Steeley Dan's magic mu chord

[Mickey]

What is the story with this chord (questions explained below)? Looking
at Deacon Blues, for example, the WB fakebook lists the first 10
chords as (I have put the mu chords in braces, which do not appear in
the fakebook):

Cmaj7 / Bm7 (#5) {Gmu}
BbMaj7 / Am7 (#5) {Fmu}
DMaj7 / Dbm7 (#5) {Amu}
CMaj7 / Bm7 (#5) {Gmu}
EbMaj9
E7 (#9)

So I guess that this has two faces to the question: first are my mu
interpretations correct, as I assume they are, and second, is a mu
chord simply a Maj triad add 9 with the root on the 3?

One more thing: does this chord have a chordal theory or serve some
harmony or is it simply a filler chord (4-1 in the above example).

Thanks

[LJS]

Post by Mickey
What is the story with this chord (questions explained below)? Looking
at Deacon Blues, for example, the WB fakebook lists the first 10
chords as (I have put the mu chords in braces, which do not appear in
Cmaj7 / Bm7 (#5) {Gmu}
BbMaj7 / Am7 (#5) {Fmu}
DMaj7 / Dbm7 (#5) {Amu}
CMaj7 / Bm7 (#5) {Gmu}
EbMaj9
E7 (#9)
So I guess that this has two faces to the question: first are my mu
interpretations correct, as I assume they are, and second, is a mu
chord simply a Maj triad add 9 with the root on the 3?
One more thing: does this chord have a chordal theory or serve some
harmony or is it simply a filler chord (4-1 in the above example).
Thanks

This link is what I found on the mu chord,

<http://jmdl.com/howard/steelydan/mu-major.html#whatis>

According to this it is a major chord with an added 2nd The only
chord I see in your list that fits this description is the Ebmaj9
chord and this has the added maj7 that is not mentioned in their
definition. So I am not sure what is what with your examples and this
explanation. There are 3 parts to the MU explanation and I found the
theory explanations a bit tedious and somewhat strange in the way they
spoke of it in relation to traditional theory. In the second part they
have examples of the voicing and it appears that they generally use
it as a simple 9th chord without a 7th. In traditional theory, this
would simply be called an Xadd2 or an X9(no7) or simply an X9 and it
would be the performer to decide on the 7th or not.

The 3rd in the bass, generally called the 1st inversion in Traditional
Functional theory or sometimes notated as X9/(bass note) or something
like Cadd2/E for a chord of E G C D.

Then they reference the more modern jazz and classical use of quartal
harmony by voicing the 3rd in bass in this manner: E (bass) D G C on
top. This is a quartal triad (D G C) over an E bass and this may be
the key to their idea. they MAY (I don't know much about them) be
starting to hear quartal harmony. I say this as in this sight they
talk about ways to "learn" to hear the sound of this chord. I thought
that this was obvious, listen and play it, and if you had to LEARN to
hear it as a good thing, maybe it isn't. Yes, I know that there are
lots of classical music that is an acquired taste, but personally I
always heard them as more of sounding different rather than having to
learn to like them. Maybe that is not the intention of the site, but
that is what I though of.

The end result is that I did not see any examples of any of the chords
that you have listed. So as to your examples as being correct, I would
have to say that either they are not, or the site that I found is very
incomplete. Maybe you can tell me which is the case. I hope this helps
answer your questions. Feel free to follow up.

LJS

[Mickey]

Post by Mickey
What is the story with this chord (questions explained below)? Looking
at Deacon Blues, for example, the WB fakebook lists the first 10
chords as (I have put the mu chords in braces, which do not appear in
Cmaj7 / Bm7 (#5)            {Gmu}
BbMaj7 / Am7 (#5)          {Fmu}
DMaj7 / Dbm7 (#5)          {Amu}
CMaj7 / Bm7 (#5)            {Gmu}
EbMaj9
E7 (#9)
So I guess that this has two faces to the question: first are my mu
interpretations correct, as I assume they are, and second, is a mu
chord simply a Maj triad add 9 with the root on the 3?
One more thing: does this chord have a chordal theory or serve some
harmony or is it simply a filler chord (4-1 in the above example).
Thanks

This link is what I found on the mu  chord,
<http://jmdl.com/howard/steelydan/mu-major.html#whatis>
According to this it is a major chord with an added 2nd  The only
chord  I see in your list that fits this description is the Ebmaj9
chord and this has the added maj7 that is not mentioned in their
definition. So I am not sure what is what with your examples and this
explanation. There are 3 parts to the MU explanation and I found the
theory explanations a bit tedious and somewhat strange in the way they
spoke of it in relation to traditional theory. In the second part they
have examples of the voicing and it appears that they generally  use
it as a simple 9th chord without a 7th. In traditional theory, this
would simply be called an Xadd2  or an X9(no7) or simply an X9 and it
would be the performer to decide on the 7th or not.
The 3rd in the bass, generally called the 1st inversion in Traditional
Functional theory or sometimes notated as X9/(bass note) or something
like Cadd2/E for a chord of E G C D.
Then they reference the more modern jazz and classical use of quartal
harmony by voicing the 3rd in bass in this manner:  E (bass) D G C on
top. This is a quartal triad (D G C) over an E bass and this may be
the key to their idea. they MAY (I don't know much about them) be
starting to hear quartal harmony. I say this as in this sight they
talk about ways to "learn" to hear the sound of this chord. I thought
that this was obvious, listen and play it, and if you had to LEARN to
hear it as a good thing, maybe it isn't. Yes, I know that there are
lots of classical music that is an acquired taste, but personally I
always heard them as more of sounding different rather than  having to
learn to like them. Maybe that is not the intention of the site, but
that is what I though of.
The end result is that I did not see any examples of any of the chords
that you have listed. So as to your examples as being correct, I would
have to say that either they are not, or the site that I found is very
incomplete. Maybe you can tell me which is the case. I hope this helps
answer your questions. Feel free to follow up.
LJS

Good find.
That find is accurate. Let's take the simplest example from he WB
chords: Am7 (#5) which equates to A C F G. But this is not how Fagan
played it (I think). If we invert this chord with the F as the root,
and using that website's example, play the GAC with the right, we have
what Fagan would have played. It's simply that notationally, the mu
chord hasn't made it into common terms and thus must be notated as
something more traditional (rather sad IMHO). Maybe the mu chord will
become part of the common vernacular at some point, not just a triad
add 2.

Anyway, this example would give us an Fadd2, with an emphasis on the
root being some distance (probably at least an octave) away from the
rest of the chord. This necessary distance creates an openness that
makes the use of the 2 (G here) less dissonant. In fact, this has a
very smooth sound unlike a straight Fadd2. It also sounds very 'solid'
or rooted, perhaps emphasizing the current key before Fagan make
radical key changes.

Anyway, I was just trying to assess other people's opinions as to the
significance of this chord and what its best uses might be.

Mickey

[LJS]

Post by Mickey

Post by LJS

Post by Mickey
What is the story with this chord (questions explained below)? Looking
at Deacon Blues, for example, the WB fakebook lists the first 10
chords as (I have put the mu chords in braces, which do not appear in
Cmaj7 / Bm7 (#5) {Gmu}
BbMaj7 / Am7 (#5) {Fmu}
DMaj7 / Dbm7 (#5) {Amu}
CMaj7 / Bm7 (#5) {Gmu}
EbMaj9
E7 (#9)
So I guess that this has two faces to the question: first are my mu
interpretations correct, as I assume they are, and second, is a mu
chord simply a Maj triad add 9 with the root on the 3?
One more thing: does this chord have a chordal theory or serve some
harmony or is it simply a filler chord (4-1 in the above example).
Thanks

This link is what I found on the mu chord,
<http://jmdl.com/howard/steelydan/mu-major.html#whatis>
According to this it is a major chord with an added 2nd The only
chord I see in your list that fits this description is the Ebmaj9
chord and this has the added maj7 that is not mentioned in their
definition. So I am not sure what is what with your examples and this
explanation. There are 3 parts to the MU explanation and I found the
theory explanations a bit tedious and somewhat strange in the way they
spoke of it in relation to traditional theory. In the second part they
have examples of the voicing and it appears that they generally use
it as a simple 9th chord without a 7th. In traditional theory, this
would simply be called an Xadd2 or an X9(no7) or simply an X9 and it
would be the performer to decide on the 7th or not.
The 3rd in the bass, generally called the 1st inversion in Traditional
Functional theory or sometimes notated as X9/(bass note) or something
like Cadd2/E for a chord of E G C D.
Then they reference the more modern jazz and classical use of quartal
harmony by voicing the 3rd in bass in this manner: E (bass) D G C on
top. This is a quartal triad (D G C) over an E bass and this may be
the key to their idea. they MAY (I don't know much about them) be
starting to hear quartal harmony. I say this as in this sight they
talk about ways to "learn" to hear the sound of this chord. I thought
that this was obvious, listen and play it, and if you had to LEARN to
hear it as a good thing, maybe it isn't. Yes, I know that there are
lots of classical music that is an acquired taste, but personally I
always heard them as more of sounding different rather than having to
learn to like them. Maybe that is not the intention of the site, but
that is what I though of.
The end result is that I did not see any examples of any of the chords
that you have listed. So as to your examples as being correct, I would
have to say that either they are not, or the site that I found is very
incomplete. Maybe you can tell me which is the case. I hope this helps
answer your questions. Feel free to follow up.
LJS

Good find.

Thanks, I put chord types mu into google.

Post by Mickey
That find is accurate. Let's take the simplest example from he WB
chords: Am7 (#5) which equates to A C F G. But this is not how Fagan
played it (I think). If we invert this chord with the F as the root,
and using that website's example, play the GAC with the right, we have
what Fagan would have played. It's simply that notationally, the mu
chord hasn't made it into common terms and thus must be notated as
something more traditional (rather sad IMHO). Maybe the mu chord will
become part of the common vernacular at some point, not just a triad
add 2.

Yes, I see what your chart meant now. I wasn't sure when I first
glanced at it. I see now that the / means two chords to a measure (?)
rather than a Cmaj7 over a Bm7+5. The mu's in brackets made me think
it was a chart.

Post by Mickey

Post by LJS

Post by Mickey
Cmaj7 / Bm7 (#5) {Gmu}
BbMaj7 / Am7 (#5) {Fmu}
DMaj7 / Dbm7 (#5) {Amu}
CMaj7 / Bm7 (#5) {Gmu}
EbMaj9
E7 (#9)

Anyway, this example would give us an Fadd2, with an emphasis on the
root being some distance (probably at least an octave) away from the
rest of the chord. This necessary distance creates an openness that
makes the use of the 2 (G here) less dissonant. In fact, this has a
very smooth sound unlike a straight Fadd2. It also sounds very 'solid'
or rooted, perhaps emphasizing the current key before Fagan make
radical key changes.
Anyway, I was just trying to assess other people's opinions as to the
significance of this chord and what its best uses might be.
Mickey

The significance will depend upon how it is received and how much
impact it has on the music world, especially on their peers. They may
usher in a new concept of chord progression that will shift the
harmony in their genre into a new harmonic language with more variety
and subtly of style. Only time will tell this. Its uses are can be
many. Again we shall have to see. In this case I see the section with
the Mu indications to be a progression made up of an emphasis on a
somewhat modal circle of C Bb D C if it is a Imaj7 Vmu pattern
or of a G F A G circle if it is a IVmaj7 Imu pattern going to maybe a
half cadence in A of some kind. It seems as though it ends on a V7+9
but that could go a lot of places.

If they take another direction, they could go into pure modal music
similar to some of the music in European modal jazz. There is really
no way to tell.
I hope I was able to help in some way.
LJS

[Danny Schorr]

Post by LJS
The significance will depend upon how it is received and how much
impact it has on the music world, especially on their peers. They may
usher in a new concept of chord progression that will shift the
harmony in their genre into a new harmonic language with more variety
and subtly of style.

Steely Dan were pretty big and influential, and an extremely good band
besides, so that last sentence there is highly probable.

Danny

[LJS]

Post by Danny Schorr

Post by LJS
The significance will depend upon how it is received and how much
impact it has on the music world, especially on their peers. They may
usher in a new concept of chord progression that will shift the
harmony in their genre into a new harmonic language with more variety
and subtly of style.

Steely Dan were pretty big and influential, and an extremely good band
besides, so that last sentence there is highly probable.
Danny

I was only talking about their Mu concept. Glad to see that my
instincts are still on the right track. It would be nice to see a new
facet of music in the popular music genre. Someone has to pick up the
slack to help undue the blow that "Every child left behind" registered
upon music education in this country! Long live R&R.
LJS