meaner sounding [than the flat nine]." In jazz, 79 chords, along with 79 chords, are often employed as the dominant chord in a minor ii–V–I turnaround. For example, a ii–V–I in C minor could be played as: Dm75 – G79 – Cm7. The 79 represents a major divergence from the world of tertian chord theory, where chords are stacks of major and minor thirds. The 79 does not satisfy that definition, as the interval between the minor seventh and augmented ninth is an augmented third. The same also pertains to the rarer M79, where the interval between the major seventh and minor ninth is a diminished third. Rather than fully allow the inclusion of diminished and augmented thirds into the theory, a typical solution in jazz is to define chords as stacks of chordal degrees, where each degree has some range of selection from which to take its note or notes. Thus, for example, the ninth is available in flat, natural, sharp, and flat-and-sharp "alt" styles. History Classical The English cadence is a distinctive contrapuntal pattern particular to the authentic or perfect cadence described as archaic or old-fashioned sounding. This pattern was primarily used by English composers of the High Renaissance and Restoration periods. The hallmark of this device is the dissonant augmented octave (compound augmented unison) produced by a false relation between the split seventh scale degree. The English cadence is a type of full close featuring the blue seventh against the dominant chord which in C would be B and G-B-D. The dominant 79 chord appears in impressionist classical music. An example can be heard in Claude Debussy's Feuilles Mortes, from his second book of Préludes (1913). There, the unresolved, dissonant ninth chords (at least a "C7" with a "split third" and "added minor ninth") help create, according to Richard Bass, an "utterly sad, desolate character" throughout the piece. This chord can also be found in serial music. For example, the Elektronische Musik vom Freitag aus Licht (1991–94) by Karlheinz Stockhausen, from an opera composed using formula technique, concludes on this chord. Jazz and blues The dominant 79 chord is usually found in blues contexts because in a blues scale a minor third (blue note) in the melody is usually played against a dominant seventh chord. The third of the dominant chord is the seventh degree of the scale. The chord was used in popular music as far