The Most Underrated Chord in Jazz Is...
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- Опубликовано: 29 авг 2024
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Pianist, educator, dog-sitter, and traveling salesman, Jeremy Siskind shares what he thinks is the most underrated jazz chord. We won't give it away here because we want to let the suspense build. Nobody would want to flatten even one-ninth of the suspense. Get it? Get it? Get it?
I watched this late last night, playing along with my guitar. 4 hours later... Such a beautiful chord. So much material. Thank you Jeremy
That makes me happy! I hope you found some great new sounds!
I don't think you're alienating! This has been a favorite chord of mine for a long time. It's also in the intro of the ending credits song of Steven Universe, which is a wonderful tune. Played by Russ Freeman on the intro of Time after Time in Chet Baker Sings.
I've gone over different reasons why you don't like natural 11's above ∆3rds for a long time, but never found the pattern of whole steps above chord tones, which is awesome.
I've always thought of sus chords as having both subdominant and dominant qualities. Another way I sometimes think of sus9 chords is F/G or 7susb9 as F-/G. Having the dominant V -> I function, but as you say, lacking the leading tone, so almost equal amounts of ii->I or IV -> I function.
Sort of mixing in some negative harmony.
Great stuff Jeremy!
Yes - I think the insight of subdominant + dominant quality is a really interesting one. Thanks for your insights!
I feel like Duke Ellington used this sound, especially on his solo/duo recordings (piano alone or with bass) and as an altered V7 of course. However, the modal application is very intriguing. It is a beautiful and mysterious harmonic color!
I don't doubt it for a second! It's such a lovely sound!
hi, i like to think of 7sus chords as of II chords over a V bass and voice them that way.
in major keys: IIm7 over V bass,
in minor keys: IIm7b5 over V bass.
the V7sus b9 you demonstrated is exactly the same as IIm7b5/V.
the 1st 2 scales you showed would be equivalent to II locrian and II locrian9.
best, andy
Yep - totally agree! It all depends where you want to start in terms of naming, but I think your insights are great!
Keep this coming! We’re with you.
Thanks, Chris! I really appreciate it!
Very timely. I just saw a short from Noah Kellman about what he called the "Phrygian Pentatonic" (minor pentatonic with b2 instead of b3) and am having a blast practicing it over minor ii-V (not just modal settings). Also exploring unrolling that pentatonic into quartal shapes. Looking forward to JPF3.
Nice! I dig it! In my mind, that would be a mode of what I call the "melodic minor pentatonic," but...call it whatever you want...it's a cool sound!
@@JeremySiskind Thanks. I see that treatment now in JPF3. I also find it helpful to think of it as just a minor 6th chord with the 9th added. Shades of Barry Harris' "borrowing" concept.
JPF3… This lecture was above my head,but not above my ears. I'm very attracted to this style of exotic beauty. Thank you,Jeremy.⭐🌹⭐
Many thanks, Brenda! Cheers for the new year!
JPF3. Good to have understanding stretched, flying after your coat tails if not fully comprehending but getting the gist of it and knowing that there something that will come into focus in time.
Thanks for watching! Eventually, you'll have that 💡 moment!
Love this channel, the best when it comes to jazz piano education!
I'll never get tired of hearing people say that! 🏆 Thank you, Rich!
Stoked for this new book! This will certainly fill in some gaps in my playing.
I was hoping you would expand on the pentatonic voicings in this context. You seemed to let the melody guide you, and choose any of the three pentatonic scales available diatonically.
Maybe, the Phrygian raised six sound is an opportunity to mix in those dominant, pentatonic voicings you shared.
Very rad. Thank you teach.
Love it, John! Yes - I think using these major-key modes in minor keys is one of my key learnings lately!
Great jeremy.
My wife offer me your 3 piano fundamentals books for christmas to help me improve and start again from the basics and build up from there.
I really enjoy it so far you did a great job thanks for that.
Ps: may i suggest you try to add the natural 13 on a susb9 chord? I think you might like the sound
Thanks again for everything you do
That's so sweet that your wife is getting it for you! And - yes - I think you can totally play around with the 13th on the sus b9 chord. Great point!
Great...thanks
My pleasure - happy practicing!
Been working on this lately. I think the confusion comes from the fact that we associate Phrygian with minor chords … as it works so much better with sus4. I am almost sure that it is the color used in the intro of Charlie Mingus’ the black Saint and the sinner lady .. (Jacky Byard ?)
Cool! I don't know that recording offhand. I totally agree - really thinking of phrygian with sus chords has opened my mind!
Suppose I should finish 1 & 2 prior to JPF3!
Baby steps! 😜
If you play C F Bb Db G C. I see it a a C Phrygian mode voicing, Is this not the same chord as you were playing at the beginning of the video ?
Sure, phrygian and sus7(b9) are highly related (if not exactly?).
JPF3 🔥🎹
Yesssss! JPF3! 🔥🔥 🔥 🔥 🔥
Thanks for all the ideas you have
My pleasure, Clem! Thanks for watching!
10:41 for some reason my mind thinks it’s easier to forget about Phrygian as a name and think of the modes originating from scales of the major, harmonic minor, melodic minor, and natural minor? It just makes things easier to only remember the scale and degree, because once you hear that scale, you have 7 modes that you can give 7 new names.
Jeremy - great compliment video to JPF3 which just arrived!
Amazing! I really hope you love it!
Awesome. Gotta get the books.
Thanks much, Slick Willie! I can definitely support you in your book purchasing! 😆 😂
I’d call that a rootless A13th. alt.
Yeah, that could totally work...but does that help describe the function? It's amazing the web of interrelationships there are between chords!
id rather think of a gsus7b9 (in the context of c min) as a fmin6 with a 2. i dont know why jazz avoids thinking of min6 chords, compared to swing or gypsy jazz. i just think of it as a minor 4 to minor 1 cadence in a tonal context, or the min6 with a 2 if you want to just sit on the chord
Yes - it's a great insight to notice just how close the dominant sus7(b9) is to the minor iv chord!
Think Monk. Immediately, Round Midnite comes to mind.
Totally! He loved to play flat nines, with or without the third/fourth.
@@JeremySiskind I love the sound of the b9 dominant. Jimi Hendrix was also a fan of playing an E7b9 dom to complete a 12-bar blues in A, or in a rock tune like Cross-town Traffic and Foxy Lady. Great chord . Versatile, too. It also works well as a dom. chord when playing a slow minor 6 tonic, eg. G7b9 -> Cm6.
Thanks Jeremy. I don't always tune in, but when I do, I usually learn something new.
I'd add a fourth scale, same as your 3rd scale but with a regular 6th
Right - that would technically be the fifth mode of the Harmonic Major, which is probably going to be your brightest sound. Thanks for that!
JPF3
Got hip to this from Chick Corea's Lifeline, check it
Love it
Awesome - thanks for watching, Steve!
BEen a hot minute since I've visited the channel! Hope all is well! JPF3!
Chris! Welcome back - wishing you a really great 2024!
What if JPF3 were a coupon? Just a thought... (Or SUS7FLAT9!)
haha, I love it! I think if I gave a coupon now the people who just bought the book would be super mad. 😂
A whole measure rest is the most underrated and uncommon of chords in Jazz.
Ooh, deeeeeep!