Lydian and Major Pentatonic weighing machines, the Major seventh chord remains one of those paradoxical mysteries of music. Some attendees love the ‘timeless endless wow! ha (my definition), that is evoked by slowly strumming these chords on the guitar. Some say this amazing sound makes them feel somewhat sad and disoriented. Others experience liberation when hearing these chords played fast, as with Latin jazz, or slow, as with the signature song by the Carpenters, ‘Close to You’.
For me, personally, the Major seventh chord communicates a kind of wistful a cure for human potential, human dreams. The truth is, we find here a modern day form of music well suited to your fast-evolving lifestyles 메이저놀이터.
Here are four generations of composers and arrangers responsible for the distinct impact of this subtle sound, so you can better understand your music.
1890 TO 1920. First of all, bicycles of this chord takes us to scenes of poker fun at and scorn, this being placed upon young composers such as DeBussey, Satie and Ravel.
Eric Satie’s — music’s Vehicle Gogh…. Music schools in the late nineteenth century just weren’t kind to free thinkers and aficionados of ‘African music’. The bombast fitted to war and walking bands had full control. Music degrees were repudiated to those who dared to stray into new, exotic sounds or rhythms. Erik Satie, today famous for his introspective ‘Trois Gymnopedies’ (especially The Colours of Autumn), consumed himself to death. Teachers and music critics described him as useless’ and worse, ‘untalented’. One only has to be handled by his peaceful compositions to realize that she had to cloak himself in his music to retain any sanity. Now we, the rapt attendees, can enjoy the result of whatever he sacrificed to create. In our non-stop busy world, we start to use his zen-like simplicity and slow cadence more than we would realize. Satie wrote his most famous work in 1888, but still he was relatively unknown prior to the early 1960’s.
Plainly utilizing the Major seventh chord, Satie was a genuine unusual. One might compare his personality to the great but misinterpreted electrician, Vincent Vehicle Gogh. The mind of Satie was always searching for peace, which he found while composing his calm songs. Though it is true his works have been branded by some as ‘bland’ and ‘early elevator music’, Satie naturally knew that the modern mind needed a little music therapy. He clung to his tunes, even though this had him to becoming reclusive. 1920 TO 1950.
Another source of the emergence of the Major seventh Chord originated in Photography equipment. During the 1920’s Marabi music from South Photography equipment was becoming popular in urban The united states. This new music featured syncopated rhythms and an almost constant seventh played high above the major chords of each song. This duplication bored some attendees, but those who truly tried to understand it became hypnotized by the subtle changes and ins and outs of sound.
Egoli, the Zulu name for Johannesburg, became a cultural destination for Marabi songwriters, who even wrote songs about the city itself. Brazilian bossa nova and Cuban samba borrowed from these new melodic projects. Soon Havana was becoming a hotspot for the frenzied nightlife that supported this fresh tone.
In the 1930’s, composers in The united states started using the Major seventh to introduce slow songs, such as Tara’s Theme in the movie Gone with the Wind, as well as Over the Rainbow, in the Sorcerer of Oz.
Stravinsky’s Major seventh causes Riot — In 1944, the great Igor Stravinsky became the subject ‘of a police incident’, this due to his unusual arrangement of the Star Spangled Banner. He introduced a major seventh into the anthem and this caused some consternation in the crowd, enough stress to create a riot.
Ella Fitzgerald, with her performance of Misty, was far more successful in winning fan support for her novel vocalism. 1950 TO 1980. During the fifties the Major chords and principal 7ths returned with their bold and brassy sparkle. The theme song for ‘Bonanza’ resembled this swing to a more conventional, more modern type of sound. The theme for ‘Gunsmoke’, however, still incorporated the mysterious Major seventh to a small degree.
Back to the 1890’s for a moment, Scott Joplin could weave similar themes in tracks such as ‘The Maple Leaf Rag’, which was actually the first song ever sold to sell over one million copies of linen music! The 1960’s was a heavy decade for major seventh usage, with “Baby Baby’ by the Miracles, ‘California Dreamin’, by the Mamas and Papas, to mention just a few songs. From the plaintive’Poor Side of Town’ caused to become by Arthur Waters, to the exotic, jazzy ‘Copacabana’ of Barry Manilow, these songs expressed a range of human feeling that found a ready audience.
A breakthrough tune for Jerry and the Pacemakers was their iconic ‘Don’t Allow Sun Catch You Crying’, with an interesting climb that led to a stellar crescendo.
During the 1970’s the Major seventh chord was still in vogue, with Bacarach’s ‘Close to You’, as previously mentioned and well sung by the Carpenters, the theme from ‘Rocky’, songs by America, the Eagles and Steely Serta. Even the existential hit, ‘Hotel California’, had a smallish but perfect role for that special chord, almost hidden in the guitar introduction.
The 1960’s chromatic trick using D Major to D Major seventh to D7 to Grams Major was now more refined and smooth. Some songs were actually more simple, such as ‘Horse with no Name’, which could be played almost entirely using just two Major seventh chords and a slow, undulating Moroccan beat.
The rock ballad classic, ‘Stairway to Heaven’ was loaded up with beautiful Major 7th’s and played out perfectly on the electric 12-string guitar by Jimmy Page of Led Zeppelin. The interplay between minor, major and major 7ths in this song is really amazing and it is no wonder millions are still entranced by it.
1980 TO 2010. The previous few decades haven’t seen a heavy demand for the Major seventh chord. Perhaps it ran it out of sauna or is just resting, waiting to sprout in some new and futuristic form. The 1999 hit, ‘You Get What you Give’, by the New Radicals, is an example of this.
The Afro-Celt Audio system, a wonderful band formed by Peter Gabriel, still keeps that sound alive. Their use of the ‘talking drum’ is very cool!
Well, there it is, about 120 years of musical innovation. Vacation through history and listen to Satie, Marabi, Manilow and the New Radicals, just to gain an audio sense for this great chord. It will be that soon the bittersweet quality of the Major seventh chord will be back in give preference to, but if not, the ‘sound of forever’ will still have helped us humans to slow down and reflect on life for a while. Now, I will pick up my guitar and slowly strum E Major, a Major seventh. Groovy!