Fantastic! Your love of and enthusiasm for piano, along with your generous spirit of sharing, really comes shining through in this video. Thanks for making chord instruction much more than informative. It's satisfying and fulfilling to learn these ways of playing music.
Three other seventh chords that are important for jazzers to learn are the mMaj7 (C, Eb, G, B), the Maj7b5 (C, E, Gb, B), and the Maj7#5 (C, E, G#, B). I suppose you could also include the dominant 7b5 and 7#5. So that's 10 seventh chords.
for me it is much easier to count the keys in the gap. Like in any -M7 chord the gaps will be 3-2-3. a major 6th would be 3-2-1. a minor 6th would be 2-3-1. etc...
altered scale harmony... minor major I can hear this in re: person I knew by bill evans and blue in green by miles davis its harmonizing a major scale with a minor 3rd scriabin was a classmate of rachmaninoff - when he started sounded more like chopin than anyone else I ever heard, if you check out his early music you will know what I'm talking about. Scirabin's "mystic chord" is typical of the harmony he experimented with late in his career - the mystic chord is basically Lydian dominant voiced in 4ths - the 4th mode of the major minor scale - g minor major is a straight major scale w a minor 3rd so g a b flat c d e F sharp - the 4th degree is the same thing starting on c - c d e F sharp g a b flat - now all you have to do is start on c - skip 2 notes play F sharp skip 2 notes keep going... as an after thought I would mention 7#9 is my favorite jazz and blues chord kind of like major in the first octave and minor in the second octave the voicing would be root major third dominant 7 and minor third on top, this is the jimi hendrix chord from purple haze, carry on my wayward son by kansas and in the bridge of born to be wild, I use the chord as a tritone substitution for the dominant chord in a 2 5 1 and as a passing tone chord in between the diatonic chords sometimes when one chord changes to another in jazz - the chord in between the chords - sort of approaching the concept of chromatic harmony, it can also be viewed as harmonizing a 8 note half whole diminished or hexatonic scale as some people call it, hexatonic can also be whole half whole half... instead of half whole half whole... augmented - the whole tone scale is whole step whole whole keep going, the chord would be maj 7#5 or sometimes written as maj7+5 the chord would simply be major 7 raise the 5th, the triad is known as augmented, i hear this sound in the music of debussy and ravel, bill evans studied debussy and I hear alot of this harmony in his music and interpretations of jazz standards, the augmented scale is a 6 note symmetrical scale constructed from two augmented triads a half step apart, the 3rd mode of melodic minor is Lydian Augmented Scale is 1-2-3-♯4-♯5-6-7. For example, a C Lydian Augmented Scale contains the notes C-D-E-F♯-G♯-A-B. The intervallic pattern for this scale is W-W-W-W-H-W-H. Other common names for this scale include Lydian #5 and Melodic Minor 3rd Mode, I think there are several other augmented scales I didnt mention, I have been messing around with a book titled the augmented scale in jazz by saxophone player and teacher walt weiskopf maj 7#11 (aka#4) is actually diatonic - lydian is the 4th mode of a major scale some people call it maj 7b5 this is the first chord I play when I play blue in green by miles davis - like c major but start harmonizing starting on the 4th note, bartok was a composer that used this sound there is also the 7b9 chord which is common in jazz we can talk about harmonzing the harmonic minor scale allan holdsworth used to talk about the lydian minor scale im sure there are may more altered chords and scales I didnt mention but i think those are most common, my interest in this stuff is wanting to be a composer, my obsession is actually the violin but I love the piano just as much, my dream is to one day have a professional soloist play my music im mostly a string player and terrible pianist but with ashlee's help maybe one day i will be at least decent
good morning darling, I would suggest the most common progressions in jazz wich is 2-5-1 to learn the basic 3 d min 7 / G7 / c maj 7 you can hear this progression in "a night in tunisia" by Dizzy (except it harmonizes altered scales) 7:34 jazz guys call inversions drop 2 drop 3 etc I'm a little different than you b/c I'm more of a Bill Evans/McCoy Tyner/Wynton Kelly more than Chopin/Liszt/Rachmaninoff, doesn't mean I like them any less I just like to mix everything up and play different stuff suggested related literature the chord dictionary at the beginning of the real book the jazz piano book by mark levine I'm a little late to the party today b/c I was messing around with Carl Vine's first sonata and the piano music of Ginastera and Ligeti
That's one of the quirks of nomenclature. A C dim is almost always a diminished seventh, so there's not much incentive to write in the 7. Outside of classical, I would never play a diminished triad.
Yes it can be but doesn’t have to be - one of those fun things that makes music interesting :) in classical analysis you’d see the 7 more and outside of classical music not as much :)
Fantastic! Your love of and enthusiasm for piano, along with your generous spirit of sharing, really comes shining through in this video. Thanks for making chord instruction much more than informative. It's satisfying and fulfilling to learn these ways of playing music.
You are very welcome and thank YOU for the kind words!!
Thank you Ashlee, great way to teach how to memorized the five types of 7th. Chords. Explained in a clear and direct way! Yes! 😊👏🏻💪🏻
You’re very very welcome!!
Thanks so much for this straightforward, direct method.
You are very welcome!
Three other seventh chords that are important for jazzers to learn are the mMaj7 (C, Eb, G, B), the Maj7b5 (C, E, Gb, B), and the Maj7#5 (C, E, G#, B). I suppose you could also include the dominant 7b5 and 7#5. So that's 10 seventh chords.
The 7b9 chord is also important, but it's really an altered chord, and doesn't fit in to the 7th chord menagerie.
for me it is much easier to count the keys in the gap. Like in any -M7 chord the gaps will be 3-2-3. a major 6th would be 3-2-1. a minor 6th would be 2-3-1. etc...
Nice - that also works
Like your theme music. Reminds of the theme music for Nero Wolfe which aired about 20 years ago.
😂
As usual, very clearly explained! 😊
Thanks!
Great explanation!
Thanks!
Thanks. Good stuff
That was very helpful.
I’m glad to hear it!
The minMAJ7 is worth to know too Pretty simple and very distinguished sound
altered scale harmony...
minor major I can hear this in re: person I knew by bill evans and blue in green by miles davis its harmonizing a major scale with a minor 3rd
scriabin was a classmate of rachmaninoff - when he started sounded more like chopin than anyone else I ever heard, if you check out his early music you will know what I'm talking about. Scirabin's "mystic chord" is typical of the harmony he experimented with late in his career - the mystic chord is basically Lydian dominant voiced in 4ths - the 4th mode of the major minor scale - g minor major is a straight major scale w a minor 3rd so g a b flat c d e F sharp - the 4th degree is the same thing starting on c - c d e F sharp g a b flat - now all you have to do is start on c - skip 2 notes play F sharp skip 2 notes keep going...
as an after thought I would mention 7#9 is my favorite jazz and blues chord kind of like major in the first octave and minor in the second octave the voicing would be root major third dominant 7 and minor third on top, this is the jimi hendrix chord from purple haze, carry on my wayward son by kansas and in the bridge of born to be wild, I use the chord as a tritone substitution for the dominant chord in a 2 5 1 and as a passing tone chord in between the diatonic chords sometimes when one chord changes to another in jazz - the chord in between the chords - sort of approaching the concept of chromatic harmony, it can also be viewed as harmonizing a 8 note half whole diminished or hexatonic scale as some people call it, hexatonic can also be whole half whole half... instead of half whole half whole...
augmented - the whole tone scale is whole step whole whole keep going, the chord would be maj 7#5 or sometimes written as maj7+5 the chord would simply be major 7 raise the 5th, the triad is known as augmented, i hear this sound in the music of debussy and ravel, bill evans studied debussy and I hear alot of this harmony in his music and interpretations of jazz standards, the augmented scale is a 6 note symmetrical scale constructed from two augmented triads a half step apart, the 3rd mode of melodic minor is Lydian Augmented Scale is 1-2-3-♯4-♯5-6-7. For example, a C Lydian Augmented Scale contains the notes C-D-E-F♯-G♯-A-B. The intervallic pattern for this scale is W-W-W-W-H-W-H. Other common names for this scale include Lydian #5 and Melodic Minor 3rd Mode, I think there are several other augmented scales I didnt mention, I have been messing around with a book titled the augmented scale in jazz by saxophone player and teacher walt weiskopf
maj 7#11 (aka#4) is actually diatonic - lydian is the 4th mode of a major scale some people call it maj 7b5 this is the first chord I play when I play blue in green by miles davis - like c major but start harmonizing starting on the 4th note, bartok was a composer that used this sound
there is also the 7b9 chord which is common in jazz
we can talk about harmonzing the harmonic minor scale
allan holdsworth used to talk about the lydian minor scale
im sure there are may more altered chords and scales I didnt mention but i think those are most common, my interest in this stuff is wanting to be a composer, my obsession is actually the violin but I love the piano just as much, my dream is to one day have a professional soloist play my music
im mostly a string player and terrible pianist but with ashlee's help maybe one day i will be at least decent
Thank you very much , I will try you give me a good idea .
Clearly explained. Thank you 😊
You’re welcome!
thanks❤🎉🎉🎉
I enjoyed it.
good morning darling, I would suggest the most common progressions in jazz wich is 2-5-1 to learn the basic 3
d min 7 / G7 / c maj 7
you can hear this progression in "a night in tunisia" by Dizzy
(except it harmonizes altered scales)
7:34 jazz guys call inversions drop 2 drop 3 etc
I'm a little different than you b/c I'm more of a Bill Evans/McCoy Tyner/Wynton Kelly more than Chopin/Liszt/Rachmaninoff, doesn't mean I like them any less I just like to mix everything up and play different stuff
suggested related literature
the chord dictionary at the beginning of the real book
the jazz piano book by mark levine
I'm a little late to the party today b/c I was messing around with Carl Vine's first sonata and the piano music of Ginastera and Ligeti
This is extremely helpful thank you.🙏
You’re welcome!
This was helpful for me. Looking for more.
Here’s one but for primary triads!
How to memorize every primary triad (FOREVER)
ruclips.net/video/lhUC3uTsfXQ/видео.html
Nice performance and nice song selection.❤
Thanks!
After watching your video, I went searching and came across Minor major seventh and Augmented major seventh. I am guessing those 2 are not common?
Augmented 7th is not common (not even taught in a college theory class usually) and same with the other!
Sounds good but is zoom exactly?
Zoom is an online meeting platform
@@AshleeYoungMusicStudio ok
Shouldn’t the fully diminished 7th chord have a 7 in the name? Like Co7 is a C fully diminished seventh chord, but Co is a C diminished triad?
That's one of the quirks of nomenclature. A C dim is almost always a diminished seventh, so there's not much incentive to write in the 7. Outside of classical, I would never play a diminished triad.
Yes it can be but doesn’t have to be - one of those fun things that makes music interesting :) in classical analysis you’d see the 7 more and outside of classical music not as much :)