohshe Posted January 29, 2008 Share Posted January 29, 2008 It's usually just a #9 chord if I'm not mistaken Kawai C-60 Grand Piano : Hammond A-100 : Hammond SK2 : Yamaha CP4 : Yamaha Montage 7 : Moog Sub 37 My latest album: Funky organ, huge horn section https://bobbycressey.bandcamp.com/album/cali-native Link to comment Share on other sites More sharing options...
keyclick Posted January 29, 2008 Share Posted January 29, 2008 My favorite stab chord at the end of a tune is the upper structure of playing a triad 1 step above the tonic in the right hand over the tritone 3/7 of the tonic in the left hand (with the tonic implied/played by bass player) Ex. Root: C LH: E Bb RH: D F# A Link to comment Share on other sites More sharing options...
ITGITC Posted January 29, 2008 Share Posted January 29, 2008 #5#9b9 #5#9b9 Holy Cow, Martha! Lookit the size of that ubiquitous horn chord. A sharp fifth, sharp ninth, plus a flat ninth on top of that? Wowza. Better get the KY, this one's going to need some coaxing. "Music expresses that which cannot be put into words and that which cannot remain silent." - Victor Hugo Link to comment Share on other sites More sharing options...
Clifton Posted January 29, 2008 Share Posted January 29, 2008 I'm guessing there's usually a #5#9b9 in there somewhere but i think there's something more going on. You're well into 'alt' territory there, I can't think of many Motown tunes that end in a big alt chord, lol. As Bobadohshe's correctly pointed out, the old #9 is (most likely) 'that sound' you're talkin' bout. It only really works in one particular voicing on piano (as for horns I'm the wrong person to ask), and that's 1379. i.e a C7#9 would be voicing C and the E a tenth above, and then Bb and D#. My favorite stab chord at the end of a tune is the upper structure of playing a triad 1 step above the tonic in the right hand over the tritone 3/7 of the tonic in the left hand (with the tonic implied/played by bass player) Ex. Root: C LH: E Bb RH: D F# A Otherwise known as C7#11 ? Hehe, good idea there actually, might steal that one Link to comment Share on other sites More sharing options...
keyclick Posted January 29, 2008 Share Posted January 29, 2008 #5#9b9 #5#9b9 Holy Cow, Martha! Lookit the size of that ubiquitous horn chord. A sharp fifth, sharp ninth, plus a flat ninth on top of that? Wowza. Better get the KY, this one's going to need some coaxing. nah... the #9 and the b9 cancel each other out...leaving just a 9 Link to comment Share on other sites More sharing options...
Blue JC Posted January 29, 2008 Share Posted January 29, 2008 What's that horn chord that ends just about every uptempo jazz or Mowtown tune? (think the ending to "I Feel Good") I'm guessing there's usually a #5#9b9 in there somewhere but i think there's something more going on. My ear really isn't attuned to the nuances of huge brass chords. Any arrangers out there? What are some of the most commone voicings? regards, drew For a sense of resolution (finality), I use a garden-variety 13th chord voiced b7, 9, 3, 13. The #7 on minor and #11 on major chords give it a more mysterious, unresolved sound. Many lead trumpeters will use the #9 (high b3)as a passing blue note but will usually end on a 13th or the root on the final note. Everybody's got to believe in something. I believe I'll have another beer. W. C. Fields Link to comment Share on other sites More sharing options...
BluesKeys Posted January 29, 2008 Share Posted January 29, 2008 #5#9b9 #5#9b9 Holy Cow, Martha! Lookit the size of that ubiquitous horn chord. A sharp fifth, sharp ninth, plus a flat ninth on top of that? Wowza. Better get the KY, this one's going to need some coaxing. nah... the #9 and the b9 cancel each other out...leaving just a 9 but 9 is awefully big Jimmy Those are my principles, and if you don't like them... well, I have others. Groucho NEW BAND CHECK THEM OUT www.steveowensandsummertime.com www.jimmyweaver.com Link to comment Share on other sites More sharing options...
ITGITC Posted January 29, 2008 Share Posted January 29, 2008 but 9 is awefully big Leave it to BluesKeys... "Music expresses that which cannot be put into words and that which cannot remain silent." - Victor Hugo Link to comment Share on other sites More sharing options...
Dave Ferris Posted January 29, 2008 Share Posted January 29, 2008 Another good voicing for a #9 chord that you might try: LH: C Bb RH: E A Eb......this gives it a "hip" diminshed quality. https://soundcloud.com/dave-ferris https://www.youtube.com/@daveferris2709 Link to comment Share on other sites More sharing options...
Tom Fiala Posted January 29, 2008 Share Posted January 29, 2008 I think the chord at the end of "I feel good" is just a major 9th, nuthin' fancy. At least that's how I play it at our gigs and it sounds OK. Please correct me if I've been playing the wrong thing all this time! Tom F. "It is what it is." Link to comment Share on other sites More sharing options...
Jon May Posted January 29, 2008 Share Posted January 29, 2008 I like the 'James Bond' chord...I'm thinking the end of Don Fagan's Green Flower Street. V / I ? eg) E /A ...A maj 9? (Oh...as Tom Fiala has already said) "I'm well acquainted with the touch of a velvet hand..." Link to comment Share on other sites More sharing options...
linwood Posted January 29, 2008 Share Posted January 29, 2008 If you wanted to look at that Green Flower chord in a polytonal sorta way, it'd be E/Am LH: A E C RH: E G# B would be one way to play it. Link to comment Share on other sites More sharing options...
Dave Ferris Posted January 29, 2008 Share Posted January 29, 2008 hit that chord then hop up to a D13+11 for a nice ending or melodic voice leading effect. LH: D C RH: F# B E G# Transpose to all keys. https://soundcloud.com/dave-ferris https://www.youtube.com/@daveferris2709 Link to comment Share on other sites More sharing options...
linwood Posted January 29, 2008 Share Posted January 29, 2008 Yea, baby! or here's your big fagen-esque ending complete with mu-like goodness and polytonalness. http://www.bellmusicproductions.com/clientdownloads/end.jpg Link to comment Share on other sites More sharing options...
ITGITC Posted January 29, 2008 Share Posted January 29, 2008 Yea, baby! or here's your big fagen-esque ending complete with mu-like goodness and polytonalness. http://www.bellmusicproductions.com/clientdownloads/end.jpg Ummmmmm, Linwood? You're still my hero. "Music expresses that which cannot be put into words and that which cannot remain silent." - Victor Hugo Link to comment Share on other sites More sharing options...
Bobadohshe Posted January 29, 2008 Share Posted January 29, 2008 Another good voicing for a #9 chord that you might try: LH: C Bb RH: E A Eb......this gives it a "hip" diminshed quality. That natural 13th against the #9 is a tasty rub. I just ran to the piano and tried this. Nice and modern!! Two tritones a 4th apart. Now I have a great alternative alt diminished voicing I can use instead of 13b9. Not very James Brown of course but I know that wasn't your intention. I'm going to go try Linwood's now. Kawai C-60 Grand Piano : Hammond A-100 : Hammond SK2 : Yamaha CP4 : Yamaha Montage 7 : Moog Sub 37 My latest album: Funky organ, huge horn section https://bobbycressey.bandcamp.com/album/cali-native Link to comment Share on other sites More sharing options...
moj Posted January 29, 2008 Share Posted January 29, 2008 I play the dominant 9 chord and add the #11 on and off for effect. RH voicing: G Bb D then the F# as a color note. Link to comment Share on other sites More sharing options...
The Real MC Posted January 29, 2008 Share Posted January 29, 2008 When the song ends on C, I like to play D-F#-A Link to comment Share on other sites More sharing options...
David R Posted January 30, 2008 Share Posted January 30, 2008 When a song ends on C7, and I'm playing organ, I grab a 13th voicing of Bb-E-A-C at the top, Leslie (sim) fast, and let 'er scream. My Site Nord Electro 5D, Novation Launchkey 61, Logic Pro X, Mainstage 3, lots of plugins, fingers, pencil, paper. Link to comment Share on other sites More sharing options...
kanker. Posted January 30, 2008 Share Posted January 30, 2008 When a song ends on a C7, I play some form of a C7. Or not A ROMpler is just a polyphonic turntable. Link to comment Share on other sites More sharing options...
Jazz+ Posted January 30, 2008 Share Posted January 30, 2008 "I Feel Good" is not #9 chord tune, I have arranged this tune for horns in the past. After the final "Hey!" it simply ends on a high tonic tonic 7th voicing ( 3 7 9 for horns). The background parts for the first 8 bars of the verse pivot the 3 and 7 chromatically back and forth (I7 IV7). Then it hits the high roots for the punches in bars 9 and 10 (the V IV change) and then that famous off beat arpeggio that outlines the tonic 7th chord from the root up to the 9th ( 1 3 5 7 9) "Shining Star" by EWF uses the #9 chord, so does "Come Together" by John Lennon, "Strange Brew" by Cream, "Born To Be Wild" Steppenwolf... And so does Jimi Hendrix's "Foxy Lady/Purple Haze". I think Hendrix stole it from Junior Walker's "Shotgun"!!! 7 #9 chords have an aggressive sound. I'm not an R&B/rock player so I don't know why I am explaining... Find 675 of my jazz piano arrangements of standards for educational purposes and tutorials at www.Patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Link to comment Share on other sites More sharing options...
Gismo Recording Posted January 30, 2008 Share Posted January 30, 2008 Yea, baby! or here's your big fagen-esque ending complete with mu-like goodness and polytonalness. http://www.bellmusicproductions.com/clientdownloads/end.jpg Cool. Unfortunately my fingers on my left hand aren't long enough to play that last chord. I'd have to play the G# with my nose. Ken Denny Gismo Recording So Cliché Link to comment Share on other sites More sharing options...
linwood Posted January 30, 2008 Share Posted January 30, 2008 I can't play the last chord either without rollin' it. Maybe we'll leave out the root. The bass player will grab it anyway. That was actually the ending to a piece of homework I did dealing with 4th's and 5th's and trading the outside notes...G moves to A on top and A moves to G on the bottom, etc. Same thing on that open E triad over that Bb moving down to that A root. Kind of interesting. Link to comment Share on other sites More sharing options...
Dave Ferris Posted January 30, 2008 Share Posted January 30, 2008 Yea, baby! or here's your big fagen-esque ending complete with mu-like goodness and polytonalness. http://www.bellmusicproductions.com/clientdownloads/end.jpg Cool. Unfortunately my fingers on my left hand aren't long enough to play that last chord. If you take the E and D# w/ the LH and do a slight roll of the G# C# F# B w/ the RH, it makes the stretch easier from a pianistic standpoint. https://soundcloud.com/dave-ferris https://www.youtube.com/@daveferris2709 Link to comment Share on other sites More sharing options...
loxley11 Posted January 30, 2008 Author Share Posted January 30, 2008 "I Feel Good" is not #9 chord tune, I have arranged this tune for horns in the past. After the final "Hey!" it simply ends on a high tonic tonic 7th voicing ( 3 7 9 for horns). The background parts for the first 8 bars of the verse pivot the 3 and 7 chromatically back and forth (I7 IV7). Then it hits the high roots for the punches in bars 9 and 10 (the V IV change) and then that famous off beat arpeggio that outlines the tonic 7th chord from the root up to the 9th ( 1 3 5 7 9) "Shining Star" by EWF uses the #9 chord, so does "Come Together" by John Lennon, "Strange Brew" by Cream, "Born To Be Wild" Steppenwolf... And so does Jimi Hendrix's "Foxy Lady/Purple Haze". I think Hendrix stole it from Junior Walker's "Shotgun"!!! 7 #9 chords have an aggressive sound. I'm not an R&B/rock player so I don't know why I am explaining... Yeah, maybe "I feel good" wasn't the best example, but I think you guys understood what I was talking about. When I consider all of your examples, I do think I can hear a 13#11 chord on a lot of the jazz tune endings. I think a lot of the older more rock/R&B stuff is more straight up (more 9ths and 7ths - these sound really good with the root on top) There are some really tasty voicings you guys mentioned. I just remembered being around horn players in jazz combo back at UNC, and they would talk about some weird s**t to play on those ending chords, like #9's and b9's over major 7th chords! Oh well, how much can you trust the theory advice of someone who can only play one note at once, eh? "Everyone has a plan until they get punched in the face" -Mike Tyson Link to comment Share on other sites More sharing options...
Dave Ferris Posted January 30, 2008 Share Posted January 30, 2008 Now I have a great alternative alt diminished voicing I can use instead of 13b9. Bobby, here are a few more possibilities... LH: C Bb RH: Db E A C or LH: middle C LH: Db (1/2 step up from middle C) E A C (disclaimer chord...this will identify you has a modern "out" jazz player and in many cases alienate you from the rest of the band) LH: C E (10th) RH: Bb Eb A or LH: C E (10th) RH: Bb Db Gb A (another disclaimer chord) LH: C Gb Bb RH: E A C LH: E Bb C RH: Db (1/2 step up from middle C) Gb A... C root is implied. LH: E C RH: Db (1/2 step up from middle C) Gb Bb....like a Gb over 1st inversion C triad no G.... again C root implied. Variation 2...LH: E C RH: Db Eb A C LH: C Bb Db RH: E A C Eb https://soundcloud.com/dave-ferris https://www.youtube.com/@daveferris2709 Link to comment Share on other sites More sharing options...
ITGITC Posted January 30, 2008 Share Posted January 30, 2008 Dave, can you translate that into tab please? "Music expresses that which cannot be put into words and that which cannot remain silent." - Victor Hugo Link to comment Share on other sites More sharing options...
ewall08530 Posted January 30, 2008 Share Posted January 30, 2008 I haven't played it in ages but the beginning of Peg by Steely Dan alternates between different Maj 7th chords and #9 chords.Very cool sounding. edwall.biz Link to comment Share on other sites More sharing options...
Bobadohshe Posted January 30, 2008 Share Posted January 30, 2008 Now I have a great alternative alt diminished voicing I can use instead of 13b9. Bobby, here are a few more possibilities... LH: C Bb RH: Db E A C or I didn't go try this yet but I know that this is another of my favorite voicings, with the root on top. Bill Cunliffe uses that puppy in one of the books I have by him. Kawai C-60 Grand Piano : Hammond A-100 : Hammond SK2 : Yamaha CP4 : Yamaha Montage 7 : Moog Sub 37 My latest album: Funky organ, huge horn section https://bobbycressey.bandcamp.com/album/cali-native Link to comment Share on other sites More sharing options...
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