This week I make a pitch for the use in melodies of what I call the ‘tender notes’.
What are these so-called ‘tender notes’? In a scale, they’re the 6th, the major 7th, and the 9th (also known as the 2nd). So, in a ‘C’ chord – A, B, and D.
You’ll always use them as passing notes, but if you can get your ear used to landing on these notes in strategic places in your melodies, they can lend a certain character and sweetness – a tenderness – that you just don’t get from the notes of a triad, which are the notes most melodies tend to emphasize (that is, the 1st, the 3rd, and the 5th tones of the scale – which would be C,E, and G in a ‘C’ chord).
The triad notes are the most obvious choices. They come easily for most of us; much easier than the other notes I suggested above. For example, if your ear isn’t used to emphasizing a 9th in a melody, it can sound strange. Same goes for the 6 and 7th.
It can take a little practice to become accustomed to these sounds and to use them comfortably.
Try playing a chord – say it’s a Cmajor triad. Fool around with a melody and then arrive at an A, B, or D note and just hold for moment, with the ‘C’ triad playing underneath. Let yourself feel that sound… that suspension, that tension, that sweetness.
(It’s particularly interesting to use the ’tender notes’ in a melody and not use the melody note in the chord. That is, if you’re singing a B note over a ‘C’ chord, don’t play a Cmajor7 chord – play a ‘C’ triad. If you’re singing an A, don’t play an A6 chord. Play just the triad and let the melody note fill out the chord. Try it!)
These notes add a very different color, even (especially?) to an uptempo song’s melody. What I would call a tenderness. If you can get comfortable using these notes in appropriate places – if you’re not already there – you’ll have added some significant colors to your melody-writing pallette.
Here are links to a few previous posts with examples of songs whose melodies effectively use the ‘tender notes’:
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What is the functional difference between a 6th chord and the relative minor 7th, considering they are enharmonic?
On another note, no doubt the major add2 gives that “romantic” 80s vibe, especially when played on a DX7 electric piano
Chris,
For what it’s worth, I’ve never heard of ‘relative minor 7th’ used as a name for what we usually know as a 6th chord.
If you asking about, say, a C chord with notes called C, E, G, A or C, E, G, Bbb… yes, they’re both the same.
Except that musicians you work with might kill you if you use the latter!
Thanks for reading and writing,
TC