Yo! If you were to go back and learn gospel piano again, how would you do it online? I can't find really any good structured and organized lessons on RUclips or through other websites. Let me know!
Your lessons are clear and uncluttered, without being pedantic. Just enough conversation to keep things fresh - an excellent balance, (and one that's probably more difficult than you make it look) thank you.
'Now that's all I have time to cover'. Are you kidding, Noah?? As usual, in just over 10 minutes you have put out SO MUCH!!! One thing that really blows my mind is how easily the quartal chords are derived from the major 9 ( 3 - 6 - 9 ). And your explanation of the sus chords at the conclusion of the video was the cherry! I would have eventually found out about it on my own. And yet, I'm glad that I watched the video instead. It leverages my harmonic knowledge. You sir, are generous beyond your own recognition. Thank you so much 🎵🎼🎹⏭️⏯️⏪🎚️😎
So I’m thinking you have to know all of the major keys and their respective signatures, in order to identify the 9, 11, and 13 quickly. Is this true? For example, if I was asked to play the 13th as an extension to an Ab major 7, I have to know the 6th in the Ab major scale. Am I right? There are no short cuts? If so, this is one of the pieces that no jazz instructor has yet to mention in any of the videos I’ve seen. The basic question a student would ask is: how do I know what the 9, 11, and 13 is for each of the chords? Answer: know all of the 12 major keys, and their key signatures very very well. Essentially know your major scales inside and out. Hope I’m right about that. I’m not, I’m open to short cuts?
I‘ve been looking for shortcuts but that’s the problem with piano. With guitar you can just learn one scale and move the shape accordingly when changing keys. I have to say that the circle of fifths was a gamechanger for my theory understanding. For example knowing that +10 min from the home chord is the II and +5 min is the V and +15 min is the VI. Made ist so easy to play II-V-I-VI progressions without knowing every scale. But I don‘t know a shortcut when it comes to improvisation. But pls let me know if you found some.
I don’t think there are any shortcuts. You have to essentially memorize the diatonic chords in each key. Later on the non diatonic which is what Noah is talking about. The easiest way to attack this is by knowing all of your scales by heart in every key, major and minor. What I would do if I was to start out again I would point and shout every not on the scale and it’s degree. Ex. “C is One Chord” “D is Two chord” ect. with just one note at the start. Then add the the other two notes and start saying the quality of the chord aloud. So “C E G, Major One Chord”, “D F A, Minor Two Chord” ect. This is all diatonic still. You do this with all 7 diatonic chords each key has. Once you memorize the quality of the chord with one key it’s easier when you try on other keys, it’s all relative. I hope this helps answer your question. No shortcut. Internalize every scale and every diatonic triad/seventh chord in each scale!! After that what Noah is talking about in this video is easy peasy. Happy practicing :) (I’ve never commented something this long before haha, but I really wanted to help)
Oh and to find the 9, 11, 13 on a key, just think of the Two chord (chord that starts with the second note of a scale) ex. Key of C major, the starting note of the 2 chord is D D minor triad = 9,11,13 of Cmaj key
The trick would be to learn the fingering of the scales. That way your fingers would find easily how to stack thirds to construct a chord. Then this is just the matter of altering some notes.
When do you leave out notes? Like do you leave out the 11 completly in a G13 chord if its not written as G13(#11)? How about the 9? Also why is the 13 too clashy with the #5 in the altered chord (and other examples with minor ninth) , but we can add a b9 that has the minor ninth as well but with the 1? Brilliant video, as usual!
Strictly speaking, if it’s noted as G13, it implies a natural 9 and natural 11-NOT altered (e.g. b9 or #11) which would need to be noted as such-otherwise it would be noted as G7(add13) which doesn’t necessarily include natural 9 and 11. That being said, that’s a nitpicky rule, and in 99% of cases (except perhaps a rare case where a composer doesn’t like the sound of an extension with the melody note or something) the 9th and 11th are going for be nice options in a dom chord. Even on a G7#11, 9th and 11 are tasty, a little less so the 11, C natural, but it’s doable! 🙂
This is the best chord extension video I’ve ever seen! You always explain things really clearly. Thanks. 😊 Also, do you have a favorite chord that uses a chord extension?
Can you do something on "Stan Tracey" (The UK's Thelonius Monk) and the Dudley Moore trio ie: Dudley Moore meets Errol Garner and Oscar Peterson. thanks..... They both used some amazing chord voicings which I can never quite figure out.
You said at the start of the video, how do they work and when and why to use them. You showed how to construct them but not why and when to use them. Could you make another video specifically about this topic ? I can't manage to define when I can use an extended chord instead of a boring standard chord.
Great video Noah. Isn't "sus" short for suspended. It's been that way for the 40 years I've played music. When did sustain become something other than the pedal?
Hey! It does stand for suspended, but in this case suspended 4. We suspend the 4 even though it seems to want to resolve to the 3. You can also have a sus2 replace the 3 as well. Make sense?
Noah, I got a query .Correct if i am wrong? In the chord extensions for minor keys you include the 13 as if it was from the major scale which isn't in the C minor key and checking according to another source the 13 is in fact omitted. Just saying this because when I observed the 9 11 13 , noticed it can be played as a diminished triad based off of the 9 and those notes comply with the relevant scale in this case C minor. I am not wrong. The A (second octave let's suppose) or 13 is not included in C minor natural or the harmonic is it because it causes dissonance from the third and is usually reserved for melody?
Great video man! I have often seen C11 chords. This really confuses me because I was always taught, like you explained, to never use just a regular 11 and instead use a #11. Any thoughts on this?
That's a great chord + extension overview! Could you please make a Video about how to apply these extensions? Like which chord extension you use in which situation. I know there's a lot of possibilities, but it would be nice if you could at least cover some common situations like 2-5-1s, Turnarounds or Tritone-Substitutions. Thank you for your great work!
Awesome Noah !! Loved that train-wreck Cdim7 (9/11) chord LOL. The C13sus is beautiful and when you flat the 9, it sounds like the 9 was the sus LOL. Vincent Guaraldi used to use this a lot... Thanks for sharing !!
I don't really like such statement: we don't add 11th because it's very clashy: where is diatonic then I am asking You (I mean that such chord does exist as a natural extended chord in C major?! That makes a lot of misunderstandings about such Simple things like diatonic extended chord system 😢😢😢 Why does anybody says: we don't add maj7 interval because it's very clashy??? That's the same situation
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
I’m a gospel musician and that C7(#9#5) type chord is used very often in gospel music. Thanks for this video!
My pleasure!
May God bless you❤
Yo! If you were to go back and learn gospel piano again, how would you do it online? I can't find really any good structured and organized lessons on RUclips or through other websites. Let me know!
Your lessons are clear and uncluttered, without being pedantic. Just enough conversation to keep things fresh - an excellent balance, (and one that's probably more difficult than you make it look) thank you.
Thanks appreciate the comment and so glad you like them!
'Now that's all I have time to cover'. Are you kidding, Noah?? As usual, in just over 10 minutes you have put out SO MUCH!!! One thing that really blows my mind is how easily the quartal chords are derived from the major 9 ( 3 - 6 - 9 ). And your explanation of the sus chords at the conclusion of the video was the cherry! I would have eventually found out about it on my own. And yet, I'm glad that I watched the video instead. It leverages my harmonic knowledge. You sir, are generous beyond your own recognition. Thank you so much 🎵🎼🎹⏭️⏯️⏪🎚️😎
Thanks for this clear concise tutorial on extensions.
Hey Paul, my pleasure glad you found it helpful
So I’m thinking you have to know all of the major keys and their respective signatures, in order to identify the 9, 11, and 13 quickly. Is this true? For example, if I was asked to play the 13th as an extension to an Ab major 7, I have to know the 6th in the Ab major scale. Am I right? There are no short cuts? If so, this is one of the pieces that no jazz instructor has yet to mention in any of the videos I’ve seen. The basic question a student would ask is: how do I know what the 9, 11, and 13 is for each of the chords? Answer: know all of the 12 major keys, and their key signatures very very well. Essentially know your major scales inside and out. Hope I’m right about that. I’m not, I’m open to short cuts?
I‘ve been looking for shortcuts but that’s the problem with piano. With guitar you can just learn one scale and move the shape accordingly when changing keys. I have to say that the circle of fifths was a gamechanger for my theory understanding. For example knowing that +10 min from the home chord is the II and +5 min is the V and +15 min is the VI. Made ist so easy to play II-V-I-VI progressions without knowing every scale. But I don‘t know a shortcut when it comes to improvisation. But pls let me know if you found some.
I don’t think there are any shortcuts. You have to essentially memorize the diatonic chords in each key. Later on the non diatonic which is what Noah is talking about.
The easiest way to attack this is by knowing all of your scales by heart in every key, major and minor. What I would do if I was to start out again I would point and shout every not on the scale and it’s degree. Ex. “C is One Chord” “D is Two chord” ect. with just one note at the start. Then add the the other two notes and start saying the quality of the chord aloud. So “C E G, Major One Chord”, “D F A, Minor Two Chord” ect.
This is all diatonic still. You do this with all 7 diatonic chords each key has. Once you memorize the quality of the chord with one key it’s easier when you try on other keys, it’s all relative. I hope this helps answer your question. No shortcut. Internalize every scale and every diatonic triad/seventh chord in each scale!! After that what Noah is talking about in this video is easy peasy. Happy practicing :) (I’ve never commented something this long before haha, but I really wanted to help)
Oh and to find the 9, 11, 13 on a key, just think of the Two chord (chord that starts with the second note of a scale)
ex. Key of C major, the starting note of the 2 chord is D
D minor triad = 9,11,13 of Cmaj key
The trick would be to learn the fingering of the scales. That way your fingers would find easily how to stack thirds to construct a chord. Then this is just the matter of altering some notes.
9:12 D7b9#9/C
10:06 phrygian chord
Thank you Noah
When do you leave out notes? Like do you leave out the 11 completly in a G13 chord if its not written as G13(#11)? How about the 9?
Also why is the 13 too clashy with the #5 in the altered chord (and other examples with minor ninth) , but we can add a b9 that has the minor ninth as well but with the 1?
Brilliant video, as usual!
Strictly speaking, if it’s noted as G13, it implies a natural 9 and natural 11-NOT altered (e.g. b9 or #11) which would need to be noted as such-otherwise it would be noted as G7(add13) which doesn’t necessarily include natural 9 and 11. That being said, that’s a nitpicky rule, and in 99% of cases (except perhaps a rare case where a composer doesn’t like the sound of an extension with the melody note or something) the 9th and 11th are going for be nice options in a dom chord. Even on a G7#11, 9th and 11 are tasty, a little less so the 11, C natural, but it’s doable! 🙂
Thank you for making this plain and to the point. Had to subscribe.
Thanks Noah, always good to see another vid from you.
My pleasure, thanks for watching!
Great video Noah ! i like the jazz fundamental videos ,after learning that one will be on the right track !
Awesome, very glad to hear it!!
First Comment 🤗🤗 this is the best explanation and revealing the secrets of chord Extension!
Bravo Noah!
Thanks very much for watching! Glad you found it helpful.
Amazing clearly explained video Thanks Noah!
I'm translating this into guitar and it's awesome!
I think the C half diminished minor flat 9 chords sounds good 8:22
9:00 … wait, Sus stands for Sustained? Since when is it not Suspended?!
Mistake
Sus stands for suspension, not sustain. It's a term from classical harmony.
Or suspended.
Not "suspension" but suspended.
This is the best chord extension video I’ve ever seen! You always explain things really clearly. Thanks. 😊 Also, do you have a favorite chord that uses a chord extension?
Hey John, glad you like it! Not sure I could choose a single favorite 😅
Yep,that was pretty good
@@NoahKellman I couldn’t choose a favorite either, haha! Have a nice day.
Thanks for the explanation, i was always in the clouds
Awesome video!
@@divinechijindu7465 Thanks glad you liked it!
Do you use a specific software to create the chord names and sheet music in the visualisation. Could you let us know the name?
It's probably called Chordie App or Classroom Maestro.
Great teaching
What is the name of the visualization software you use? Thanks
Can you do something on "Stan Tracey" (The UK's Thelonius Monk) and the Dudley Moore trio ie: Dudley Moore meets Errol Garner and Oscar Peterson. thanks..... They both used some amazing chord voicings which I can never quite figure out.
Beautifull videos brow! So helpfull!!
Excellent video! What is the software are you using for the chord display?
anybody know?
It's probably either Cordie App or Classroom Maestro.
Best teacher Noah !! there will no be another you 😂.
Hah thank you! 🙏
You said at the start of the video, how do they work and when and why to use them. You showed how to construct them but not why and when to use them. Could you make another video specifically about this topic ? I can't manage to define when I can use an extended chord instead of a boring standard chord.
How to use them
Good lesson sir
Great video Noah. Isn't "sus" short for suspended. It's been that way for the 40 years I've played music. When did sustain become something other than the pedal?
Hey! It does stand for suspended, but in this case suspended 4. We suspend the 4 even though it seems to want to resolve to the 3. You can also have a sus2 replace the 3 as well. Make sense?
@@NoahKellman I think they asked because you called it sustained rather than suspended.
@@circles79 ohhhh haha my bad. That makes sense. Slip of the tongue! I meant suspended.
This is gold
@@HalynaPustovit-t1x thanks really glad it was helpful!
@@NoahKellman🙏🌷
why there is sharps in C major scale
Muito bom mesmo
Obrigado 😊
Noah, I got a query .Correct if i am wrong? In the chord extensions for minor keys you include the 13 as if it was from the major scale which isn't in the C minor key and checking according to another source the 13 is in fact omitted. Just saying this because when I observed the 9 11 13 , noticed it can be played as a diminished triad based off of the 9 and those notes comply with the relevant scale in this case C minor. I am not wrong. The A (second octave let's suppose) or 13 is not included in C minor natural or the harmonic is it because it causes dissonance from the third and is usually reserved for melody?
Yes, finding some problems with the 13 on minor scales. Think it better to omit.
Great video man! I have often seen C11 chords. This really confuses me because I was always taught, like you explained, to never use just a regular 11 and instead use a #11. Any thoughts on this?
That's a great chord + extension overview! Could you please make a Video about how to apply these extensions? Like which chord extension you use in which situation. I know there's a lot of possibilities, but it would be nice if you could at least cover some common situations like 2-5-1s, Turnarounds or Tritone-Substitutions. Thank you for your great work!
Why doesn’t the flat 9 clash with the 1 note?
Awesome Noah !!
Loved that train-wreck Cdim7 (9/11) chord LOL.
The C13sus is beautiful and when you flat the 9, it sounds like the 9 was the sus LOL.
Vincent Guaraldi used to use this a lot...
Thanks for sharing !!
Thank You so much for this ! You recommended an Ear Training App in another Video, but can‘t find it anymore … could You help me please ?
Sure, I like GoodEar Pro
@@NoahKellman Thank You !!! 🙏🙏🙏
I'm still confused. You say all tones are based on a major scale, but in case of Cmin7 why do you flat the 7th tone?
❤
I don't really like such statement: we don't add 11th because it's very clashy: where is diatonic then I am asking You (I mean that such chord does exist as a natural extended chord in C major?! That makes a lot of misunderstandings about such Simple things like diatonic extended chord system 😢😢😢 Why does anybody says: we don't add maj7 interval because it's very clashy??? That's the same situation
If the 11 sounds “clash-y” with the 3, then how come the #11 doesn’t sound just as “clash-y” with the 5 … ? 🤔
Also looking for an answer. Maybe its because the 3 sort of ‘defines’ the chord, like it tells you whether its minor or major?
isn't a "sus" chord stand for "suspended"?
Hey Lisa, yep, just misspoke
I want you to date my daughter
No higher praise for sure!
sus is suspended