Hey I don’t have ig right now but I follow an account t that posts pictures of the voicings and I find it incredibly helpful because you can take your time to figure it out. So fast in the vid! I know your whole deal is vids tho haha
I’d like to think about chords, the same way you do. Rather than try to wrap our brains around all the variations of seventh chords and their intentions we simplify things by dividing the cord into two separate entities. The left hand handles the fundamentals, and your choice of the third degree and the flat seventh degree is a classic solution, because it naturally avoids developing a pattern of parallel fifths or parallel fourths, Interval is a tri-tone and that’s one of the reasons why, as the wonderful Mr. David Lindley would say, that the chord was “ greasy”.
I must’ve missed it. You mean in this video he’s calling the 13th° an Fb? Well, if he did, he misspoke. Remember that the 13th° is actually the sixth degree of, in this case, a G major scale. A sixth. Chord is actually a kind of seventh chord. Please bear with me for a second…. to create a chord with tensions, you must base your creation on some kind of seventh chord. no matter the key, there are basically three kinds of 7th chords: the major seventh chord is 1, 3, 5, 7 in the diatonic key. A dominant seventh chord is 1, 3, 5, b7, and the last seventh chord is spelled: 1, 3, 5, 6. All of these cords contain the major third. Now, lower that major third to a minor third and your minor seventh chords. They contain all of the same notes as the major chords except they have the minor third. So a seventh chord, by definition, must be built upon either a major or a minor triad, and it must contain separate tonalities or notes. Bear with me… I know you asked about the 13°. Once you take a triad, and add either a major seventh a minor seventh or a sixth-°. You are now ready to add tensions to the chord. There are a lot of rules about what tensions you can use to stay diatomic and etc. etc. but the bottom line is the tensions are as follows.: b9, 9, #9, 11, #11, b13, 13. First, let’s agree that a G6 chord with a 13 would not be very interesting because there’s very little tension. And, of course, as you probably know, the 13th is one act of above the sixth. That’s why it’s best to always study and practice all of your scales in two octaves because you build chords with the first octave, and you access your tensions in the second octave. Let me add a little bit about how to voice chords. First, when you’re working with Dominic seventh chords, you can actually leave out the root and the 5th with no problem because if you’re playing in a band, you can bet that somebody else is going to play the root. And unless you’re playing some kind of diminished chord, the fifth- degree doesn’t really add too much to the texture. So when you’re creating cords like G3 flat, nine sharp 11, you have to figure out what notes you can readily get rid of, so you have room sonically to add in the more important notes and tensions. Here’s something fun take a progression and just figure out the tensions that work with each cord and only play the tensions as your coping along with the band. It sounds pretty cool. In general, # 11 works with Dominic, seventh chords, and the natural 11 works with minir chords. Another way to think about tensions is to start with some kind of seventh chord, then look at the note one whole step above each chord tone, then move it up in Octave. So looking at the G3 flat nine sharp 11, a whole step above G is A, and that is the 9th°. A whole step above B is C#, and that is the sharp 11. A whole step above D is E. and that is the 13th. Please note that if you turn the G dominant seventh cord into a G minor chord, a whole step above the flat is C natural, also known as the 11th°. It’s not a sus4 chord even though it’s the same note. This is an example of why the same note can have different functions within a cord, depending upon what the other notes in the cord are doing. Anyway, aren’t you glad you asked!😆
![Lethal Company Music Video 🎵 "Follow The Orders" [VERSION A]](http://i.ytimg.com/vi/QeooZB4Z7RA/mqdefault.jpg)
Sounds very nostalgic that chord. ❤
Hey man. I love you
Useful data.
Fab presentation
Thanks.
I really wish you played the Imaj7 chord to show how satisfying the resolution is (plus it's nice to see how you'd do the voicings for the two chords)
He does at the beginning of the video
Very cool sounding and nice tutorial and editing
Hey I don’t have ig right now but I follow an account t that posts pictures of the voicings and I find it incredibly helpful because you can take your time to figure it out. So fast in the vid! I know your whole deal is vids tho haha
I’d like to think about chords, the same way you do. Rather than try to wrap our brains around all the variations of seventh chords and their intentions we simplify things by dividing the cord into two separate entities. The left hand handles the fundamentals, and your choice of the third degree and the flat seventh degree is a classic solution, because it naturally avoids developing a pattern of parallel fifths or parallel fourths, Interval is a tri-tone and that’s one of the reasons why, as the wonderful Mr. David Lindley would say, that the chord was “ greasy”.
Know any melodies?
where does one find that handy dandy chart?
I need more chords
Does this work only for V (dominant) or any mode?
SO how can we determine this is a G chord without a G note in a whole chord (if there is no G bass note played)?
Thats what im wondering
I am wondering too.
Typically jazz piano isnt played solo. So there would be a bass player playing G. We can also tell by the resolution to C
Would there be anyone so kind on the internet to explain why you call the thirteenth degree an Fb instead of regular E in this G13b9#11 chord?
I must’ve missed it. You mean in this video he’s calling the 13th° an Fb? Well, if he did, he misspoke. Remember that the 13th° is actually the sixth degree of, in this case, a G major scale. A sixth. Chord is actually a kind of seventh chord. Please bear with me for a second…. to create a chord with tensions, you must base your creation on some kind of seventh chord. no matter the key, there are basically three kinds of 7th chords: the major seventh chord is 1, 3, 5, 7 in the diatonic key. A dominant seventh chord is 1, 3, 5, b7, and the last seventh chord is spelled: 1, 3, 5, 6. All of these cords contain the major third. Now, lower that major third to a minor third and your minor seventh chords. They contain all of the same notes as the major chords except they have the minor third. So a seventh chord, by definition, must be built upon either a major or a minor triad, and it must contain separate tonalities or notes. Bear with me… I know you asked about the 13°. Once you take a triad, and add either a major seventh a minor seventh or a sixth-°. You are now ready to add tensions to the chord. There are a lot of rules about what tensions you can use to stay diatomic and etc. etc. but the bottom line is the tensions are as follows.: b9, 9, #9, 11, #11, b13, 13. First, let’s agree that a G6 chord with a 13 would not be very interesting because there’s very little tension. And, of course, as you probably know, the 13th is one act of above the sixth. That’s why it’s best to always study and practice all of your scales in two octaves because you build chords with the first octave, and you access your tensions in the second octave.
Let me add a little bit about how to voice chords. First, when you’re working with Dominic seventh chords, you can actually leave out the root and the 5th with no problem because if you’re playing in a band, you can bet that somebody else is going to play the root. And unless you’re playing some kind of diminished chord, the fifth- degree doesn’t really add too much to the texture. So when you’re creating cords like G3 flat, nine sharp 11, you have to figure out what notes you can readily get rid of, so you have room sonically to add in the more important notes and tensions. Here’s something fun take a progression and just figure out the tensions that work with each cord and only play the tensions as your coping along with the band. It sounds pretty cool. In general, # 11 works with Dominic, seventh chords, and the natural 11 works with minir chords. Another way to think about tensions is to start with some kind of seventh chord, then look at the note one whole step above each chord tone, then move it up in Octave. So looking at the G3 flat nine sharp 11, a whole step above G is A, and that is the 9th°. A whole step above B is C#, and that is the sharp 11. A whole step above D is E. and that is the 13th. Please note that if you turn the G dominant seventh cord into a G minor chord, a whole step above the flat is C natural, also known as the 11th°. It’s not a sus4 chord even though it’s the same note. This is an example of why the same note can have different functions within a cord, depending upon what the other notes in the cord are doing. Anyway, aren’t you glad you asked!😆
Really? Fb? Lmfao
its spelled correctly with enharmonic equivalent in parentheses (fflat is the minor third of d)
F-flat is the minor third of d-flat
@@jamesciccio2627 I’m aware