Christmas Time Is Here

Hi Lonnie,

Good question.

Firstly understand that there is no standardised way to refer to alterations. The most contentious example is the #5 or b13. Enharmonically it is the same note but you will find different jazz musicians refer to it differently. I have always favoured the #5, but in some lessons I do also use b13 and then explain that you will come across both terms, just so that students are aware of this.

Now onto your question…

The key thing you should analyse is the tonality of the chord you are dealing with ie. is it major, minor or dominant? The key signature is irrelevant in terms of analysing the alterations.

Here’s the rules I follow:

Rule 1) For major and dominant chords, it would always be the #11 and not the b5.

The associated chord scale for Eb13#11 would be the Lydian Dominant mode. The notes are Eb(root), F(9), G(3), A(#11), Bb (5), C(13) and Db(b7). Notice that the natural 5 (Bb) is in there – therefore the A must be the #11. Otherwise how would you analyse.classify the Bb?

You can apply the same analysis to major chords, because the natural 5th is present in the Lydian mode.

Rule 2) For -b75 and dim7 chords, it would always be the b5 and not the #11.

For -7b5 chords, it is specified in the chord symbol that the b5 should be present. But if you wanted to analyse it further….

The associated chord scale for B-7b5 would the B Locrian (from major scale harmony) or B Locrian natural 2 (from melodic minor harmony)

The notes would be B(root), C or C# (b2 or 2), D (b3), E(4 or 11), F(b5), G(b6) and A(b7). Notice that the 4 or 11 (E) is present in the scale, therefore the F must be the b5.

Does this kind of analysis make sense?




My recommendation Lonnie would be to always analyse the chord and corresponding scale numerically. This will help you identify each tone from a numeric, or functional standpoint. 

I hope this helps… if you’d like any further explanation let me know 🙂



Cheers,
Hayden