Possibly the most thorough explanation of chord extensions I've seen. For anyone who is here and doesn't already understand these concepts, I just want to let you know you are definitely in the right place to learn them.
One of the most important differences is that in classical music, theory is consistent : if the C9 contains cegBbd it is the fifth chord of the scale of FMajor and the Dminor. Scale. - Because of the Bb who does not belong to the scale of CMajor. CM does not have it in the scale. Therefore chords are not to be shown as separate events but as a key reference since composed only from notes in the scale. The c9 from the key of CMajor is Cegbd it is the CMajor 7/9
Interesting lesson. I had read elsewhere that for the larger extensions (11 & 13), it's the 5th degree and any extension notes between the 7th and the highest extension note that are optional. The logic was that the 3rd determined the quality of the chord (Major, minor, or sus) while the 7th differentiates the chord from an "add" chord, so those should always be used.
I have often wondered what individual notes can be left out of chords. I found one reference that gave the answer for one chord. But here we have a complete explanation covering at least the most common situations. And explained in a very simple way.
Very thorough explanation of intervals, this is one of the best short courses on the subject I've seen. Every guitar teacher should show this to their beginning students.
Thank you for making this video i have learned a lot i can apply it on my band because sometimes i have meet a pianist he has a lot use extended chords when i play 13 chords i choose only 3 notes like have you said (7,3,13) the pianist he wants me to add 9 but i cant do it when i because i makes the 9 will comes dominant sounds so that i play 3 notes only but the pianist can't comfortable the sounds of a 3notes
If you haven't already covered these topics. I'd like to know examples of "WHERE" to use the whole tone scale and the diminished scale. Probably not both in one video. Just saying though, its a big topic for everyone and for me too.
Randy Bakkelund basically they are natural extensions of the augmented and diminished chord respectively, that’s their first occurrence. Btw.: I rarely think on scales, but rather on what fits to chords, and chords to what fits melodically.
I mean, you can omit both the root and third but only possibly if you have other instruments, you can distribute it to those other instrumentalists for ease.
can you please do a video about scales? i want to know if there is somthing like E sharp or C flat. also explenation about double sharp or duble flat, where i see those things and do musicians use that? for example, in A sharp minor there is 7 sharps, and in A sharp harmonic minor there is one duble sharp (?) thank you very much, i love you videos!
I like to think of it like this. Think, in ur head, 7. Like the number. Then each note 9, 11, 13, you just add that notes corresponding number. Like for C the 9 is D which the 2nd note. So 7+2=9. C9. 7+4=?... 11. And you guessed it 7+6=13. Thats how I remember/figure out what is what. Muuuuch simpler I think. I actually saw somebody say this in a comment section for a maj n min 7 topic video I was like holy shit mind blown lol.
Another fantastic video. could you make one that works through ALL the intervals of a major and minor key and that uses interval formula to understand how each interval's chords can be thought of as 2 things for example G11 could played as F/G. There must be a relationship between certain variants of chord intervals in a key being able to be named also as another chord (so just to explain, something like in your half diminished video: that in a minor key the iv/"ii note" is the same as the vii half dim, or in a major key the 5th variants could be replaced by the viio which could also be thought of as the iii/"vii note") ..I hope this makes sense but I haven't found any videos to explain this clearly and show any formula that is always the same for the various chords in any key. I don't even know the term for what I'm describing! I also think I'm getting confused with this idea and using chords to voice lead. Perhaps one video could lead to another?? Thanks from one Tom to another!
1:08 here we use the C major scale in which the 7th note is B, but generally when we talk about intervals for chord building, "the 7th" would mean Bb right? B would be major 7th.
Hi Tommaso, I'd just like to know what's the difference of C7/b9 and just Cb9. Coz in my head, they're kinda the same unless I write Caddb9. Hope you can enlighten me. Thank you. Regards, Ardie
Dear Tomasso, I am a great admirer of your guitar harmony explanations and hoped to find some guidance on the 7#11 chord in this video... Following the guidelines, I would expect a Bb in a C7#11 chord, but this chord is played with a B. Why? And why is in this not written as Cmaj7#11?
The C7#11 would have a Bb, just like you say. It's a rare chord, though. If there is a B, then you should call it Cmaj7#11, again just like you say. Be mindful that in some notation they indicate the major 7 as a "7 with a slash on top".
Thank's for the great video! I got two questions, maybe someone can help me out here. Question 1: If you wanted a 6 note chord but with a #11 instead of an 11 in it. How would you write that down to avoid confusion? Just with parenthesis like C(#11)? Otherwise I guess it wouldn't be clear if its C# with 7 9 and 11 or C with 7 9 and #11. Question 2: is there a difference between C6 and Cadd13. Is there a difference between C4 and Cadd11? Of course I'm not talking about sus4 chords here.
One question. What if I want to add more than one note to a chord? For example: C E G D F. It is like a C11 without the 7. Or for example C E G D A. It is a C with a 9 and a 13. Great video by the way!
I have a question ! What if I have a chord like C E G Bb A, isn't this a dominant third chord? what's the difference then with the chord C E G Bb D F A (as your video explains)? I guess what I'm asking is, isn't it correct to call the first chord a 13th and the second a C13 (9,11), as some keyboards would call it, theoretically speaking?
Great video, but do these chords work with a different logic (like jazz harmony) than chords made with modes? or there are ways we apply them using modes?
So when it comes to chords like the G13 or C11 and you want to play only 4 notes you omit the 5th and any other notes except the root, 3rd and the 13th or 11th note? Eg G13 has root, 3rd, 5th, 7th, 9th, 11th and 13th so you play root 3rd 7th and 13th note? But if its an "add" chord you play the triad 1 3 5 and the "added" note. Am I correct?
Hi i love your videos. I'm really interested in getting your online courses but im a bit confused on how it works. It seems you pay and get 1 or 2 lessons a month but is there a certain order to those lessons? Do you choose which ones you think you need? And do you have access to old lessons? Typically how long are the lessons? Sorry for so many questions!
Thanks for the great video! I have one question: I don't understand why the minor 13 chords are using a note that is not in its scale as the 13th. For example the Dm scale contains the notes D E F G A Bb C D. But the Dm13 chord contains a B instead of the Bb. Thats strange because I learned that I can build any chord by starting on the first degree of the scale and skip a note every time I add a note to my chord
Dm13 - 13 means interval D to B = major 6. Dm7(13) or Dm6 derived from dorian mode. If you need Bb in there you.can write Dmb13 (D to bB = minor 6) or, more often Dm7b6 which is modal chord from the aeolian mode (natural minor scale).
I've seen book notating add9 a chord that is actually sus2! Eg. A chord that is C D G is notated as Cadd9.. And I mean good books, even from MI publications..
@@MusicTheoryForGuitar I agree, and I'm ok with different notations, but that wasn't different, it was completely wrong! Looking forward for your video :)
Looks like hes just adding all the suss and 7th in the chord then giving the the chord new name with one extra note 9 or 11. I've never thought of it that way.
I'm still yet to come across a 13 chord full. in all examples i've come across and books i've read, a dominant chord shouldn't really have an 11. I come across dominant chords with (9, 13) (b9, 13) and of course dominant sus4 chords but having 1,3,11,5,b7? when does this work? why is C13 a chord clearly notated but not used as opposed to C9add13 which gets used loads
And the 6th? I see that some chords are written like this: Xm6. Is this 6th within the same octave of the triad chord? So is it written that way? By the way, great video!
What if I play this chord: string 6 open, string 5 2nd fret, string 4 5th fret, string 3 2nd fret, string 2 3rd fret, string 1 2nd fret? Is this an Em7add11?
Sir, please let me know if I wish to play add9 chords in the key of G.. Gadd9---G, B, D, A Aminadd9--- A, C, E, B Bminadd9--- B, D, F#, C Cadd9---- C E G D Dadd9---- D F# A E EminAdd9-- E G B F# F#dimadd9-- F# A C G.. is it correct??.. Basically, I wish to know if extensions are to be added from the same key or parallel key?..
See his video on 7th chords. The short answer is that the 7th itself (maj7) is too dissonant, because you're playing B and C at the same time, which are a half-step apart.
I have several options available, see here: www.musictheoryforguitar.com/chords-and-harmony-guitar-lessons.html and if you have questions feel free to write me at tommaso@musictheoryforguitar.com
You maybe should have mentioned that Bb isn't the 7th in C major, it's the flat (or dominant) 7th. We're talking tensions mostly. Just sayin'. Could be a source of confusion for some on the border.
Thank you for your lessons, they are shurely interesting . I got a question on the 13 th chords: i usualy consider them without including the 11, i never use the 11, because it's avoid on the function of dominant V7 . I use the 11 only if It is notated as sus4 , with no 3... So, truely, i never use F on C13, i use It only on Csus4 Is this uncorrect ? Really You play F on C13?
Stupid question: at 3:10. you say Cm9 and then you list "1, b3, 5, 7, 9" but shouldn't that be "1, b3, 5, b7, 9?" you did list the "B" as "Bb" so i know it's the "b7." I mean i know Bb is the 7th degree of Cm but then the Eb would just be "3" and not "b3." or... i'm over thinking it! haha either way i love your videos!
You're not overthinking - this is an actual problem in chord notation. There are some (old) books who notated the minor 7th as "b7" and the major 7th as "7". The current practice, though, is that the symbol "7" refers to the MINOR 7th, and that you use "maj7" or the 'triangle sign' to indicate the MAJOR 7th. If you think about it, C7 is C E G Bb... we don't notate the C dominant 7 as "C b7".
We often play chords which contain a series of odd scale tones - eg, C7, C9, etc. But why is this? Why do these series of odd tones work together, but an even tone typically doesn’t?
Because we're using tertiary (3-based) harmony. This means we build chords by stacking thirds (C-E, E-G, G-B, etc) of some kinds. If we used secundal harmony instead, we do go up one number at a time (C-D, D-Eb, etc are all seconds). If we use quartal harmony, we go up by 3 every time (C-F, F-B, etc, are all fourths), and for quintal harmony, up by 4 every time.
Because of the function of those notes: 1 is still a root even if taken octave higher, 10 is a third by function - major or minor sound indicator , 12 is still a fifth .1-3-5-7 it's a base structure. 9-11-13 are decorations which can bring more colour to the base sound but they don't change the main quality of the chord - major, minor, dominant , half.dim, dim. etc. Also in common practice 9-11-13 often found octave higher them 1-3-5-7.
One more music theory nightmare for the beginners! Cb9 = 1357b9 there we mean 7=b7 and we are writing it like 1357(7=b7)but..b9=b9 and if we thinking chord like C7 from 5th degree of F Harmonic Minor scale in arabic numerals 1b2345b6b7 we can write it like 135b7b9...this is what separate the music theory men from the boys!
@@MusicTheoryForGuitar Thank you so much for your reply! I was curious because I see Fadd2 and Gadd2 written on some sheet music but when I look online for guitar chords, I find only Fadd9 and Gadd9 (also thanks to your video, I don't need to look online anymore so thank you :-)). I was wondering if add9 is when you play the second note an octave higher while add2 is when you play it next to the root (which seems impossible on guitar since we have to play the root and the third).
![How To Memorize Permanently The Notes On The Guitar Fretboard [Music Theory For Guitar]](http://i.ytimg.com/vi/GTE355VslW4/mqdefault.jpg)
![How To Memorize Permanently The Notes On The Guitar Fretboard [Music Theory For Guitar]](/img/tr.png)
Possibly the most thorough explanation of chord extensions I've seen.
For anyone who is here and doesn't already understand these concepts, I just want to let you know you are definitely in the right place to learn them.
One of the most important differences is that in classical music, theory is consistent : if the C9 contains cegBbd it is the fifth chord of the scale of FMajor and the Dminor. Scale. - Because of the Bb who does not belong to the scale of CMajor. CM does not have it in the scale. Therefore chords are not to be shown as separate events but as a key reference since composed only from notes in the scale. The c9 from the key of CMajor is Cegbd it is the CMajor 7/9
Interesting lesson. I had read elsewhere that for the larger extensions (11 & 13), it's the 5th degree and any extension notes between the 7th and the highest extension note that are optional. The logic was that the 3rd determined the quality of the chord (Major, minor, or sus) while the 7th differentiates the chord from an "add" chord, so those should always be used.
I have often wondered what individual notes can be left out of chords. I found one reference that gave the answer for one chord. But here we have a complete explanation covering at least the most common situations. And explained in a very simple way.
Very thorough explanation of intervals, this is one of the best short courses on the subject I've seen. Every guitar teacher should show this to their beginning students.
0:11 F13? You actually played F7sus(9)! No13 here - the D note on a high E string is missing! But we love you anyway!
Not only is the explanation very good, but the accent is very pleasing as well.
BEST EASIEST WELL EXPLAINED VIDEO EVER!
Clear , High efficiency explanation ! Wonderful
Chord extensions explained very well. Thanks so much.
Wow, I saw like 7 of these kinda videos today but this channel is always the best explaining everything, thanks man, we will pay you back,
After 20 years Hobby Musik I understand what is the "add" chord for exemple. Very nice explanation 👌,keep going!!!!
The lost lesson I couldn't find in my books/magazines !!!! Thanx Mr. Tomazzo .... once more !
The wordl of Armony is a beatifull wordl to discover 🎼
please make the harmony course as a single one time course, your exposition and knowledge are unmatched
HI Nagesh. The Complete Chord Mastery course is available also as a one-time course. Write me at www.musictheoryforguitar.com/contacttheauthor.html
Really cool easy to understand explanations of these chords
Always excellent! I can always use a refresher on this subject.
Very didactic and clear music Teacher 👨🏫 guitar.
Thank you 😊
Great Tutorial.
This cleared up some confusion.
Thanks
Another great vid. Well explained
I never knew this is how easy these complex chords are!
THANK YOU ! 💪🏻 Nice video !
Excellent explanation.
Thanks... Looking forward to this...
very clear was really helfful thankyou 🙂
Great explanation Tommaso! Thanks for taking the time to do this video.
I really appreciate your videos, right now I'm saving some money in order to buy your lessons. Such a great explanation!
well explained thanks
This is a wealth of information. Thank you!
Another excellent explanation.
Wow this was explained so well! Thank you so much! I turned on notifications :)
Awesome video style. Great work! :) -Jared
Amazing explanation 👏
Nice to see what is in my head on RUclips without complex info
Thanks sooo much, it's quite clear!
I love this exclamation.
Sir, I'm a great fan of yours. Please tell me how to play the BbM7-6-9-#11 on the guitar.
Sir you are great. Thanks for the lessons.
Please can you something on 'Major-minor substitution' I am confused in that aspect. Thanks
Thank you for making this video i have learned a lot i can apply it on my band because sometimes i have meet a pianist he has a lot use extended chords when i play 13 chords i choose only 3 notes like have you said (7,3,13) the pianist he wants me to add 9 but i cant do it when i because i makes the 9 will comes dominant sounds so that i play 3 notes only but the pianist can't comfortable the sounds of a 3notes
Great work man. Thanks. Cheers
If you haven't already covered these topics. I'd like to know examples of "WHERE" to use the whole tone scale and the diminished scale. Probably not both in one video. Just saying though, its a big topic for everyone and for me too.
Randy Bakkelund basically they are natural extensions of the augmented and diminished chord respectively, that’s their first occurrence. Btw.: I rarely think on scales, but rather on what fits to chords, and chords to what fits melodically.
Great video!
I really enjoy your vids, I find them funny, creative and highly informative, thanks.
Nice review!
OMG, that was realy helpful, thx
Amazing explanation!!
Are you really great sir
BRAVO.WAY TO COOL.COUNTERPOINT LESSONS PLEASE.GREETINGS FROM SOUTHEASTERN EUROPE.
Great video
Great fairy fountain starts on C9!
Thank you
I mean, you can omit both the root and third but only possibly if you have other instruments, you can distribute it to those other instrumentalists for ease.
can you please do a video about scales? i want to know if there is somthing like E sharp or C flat. also explenation about double sharp or duble flat, where i see those things and do musicians use that? for example, in A sharp minor there is 7 sharps, and in A sharp harmonic minor there is one duble sharp (?) thank you very much, i love you videos!
I like to think of it like this. Think, in ur head, 7. Like the number. Then each note 9, 11, 13, you just add that notes corresponding number. Like for C the 9 is D which the 2nd note. So 7+2=9. C9. 7+4=?... 11. And you guessed it 7+6=13. Thats how I remember/figure out what is what. Muuuuch simpler I think. I actually saw somebody say this in a comment section for a maj n min 7 topic video I was like holy shit mind blown lol.
thank u man!!!! finally the coin fell down
So imformative
Another fantastic video. could you make one that works through ALL the intervals of a major and minor key and that uses interval formula to understand how each interval's chords can be thought of as 2 things for example G11 could played as F/G.
There must be a relationship between certain variants of chord intervals in a key being able to be named also as another chord (so just to explain, something like in your half diminished video: that in a minor key the iv/"ii note" is the same as the vii half dim, or in a major key the 5th variants could be replaced by the viio which could also be thought of as the iii/"vii note")
..I hope this makes sense but I haven't found any videos to explain this clearly and show any formula that is always the same for the various chords in any key. I don't even know the term for what I'm describing! I also think I'm getting confused with this idea and using chords to voice lead. Perhaps one video could lead to another??
Thanks from one Tom to another!
1:08 here we use the C major scale in which the 7th note is B, but generally when we talk about intervals for chord building, "the 7th" would mean Bb right? B would be major 7th.
yes
Good video! Tnx :)
Hi Tommaso,
I'd just like to know what's the difference of C7/b9 and just Cb9. Coz in my head, they're kinda the same unless I write Caddb9.
Hope you can enlighten me.
Thank you.
Regards,
Ardie
Fast but good.
Dear Tomasso,
I am a great admirer of your guitar harmony explanations and hoped to find some guidance on the 7#11 chord in this video...
Following the guidelines, I would expect a Bb in a C7#11 chord, but this chord is played with a B.
Why?
And why is in this not written as Cmaj7#11?
The C7#11 would have a Bb, just like you say. It's a rare chord, though. If there is a B, then you should call it Cmaj7#11, again just like you say. Be mindful that in some notation they indicate the major 7 as a "7 with a slash on top".
Thank's for the great video! I got two questions, maybe someone can help me out here. Question 1: If you wanted a 6 note chord but with a #11 instead of an 11 in it. How would you write that down to avoid confusion? Just with parenthesis like C(#11)? Otherwise I guess it wouldn't be clear if its C# with 7 9 and 11 or C with 7 9 and #11. Question 2: is there a difference between C6 and Cadd13. Is there a difference between C4 and Cadd11? Of course I'm not talking about sus4 chords here.
One question. What if I want to add more than one note to a chord? For example: C E G D F. It is like a C11 without the 7. Or for example C E G D A. It is a C with a 9 and a 13. Great video by the way!
C E G D F = C add9 add11. It's rare to find this one though.
C E G D A = C6/9. There is no 7 because the 6 'takes its place'. This is pretty common.
Thank you very much!
I have a question ! What if I have a chord like C E G Bb A, isn't this a dominant third chord? what's the difference then with the chord C E G Bb D F A (as your video explains)? I guess what I'm asking is, isn't it correct to call the first chord a 13th and the second a C13 (9,11), as some keyboards would call it, theoretically speaking?
What about the dissonance between the 3rd and the Perfect 11th in a dom7th chord/ When do YOU sharp the 11th? You are bypassing the sus 4 chord.
Great video, but do these chords work with a different logic (like jazz harmony) than chords made with modes? or there are ways we apply them using modes?
So when it comes to chords like the G13 or C11 and you want to play only 4 notes you omit the 5th and any other notes except the root, 3rd and the 13th or 11th note? Eg G13 has root, 3rd, 5th, 7th, 9th, 11th and 13th so you play root 3rd 7th and 13th note?
But if its an "add" chord you play the triad 1 3 5 and the "added" note. Am I correct?
Hi i love your videos. I'm really interested in getting your online courses but im a bit confused on how it works. It seems you pay and get 1 or 2 lessons a month but is there a certain order to those lessons? Do you choose which ones you think you need? And do you have access to old lessons? Typically how long are the lessons? Sorry for so many questions!
Hi Liam, write me here and I'll answer all the questions: www.musictheoryforguitar.com/contacttheauthor.html
Thanks for the great video! I have one question: I don't understand why the minor 13 chords are using a note that is not in its scale as the 13th. For example the Dm scale contains the notes D E F G A Bb C D. But the Dm13 chord contains a B instead of the Bb. Thats strange because I learned that I can build any chord by starting on the first degree of the scale and skip a note every time I add a note to my chord
Ummm, Dm13 doesn’t include a B?
Oh yeah sry, I think the chord is not named off the minor scale, maybe the major scale or another mode from the scale?
Dm13 - 13 means interval D to B = major 6. Dm7(13) or Dm6 derived from dorian mode. If you need Bb in there you.can write Dmb13 (D to bB = minor 6) or, more often Dm7b6 which is modal chord from the aeolian mode (natural minor scale).
So B flat is the 7 Dominant and not B? In the case of the c major scale why am I confused if B is the 7th note and not B flat?
A #5 is the same as a b13th, correct? When do you call a chord #5 versus B13?
I realise it is a lot to ask a music video to have any music to recognize to help!
I've seen book notating add9 a chord that is actually sus2! Eg. A chord that is C D G is notated as Cadd9.. And I mean good books, even from MI publications..
You are going to find that notation changes depending on who wrote the book and when they wrote it... I'll do a video about that too.
@@MusicTheoryForGuitar I agree, and I'm ok with different notations, but that wasn't different, it was completely wrong! Looking forward for your video :)
Looks like hes just adding all the suss and 7th in the chord then giving the the chord new name with one extra note 9 or 11. I've never thought of it that way.
I'm still yet to come across a 13 chord full. in all examples i've come across and books i've read, a dominant chord shouldn't really have an 11. I come across dominant chords with (9, 13) (b9, 13) and of course dominant sus4 chords but having 1,3,11,5,b7? when does this work? why is C13 a chord clearly notated but not used as opposed to C9add13 which gets used loads
Nice video, but I think you got your intro chords a bit mixed up:
The Am. add11 is an Am. 7 add11, and the F13 is actually a D# add 11. Cheers!
That's was the most comprehensive explanation of extended chords I've found! 👏👏👏
And the 6th? I see that some chords are written like this: Xm6. Is this 6th within the same octave of the triad chord? So is it written that way? By the way, great video!
Yes, the 6th can be in the same octave. If you write C6 = C E G A. If instead you write C13 = C E G Bb D F A
@@MusicTheoryForGuitar Thanks!
6:30 - the solution of this problem is called Shell Voicing :)
1,3,7(no 5) and 13 or 11 or 9
damn i almost forgot about that
What if I play this chord: string 6 open, string 5 2nd fret, string 4 5th fret, string 3 2nd fret, string 2 3rd fret, string 1 2nd fret? Is this an Em7add11?
Sir, please let me know if I wish to play add9 chords in the key of G..
Gadd9---G, B, D, A
Aminadd9--- A, C, E, B
Bminadd9--- B, D, F#, C
Cadd9---- C E G D
Dadd9---- D F# A E
EminAdd9-- E G B F#
F#dimadd9-- F# A C G..
is it correct??..
Basically, I wish to know if extensions are to be added from the same key or parallel key?..
I actually understood everything he said... Great explanations!
Thank you. How to use this 9, 11, 13 chord in any song?
Sounds like a topic for another video!
Why we put Bb in C9 chord?
B d# F# c# E.. Major triad 9 and 11 what is the name of this chord... There is no 7 note on it
Why you normale take the small 7 in a 9 or 11 Majar Chord?
Why do we use the minor 7th (Bb for C major) and not the 7th itself?
See his video on 7th chords. The short answer is that the 7th itself (maj7) is too dissonant, because you're playing B and C at the same time, which are a half-step apart.
Hi sir. Good day. How much is the course?
I have several options available, see here: www.musictheoryforguitar.com/chords-and-harmony-guitar-lessons.html and if you have questions feel free to write me at tommaso@musictheoryforguitar.com
wheres the hand wave!!!!
You maybe should have mentioned that Bb isn't the 7th in C major, it's the flat (or dominant) 7th. We're talking tensions mostly. Just sayin'. Could be a source of confusion for some on the border.
I think that's covered in his video on 7th chords.
Thank you for your lessons, they are shurely interesting .
I got a question on the 13 th chords: i usualy consider them without including the 11, i never use the 11, because it's avoid on the function of dominant V7 .
I use the 11 only if It is notated as sus4 , with no 3...
So, truely, i never use F on C13, i use It only on Csus4
Is this uncorrect ? Really You play F on C13?
Stupid question: at 3:10. you say Cm9 and then you list "1, b3, 5, 7, 9" but shouldn't that be "1, b3, 5, b7, 9?" you did list the "B" as "Bb" so i know it's the "b7."
I mean i know Bb is the 7th degree of Cm but then the Eb would just be "3" and not "b3."
or... i'm over thinking it! haha either way i love your videos!
You're not overthinking - this is an actual problem in chord notation. There are some (old) books who notated the minor 7th as "b7" and the major 7th as "7". The current practice, though, is that the symbol "7" refers to the MINOR 7th, and that you use "maj7" or the 'triangle sign' to indicate the MAJOR 7th. If you think about it, C7 is C E G Bb... we don't notate the C dominant 7 as "C b7".
@@MusicTheoryForGuitar Thank you for educating me!
Commenter in a Box ???
We often play chords which contain a series of odd scale tones - eg, C7, C9, etc. But why is this? Why do these series of odd tones work together, but an even tone typically doesn’t?
Because we're using tertiary (3-based) harmony. This means we build chords by stacking thirds (C-E, E-G, G-B, etc) of some kinds. If we used secundal harmony instead, we do go up one number at a time (C-D, D-Eb, etc are all seconds). If we use quartal harmony, we go up by 3 every time (C-F, F-B, etc, are all fourths), and for quintal harmony, up by 4 every time.
Why don't we use 8 , 10 and 12 in music theory. Why is a third not called 10? Just looking for your opinion. Thanks man!
Because of the function of those notes: 1 is still a root even if taken octave higher, 10 is a third by function - major or minor sound indicator , 12 is still a fifth .1-3-5-7 it's a base structure. 9-11-13 are decorations which can bring more colour to the base sound but they don't change the main quality of the chord - major, minor, dominant , half.dim, dim. etc. Also in common practice 9-11-13 often found octave higher them 1-3-5-7.
Are you from Brazil?
Italy
You take 7b for the Dominant 7 (C7) chord, not 7. Taking the 7 results in CMaj7 (C∆7)
Conventionally "7" is the minor 7th. To indicate the major 7th, you use M7 or the triangle. The notation "b7" is very rare (and usually confusing)
One more music theory nightmare for the beginners! Cb9 = 1357b9 there we mean 7=b7 and we are writing it like 1357(7=b7)but..b9=b9 and if we thinking chord like C7 from 5th degree of F Harmonic Minor scale in arabic numerals 1b2345b6b7 we can write it like 135b7b9...this is what separate the music theory men from the boys!
So one should always say, for example, Cadd9? Is Cadd2 incorrect?
I would say that Cadd2 is an unusual way to notate it.
@@MusicTheoryForGuitar Thank you so much for your reply! I was curious because I see Fadd2 and Gadd2 written on some sheet music but when I look online for guitar chords, I find only Fadd9 and Gadd9 (also thanks to your video, I don't need to look online anymore so thank you :-)). I was wondering if add9 is when you play the second note an octave higher while add2 is when you play it next to the root (which seems impossible on guitar since we have to play the root and the third).
1 3 5 7 9 would be Maj 9 and 9 would be 1 3 5 b7 9. Isn't that correct?
Yes. When you have a maj9 chord, you use the regular 7. When you have a 9 chord, you use the b7.
Can explain them in an easier way