The Hendrix chord: blues, flexible pitch relationships, and self-standing harmony1

  title={The Hendrix chord: blues, flexible pitch relationships, and self-standing harmony1},
  author={R. Bliek},
  journal={Popular Music},
  pages={343 - 364}
  • R. Bliek
  • Published 1 May 2007
  • Art
  • Popular Music
Abstract Jimi Hendrix was often characterised by his exotic appearance and extravagant performance, but underneath these trappings was an extraordinary guitarist who managed to transform some of the key elements of blues and rhythm-and-blues traditions. An important feature of Hendrix’s music is his characteristic use of the seventh chord with a sharp ninth, or the augmented ninth chord, now often referred to as the ‘Hendrix chord’. This paper examines some ways in which Hendrix used this chord… 
A Voicing-Based Model for Additive Harmony
This article develops, for the Parisian modernist repertoire, a model of additive harmony in which voicing plays a foundational role. In comparison with the conventional extendedtriad model of
Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, c. 1920–1945
[1] The frequently irregular behavior of dissonance in American folk and popular music, at least in comparison with classical norms, has been problematic for analysts working with this repertoire.(2)
Transformation in Rock Harmony: An Explanatory Strategy
Explaining one musical passage by saying it is a transformed version of another is a basic strategy of analysis. In this article, I explore this strategy specifically in regard to harmonic structures
New Riffs on the Old Mind-Body Blues: “Black Rhythm,” “White Logic,” and Music Theory in the Twenty-First Century
  • T. Perchard
  • Sociology
    Journal of the Society for American Music
  • 2015
Abstract Contemporary music historians have shown how taxonomic divisions of humanity—constructed in earnest within European anthropologies and philosophies from the Enlightenment on—were reflected
Vagabonds of the Western World(s): Continuities, Tensions and the Development of Irish Rock Music.
This study examines the compositions and performance practices of three Irish rock musicians professionally active during the classic‘ rock period of 1968-78. The primary research question focuses on
Books and Articles on Black Music
Articles on Black Music in North America and the Circum-Caribbean in Major Music Journals, 1990-2007 Included in this bibliography are articles on music created by or performed by people who identify


Making Sense of Rock’s Tonal Systems
Despite frequently voiced assertions and their underlying presumptions, there is no single sort of tonal behavior common to all rock music, but rather a spectrum of approaches to scales, harmonic
Is there such a thing as the ‘blue note’?
Among the most frequently repeated formulae in the description of the traditions most often called Afro-American music, in particular the styles of jazz, blues, soul and rock, is the concept of the
The American popular ballad of the golden era, 1924-1950
Acknowledgments Introduction 2The Harmonic Language of the Popular Ballad 3Rhythmic Features of the Popular Ballad 4Melodic Design: Descriptive Categories 5The Lyric: Its Qualities and Melodic Roles
Are you experienced
Few PhD students or postdoctoral researchers are aware of this, but good communication helps not only to obtain additional skills and experience, but also to share information and expertise with those who pursue activities outside research.
Jimi Hendrix: Musician
  • 2003
Africa and the Blues (University Press of Mississippi) Milkowski, Bill
  • 2001 ‘Modern jazz axis: Bold as Jimi’, JazzTimes, 31/6 (July/August 2001), pp. 42–55, 156 Shadwick, Keith. 2003 Jimi Hendrix: Musician (San Francisco: Backbeat Books) Tallmadge, William. 1984. ‘Blue notes and blue tonality’, The Black Perspective in Music, 12/2, pp. 155–165
  • 1999
Little Wing: A Study in Musical Cognition
  • Understanding Rock: Essays in Musical Analysis
  • 1997
Little Wing: A Study in Musical Cognition’, in Understanding Rock: Essays
  • 1997