Why the missing perfect 5th in the 'standard' Uke F7?

waffler · Jan 14, 2013

Hi,

I'm a music theory & uke noob, so I'm confused by the standard chord charts I've seen for various 'dominant' 7 chords. E.g. the G7 (open 4th string = G, 3rd string @2nd Fret = D, 2nd string at 1st Fret = A, and 1st string @2nd Fret = B) - has a root (G), major 3rd (B), perfect 5th (D), and minor 7th (A). Which is, as I understand it, a 'normal' 7 chord. E7 is similar, so's C7.

But the 'standard' (i.e. what most basic chord charts for Uke show) fingering for an F7 have: 4th@2nd = A, 3rd@3rd = Eb, 2nd@1st = F, and 1st open = A. So we've got the root (F), the major 3rd (A), and the minor 7th (Eb). But no perfect 5th.

I've come across at least one chord chart that solves the 'missing' 5th by fretting the 1st string at the 3rd fret, to add the C back in -- but it calls it an F7+5.

So, what's the theory behind this? Is it just easier to play and sounds good enough? Or is there some deeper reason?

Thanks...

seeso · Jan 14, 2013

waffler said:
Hi,

I'm a music theory & uke noob, so I'm confused by the standard chord charts I've seen for various 'dominant' 7 chords. E.g. the G7 (open 4th string = G, 3rd string @2nd Fret = D, 2nd string at 1st Fret = A, and 1st string @2nd Fret = B) - has a root (G), major 3rd (B), perfect 5th (D), and minor 7th (A). Which is, as I understand it, a 'normal' 7 chord. E7 is similar, so's C7.

But the 'standard' (i.e. what most basic chord charts for Uke show) fingering for an F7 have: 4th@2nd = A, 3rd@3rd = Eb, 2nd@1st = F, and 1st open = A. So we've got the root (F), the major 3rd (A), and the minor 7th (Eb). But no perfect 5th.

I've come across at least one chord chart that solves the 'missing' 5th by fretting the 1st string at the 3rd fret, to add the C back in -- but it calls it an F7+5.

So, what's the theory behind this? Is it just easier to play and sounds good enough? Or is there some deeper reason?

Thanks...

First of all, there's a typo in your G7 explanation. 2nd string at 1st Fret is an F, not an A.

Secondly, I don't know where you've seen 2313 identified as an F7+5. 2313 is an F7. A plus sign usually denotes an augmented chord. If you can upload a picture of your source, we might be able to see where the problem lies.

Lastly, there are only four strings on an ukulele. Sometimes, we have to leave out notes here and there. Your run-of-the-mill D7 chord: 2020, doesn't even contain a root note!

It's part of what makes the ukulele stand out and give it it's own character.

grendel1972 · Jan 14, 2013

Of all the notes in a 7th chord, the 5th is the best to leave out if you need to leave something out. The root gives you the root (obviously), the 3rd gives you the major/minor and the 7th, not surprisingly, provides the 7th. You will hear this as a 7th chord with or without the fifth, much more so than leaving out any other note. Try it on the piano to see what I mean.

Oh, and the 2020 D7 on the uke I have always hated because of that lack of a root. The first time I played it I kept thinking I was doing something wrong, because I had no D in the D7 chord. I've gotten over it as I played more, and I've come to concede that if you're going to and from the "right" places, your ear will generally fill it in.

stevepetergal · Jan 14, 2013

seeso said:
.... there are only four strings on an ukulele. Sometimes, we have to leave out notes here and there.

Yes. It's really fun playing 13th chords. When playing jazz, we use them all the time and sometimes forget the limitations.

And Seeso is of course right. Your source is just mistaken.

waffler · Jan 14, 2013

My eyes are clearly bleary -- F7+5 => 2314 (not 2313).

So the answer is that 2310 is easier to play, and sounds ok?

I understand (I think) the rootless D7, 'cause it avoids the barre version.

Thanks

SailingUke · Jan 14, 2013

I made this discovery about the F7 a year ago or so quite by accident just noodling around.
I almost always add the 5th to the F7 (1st string 3rd fret "C" note). I like the sound as the chord has 4 notes (1,3,5 & 7) instead of 3.
The other advatage of the 4 note F7 is it movable.
As far as the D7 goes. I use both shapes rootless and barred with the root. The old time music I play sound better (to me) with rooted D7.
Hawaiian music seems to like the rootless version. If you are playing with a bass player they will usually be on the root, so you can leave it out.
Also a lot of times the melody will be the root note so your singing will cover the root.

Why the missing perfect 5th in the 'standard' Uke F7?

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