Thanks so much for this lesson..this is exactly what l have been looking for: various ways to build chords, chords extension and inversions...please can you do more tutorials on this...l will be very grateful.
Thank you for the great Tutorial! One question: what does you make speak of the "4sus" and not of the 11, especially when combined with 9 and 13. Often the 9, 11 and 13 are called Extensions, but here the 11 becomes "4sus". Sorry, maybe stupid question, I am a beginner...
It is INSTEAD OF the 3rd when you say "sus." Cmaj7#11 adds the F# in addition to keeping the E. G7sus removes the B and replaces it with C (which makes it more like Fmaj7 or Aminor7 with a G in the bass like he explains in the clip)
Great. Maybe someone can help me: Gmaj - Db7(b5) - Cmaj - Dm11/F - B7 - Em What is the function of Dm11/F? I understand that it’s a Vm/b3 (five minor first inversion) but the fact that the root is F makes me think it’s a 6/9 tritone sub of the V7/VI (secondary dominant of six). Do 6/9 tritone subs exist? I know this isn’t directly related to sus chords but it seemed like someone with piano experience might know. Thanks.
@@douettheophane6344 Thanks for commenting. That's true but the next chord is B7. Have you ever heard of a 6/9 tritone sub? I just don't understand what a Vm first inversion is doing there. The only reason to put the F in the bass is to make a tritone. Cheers.
I guess it is a Neapolitan sixth for E (harmonic) minor. Dm11/F is just a different style of FM13, so the problem is reduced to analyzing F - B7 - Em, or in general bII - V7 - i. bII.M7 in place of ii.ø7 in the minor 2-5-1 progression is a typical Neapolitan sixth technique.
@@pnintetr Ok thanks! I figured it was a variation of an N6 to E but didn't know that this was a normal substitution for a minor ii-V7. Usually we see the tritone after the regular dominant, right? This time it's before. Cheers.
@@Hexspa To be frank, I don't know what you exactly mean by 6/9 tritone substitution. Do you really mean by using a major 6/9 chord as a tritone substitute of a certain chord? At least, I was already knowing an analogy F7 : B7 (Shares A, Eb) = FM7 : B11 (Shares A, E). I'm not sure whether this is what you've also sought, though.
Hello there. These chords sound so wonderful and explained so. Just to show that I'm trying to pay attention could you please address my following points. When you play the Fmaj7 you add the G the 9th and the next time you add the D the 6th and then the G again the 9th! When you play the F6/9 you include the A the 3rd, some people don't! Are there two ways of playing this chord? I just noticed that the Fmaj13 doesn't follow the notes you are playing, in the stave! The A on the piano is a G in the stave. That Bb7 b9, I read something like this and it was called a False Relation. Is that what it is? Thanks for your knowledge. Keep safe you and yours.
A M O G U S
Appreciate this. Had several lightbulb moments 💡
I’m not sure about this lesson...
...sounds kind of sus.
Lol.
when the cords is sus:
I fall in love too easily with sus chords 😌
bruv thats rather sus innit
@@rainbowbloom575 what??
@@uretalz
Guys cyan is a Csus4 vote him out
@@rainbowbloom575 XD LMAO
Ayo this video kinda SUS 🤨
Thanks so much for this lesson..this is exactly what l have been looking for: various ways to build chords, chords extension and inversions...please can you do more tutorials on this...l will be very grateful.
Why do I occasionally see sharp 5 notated in music when it could also be seen as a flat 13? Simplicity/convenience sake?
Why is C #9#5 notated with an E-flat and A-flat (respectively). Why not notate using D# and G#?
One of the chords I’ve long wanted to see a tutorial of, thank you!
very confusing my head where you have c13 chords but are missing the 11 and/or other notes
Like myself searching for understanding in interpretation 😉❤
struggling to play some of this on guitar but I really appreciate you for sharing! thank you.
Good tutorial ! I like the video. Have a great day guys!
2:43
deep in the hundred acre wood.... 🎵
Thank you for the great Tutorial!
One question: what does you make speak of the "4sus" and not of the 11, especially when combined with 9 and 13. Often the 9, 11 and 13 are called Extensions, but here the 11 becomes "4sus".
Sorry, maybe stupid question, I am a beginner...
the 11th and 4th degree are the same note in different octaves
It is INSTEAD OF the 3rd when you say "sus." Cmaj7#11 adds the F# in addition to keeping the E. G7sus removes the B and replaces it with C (which makes it more like Fmaj7 or Aminor7 with a G in the bass like he explains in the clip)
@@maloneycraig Thank you for your explanation! I get it now.
While playing C7, why did you skip G note?
I'm so immature lol I laugh every time he says sus
the whole video 🤨
Thank you, I was looking for this for a long time and I didn't know the names of these chords.
Great. Maybe someone can help me:
Gmaj - Db7(b5) - Cmaj - Dm11/F - B7 - Em
What is the function of Dm11/F? I understand that it’s a Vm/b3 (five minor first inversion) but the fact that the root is F makes me think it’s a 6/9 tritone sub of the V7/VI (secondary dominant of six). Do 6/9 tritone subs exist?
I know this isn’t directly related to sus chords but it seemed like someone with piano experience might know. Thanks.
I would say it coule be seen as the V (6/9) of Bb (wich is the III of G minor)
@@douettheophane6344 Thanks for commenting. That's true but the next chord is B7. Have you ever heard of a 6/9 tritone sub? I just don't understand what a Vm first inversion is doing there. The only reason to put the F in the bass is to make a tritone. Cheers.
I guess it is a Neapolitan sixth for E (harmonic) minor.
Dm11/F is just a different style of FM13, so the problem is reduced to analyzing F - B7 - Em, or in general bII - V7 - i.
bII.M7 in place of ii.ø7 in the minor 2-5-1 progression is a typical Neapolitan sixth technique.
@@pnintetr Ok thanks! I figured it was a variation of an N6 to E but didn't know that this was a normal substitution for a minor ii-V7. Usually we see the tritone after the regular dominant, right? This time it's before. Cheers.
@@Hexspa
To be frank, I don't know what you exactly mean by 6/9 tritone substitution. Do you really mean by using a major 6/9 chord as a tritone substitute of a certain chord?
At least, I was already knowing an analogy F7 : B7 (Shares A, Eb) = FM7 : B11 (Shares A, E). I'm not sure whether this is what you've also sought, though.
Awesome.
Hello there. These chords sound so wonderful and explained so. Just to show that I'm trying to pay attention could you please address my following points.
When you play the Fmaj7 you add the G the 9th and the next time you add the D the 6th and then the G again the 9th! When you play the F6/9 you include the A the 3rd, some people don't! Are there two ways of playing this chord? I just noticed that the Fmaj13 doesn't follow the notes you are playing, in the stave! The A on the piano is a G in the stave. That Bb7 b9, I read something like this and it was called a False Relation. Is that what it is? Thanks for your knowledge. Keep safe you and yours.
What could be better than a 2-5-1 resolving lushly?
So essentially they are a fancy way of re writing pre dominant chords such as IV chords?
👍
4:56
Amazing lesson! Super helpful
teach us how to play the intro sample to this video 😫
Thanks for the professional and easy to follow explanations.
Great explaination, thank you!
That was really helpful! Thank you!
Pedagogy at its finest, bravo
Good lesson, loved It...t u s m☺️
great lesson, thanks a lot! :)
I’m lost.
We're lost, let's adventure.
Thank you for this lesson 🙏
Super! Thank You
Pure gold right there!!
Thank you
I loved your video! Thank you for sharing.
Just play without all the unnecessary talking