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Unformatted text preview: tensions. V7/II (9, b13) if we stay strictly diatonic to the key signature, this is what we get. However, many players and writers will use the (b9, #9, b13) sound for this chord, which prepares our ears for the minor chord to follow. When #9 is diatonic (it represents the tonic of the key), we often hear b9, but note that b9 is non-diatonic so requires an accidental, on V7/II in any key....
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This note was uploaded on 04/26/2008 for the course HARM 121 taught by Professor Wartofsky during the Spring '08 term at Berklee.
- Spring '08