Rosenberg Academy

Hi Christiaan, thanks for the reply.

I understand that a basic D7 might be notated when an embellishment of D7#5, for example, is a more appropriate chord. This is precisely why I'm so confused, because the basic 4-note chord shape in these cases is that of a 9 chord (x-5-4-5-5-x and x-10-9-10-10-x). If I played a basic D7 and G7 in these cases, that would sound much worse than if I played a basic D9 and G9, no?

I can see that this chord shape is used throughout, and referred to as a 7, so that is why I am looking for further clarification. Can you elaborate more on why these chords are not viewed as variations of 9 chords? I feel that I understand the other jazz manouche chord shapes and naming conventions, but this one is really puzzling me. Thanks.

I'm relatively new to understanding the chord shapes and naming conventions used in gypsy jazz, and I'm trying to understand the "D7" and "G7" chord voicings in measures 13 and 15. The chords are referred to as "7" chords, with the D diagrammed in the rhythm chart as 5-5-4-5-5-5 and the G as 10-10-9-10-10-10. But are these not 9 chords with an A and D in the bass, respectively?

I know that in the jazz manouche style, a chord called "D7" can have an A in the bass, but wouldn't it have to have a D on top to qualify as a D7?

Any help understanding why these chords are referred to as "7" chords and not "9" chords would be greatly appreciated.