odd chord question

[jazzypaul]

Alright, so I'm in the middle of arranging A Taste of Honey for my quintet. One of the chords on the original sheet music is a Dm#7. Wouldn't that just be a D minor chord with an octave replacing the 7? But when I try voicing it, no matter how I try to voice it, it just sounds odd as hell...any piano players have any suggestions? I'm at a loss here...

[Uncle Skid]

I'd bet that is another way of notating a "minor major" chord, for instance, Dmin(maj7). It would be the root, flat 3rd, 5th, and natural 7th, (D,F,A,C#). Another way to think of it would be a Dm (D,F,A,C) with a sharp 7 = (D,F,A,C#).

If I understand it correctly, this chord also implies the use of the melodic minor scale (major scale, but with a flat 3rd).

[Joe G]

I would agree with the minor 3rd with a raised (major) 7th interpretation.

[jazzypaul]

Thank you. This makes much more sense now. Isn't it great to be on a board with tons of musicians around?

[DIS]

I'm not sure that the above remarks answer your question. The Dm#7 will sound "odd as hell" when removed from context, but it is correct. Think of it as a passing chord. It's part of a formula for extending the Dm chord over several bars--first the pure Dm triad chord, then the Dm with a C#, then with a C (Dm7), then with a B (Dm6, which might precede G7). The half-step downward movement of D to C# to C natural to B makes for a nice effect.

[Free For All]

I'm not sure that the above remarks answer your question.  The Dm#7 will sound "odd as hell" when removed from context, but it is correct.  Think of it as a passing chord.  It's part of a formula for extending the Dm chord over several bars--first the pure Dm triad chord, then the Dm with a C#, then with a C (Dm7), then with a B (Dm6, which might precede G7).  The half-step downward movement of D to C# to C natural to B makes for a nice effect.

Passing chord, yes, it often is (as in the Funny Valentine- type of progression you refer to) but it also makes a terrific tonic chord. Examples that come to mind are Chelsea Bridge, Nica's Dream and Harlem Nocturne. I'm sure there are many more. The major seventh is often used in tandem with the major sixth, which alludes to the ascending melodic minor scale.

[Joe G]

Passing chord, yes, it often is (as in the Funny Valentine- type of progression you refer to) but it also makes a terrific tonic chord.

Indeed. One of my favorite flavors. B) Listen to the last chord in Life Wish. Cmin/maj7add9

[SGUD missile]

Think of it as a passing chord. It's part of a formula for extending the Dm chord over several bars--first the pure Dm triad chord, then the Dm with a C#, then with a C (Dm7), then with a B (Dm6, which might precede G7). The half-step downward movement of D to C# to C natural to B makes for a nice effect.

This is right on:

what you have along with the "passing chord" is an implied descending countermelody descending chromatically from the D to the B..

try just playing the melody with the descending chromatic line ..

then try playing the melody with the descending line altered to:

D C# A ( F) G

you've just created first species counterpoint!!!

some hot shit eh ???

[freddydwight]

I'm not sure that the above remarks answer your question. The Dm#7 will sound "odd as hell" when removed from context, but it is correct. Think of it as a passing chord. It's part of a formula for extending the Dm chord over several bars--first the pure Dm triad chord, then the Dm with a C#, then with a C (Dm7), then with a B (Dm6, which might precede G7). The half-step downward movement of D to C# to C natural to B makes for a nice effect.

going with DIS

B) freddy