This was the the kind of breakdown I was seeking a few years ago and couldn't find anywhere online or in my theory books. You rule Jared, it's inspiring to see your progression and dedication to making top quality stuff on here!
as a blues guitar player I use rootless chords all the time, the half diminished shape root 4th or 5th string more than anything else . If I include the root in the chord I am using it is often buried in the chord, never on the bottom.Thanks for this awesome lesson, I will look into replacing those root notes with some other extension , I really never stop to think about it , sometimes habit can be a stop to creativity.
Great stuff! I recently was rebuffed for voicing the Em7b5 and the A7b9 in Stella as altered C7 dom chords, explaining the progression resolving to the Eb maj7. I was told there was no root in the C dom voicings because there was no root. I explained as long as the 3rd and 7th was in tact I didn’t need a root. I was basically told it was “hysterical and was mis information.” I also was admonished for seeing an Am7b6 as a Dm7 voicing, explaining how the f note in the Am made that work. I don’t think I’m wrong based on your fine lesson here.
:/ I'm sorry to hear that you got the negative wrath of the know-it-all internet thrust upon you for going out on a limb and publicly being a music theorist. Theory is theory, not fact, and I think your theories you listed here are great. :) Thanks for sharing.
Loved the second example, very insipiring to keep learning the scales and experiment with chord shapes! :) sometimes it kind be a bit tough if the learning is not mixed with fun practicing and experimenting like there. Thanks for the series and congratulations in the 1k subs Jared! :D And very recommended the chords with colors to everybody, very nice to internalize new chord shapes :)
I agree it gets tough if not mixed with fun and playing around. Can be hard to find the balance but of course worth the effort. Glad you liked this one, Thanks!
I discovered your channel a few days ago and I'm hooked! I have watched a bunch of your videos and really enjoy the way you explain things (apart from you speaking a bit too fast, but maybe it's because English is not my native language), making them easy to understand. I hope that more people become aware of this high-quality material, and that you keep releasing more videos.
Welcome aboard! Thanks for the kind words and for the feedback about talking fast. I appreciate that. I agree I talk a bit too fast in front of the camera as I get excited and energized. I'll be working on that moving forward. Cheers! -Jared
@@soundguitar Rootless seventh chords are the upper four notes of a 9 chord. Continuing with this, would a rootless 9 chord be the upper five notes of an 11 chord?
@@soundguitar I’ve been learning these chords, but this relationship was unbeknownst to me. You crystallized for me why tonic chords function the way they do. Thanks again!
I've been using just 3 notes to make chord extensions. 1 note on string 1, next note on string 2, last note on string 3, and doing the same with strings 2, 3 and 4. Starting with the Major and Minor root, 3rd, 5th note triad inversions. I shift either the root back to make a 7th chords or forward to make a 9th chord. I shift the 3 back for minor or forward for sus4. I shift the 5 back for flat 5th or sharp 11, forward for 13. I notice you add a forth string when extending beyond 7th chords. I realize this helps put more information in the chord if the sound of the song demands more information to truly get the feeling. Though I like just taking the most important 3 notes and just using 3 strings. Do I have a good method for creating extensions and is this a good way to play guitar? Will I run into any issues? I want to play jazz and Stevie Wonder type R&B and Gospel which uses a lot of extensions.
You're method is great! I love that. Excellent way to go about it. The only issue you could run into is missing low frequency information but if you're playing with a bass player then you're set and that's a great way to play chords. nice work! Thanks for asking -Jared **
@@soundguitar Awesome! Thanks! Yes, I intend to have bass in the tracks. I just found out that these are sometimes called cluster chords or close chords.
When we say chords voicing? You can extract the intervals of the said intetvals of a certain modes or scale... Example of chords voicing? 1-2-3-4-5-6-7?we use 1?and 4 and 7and 3 and 6=C quartal voicing..a simple extracture of voicing... That's a voicing of ionian mode.
I'm favor of that musical theory bro..its important to used the root to not confused..... Why you can't used the root note of your chords? It's a invent theory... Example of CM7? Yes we can cancel the root.. 1-3-5-7=M7,we cancel the root it's still the M7 chords...
➡ Get my FREE, awesome chord-tone theory chord chart ➡ bit.ly/32UF6cQ
This is excellent teaching. Please keep making videos.
Thanks so much, will do! :)
This was the the kind of breakdown I was seeking a few years ago and couldn't find anywhere online or in my theory books.
You rule Jared, it's inspiring to see your progression and dedication to making top quality stuff on here!
Thanks so much, Geoff! What a wonderful treat to hear from you. Very glad you found this one helpful :)
Fantastic explanation. Thanks man!!!
Glad it was helpful!
as a blues guitar player I use rootless chords all the time, the half diminished shape root 4th or 5th string more than anything else . If I include the root in the chord I am using it is often buried in the chord, never on the bottom.Thanks for this awesome lesson, I will look into replacing those root notes with some other extension , I really never stop to think about it , sometimes habit can be a stop to creativity.
Thank you, this explains why i couldn't figure out which key my song was in
ABSOLUTE GENIUS...I suspected but never got to this point. Many thanks..i will.have to find yiur Patteon page.
Glad it was helpful!
What i do is confirmed with this study. Thanks a lot. Great Job.
Good eye opener, you explain the theory and practice together in a way I can follow. Thanks Jared
Thanks Stuart!!
Great stuff! I recently was rebuffed for voicing the Em7b5 and the A7b9 in Stella as altered C7 dom chords, explaining the progression resolving to the Eb maj7. I was told there was no root in the C dom voicings because there was no root. I explained as long as the 3rd and 7th was in tact I didn’t need a root. I was basically told it was “hysterical and was mis information.” I also was admonished for seeing an Am7b6 as a Dm7 voicing, explaining how the f note in the Am made that work. I don’t think I’m wrong based on your fine lesson here.
:/ I'm sorry to hear that you got the negative wrath of the know-it-all internet thrust upon you for going out on a limb and publicly being a music theorist. Theory is theory, not fact, and I think your theories you listed here are great. :) Thanks for sharing.
GREAT lesson!!! Thanks!
Another excellent lesson!!!
Loved the second example, very insipiring to keep learning the scales and experiment with chord shapes! :) sometimes it kind be a bit tough if the learning is not mixed with fun practicing and experimenting like there. Thanks for the series and congratulations in the 1k subs Jared! :D
And very recommended the chords with colors to everybody, very nice to internalize new chord shapes :)
I agree it gets tough if not mixed with fun and playing around. Can be hard to find the balance but of course worth the effort. Glad you liked this one, Thanks!
I discovered your channel a few days ago and I'm hooked! I have watched a bunch of your videos and really enjoy the way you explain things (apart from you speaking a bit too fast, but maybe it's because English is not my native language), making them easy to understand. I hope that more people become aware of this high-quality material, and that you keep releasing more videos.
Welcome aboard! Thanks for the kind words and for the feedback about talking fast. I appreciate that. I agree I talk a bit too fast in front of the camera as I get excited and energized. I'll be working on that moving forward. Cheers! -Jared
Excellent. Such a relevant topic.
Thanks!
Do you have online courses? I’d like to get to know about them. Thanks
I sure do! :) Here's a link: www.soundguitarlessons.com/store
Wow amazing course
Just like all your videos
It was sooooo helpful
Thank you very much
You are most welcome! Thanks for the encouragement and enthusiasm! :)
You're great, thanks 4 the video 🙏
Awesome!
Yes!! new video!! :)
:)
This was helpful. Thanks
Glad to hear it! Thanks -Jared
@@soundguitar Rootless seventh chords are the upper four notes of a 9 chord. Continuing with this, would a rootless 9 chord be the upper five notes of an 11 chord?
@@Meshuggapeth Yep it would be! Exactly right. Cmaj9 is also the same notes as a rootless Am11
@@soundguitar I’ve been learning these chords, but this relationship was unbeknownst to me. You crystallized for me why tonic chords function the way they do. Thanks again!
@@Meshuggapeth Glad to be of help! :)
you are in seattle? I'm just east of you on U.S. 2!
I've been using just 3 notes to make chord extensions. 1 note on string 1, next note on string 2, last note on string 3, and doing the same with strings 2, 3 and 4. Starting with the Major and Minor root, 3rd, 5th note triad inversions. I shift either the root back to make a 7th chords or forward to make a 9th chord. I shift the 3 back for minor or forward for sus4. I shift the 5 back for flat 5th or sharp 11, forward for 13.
I notice you add a forth string when extending beyond 7th chords. I realize this helps put more information in the chord if the sound of the song demands more information to truly get the feeling. Though I like just taking the most important 3 notes and just using 3 strings.
Do I have a good method for creating extensions and is this a good way to play guitar? Will I run into any issues? I want to play jazz and Stevie Wonder type R&B and Gospel which uses a lot of extensions.
You're method is great! I love that. Excellent way to go about it. The only issue you could run into is missing low frequency information but if you're playing with a bass player then you're set and that's a great way to play chords. nice work! Thanks for asking -Jared **
@@soundguitar Awesome! Thanks! Yes, I intend to have bass in the tracks. I just found out that these are sometimes called cluster chords or close chords.
@@ray_maestro_ right on! Send me a link to any tracks when you get them done :) stoked to hear it
Great lesson. I think the bass player gets to decide what your ambiguous chord is. Lol
It so pleasant
:)
When we say chords voicing? You can extract the intervals of the said intetvals of a certain modes or scale... Example of chords voicing? 1-2-3-4-5-6-7?we use 1?and 4 and 7and 3 and 6=C quartal voicing..a simple extracture of voicing... That's a voicing of ionian mode.
If you have a (good) bass player ya got ta go rootless
This reminds me of the old bowling alleys.
HAHA wild :)
please, open access to your website for a russian musicians, let the music stay international
I'm favor of that musical theory bro..its important to used the root to not confused..... Why you can't used the root note of your chords? It's a invent theory... Example of CM7? Yes we can cancel the root.. 1-3-5-7=M7,we cancel the root it's still the M7 chords...
Very midwest emo lol
You talk way tooo much.Get to the point