CLARIFICATIONS AND CORRECTIONS! 🔴When playing a 7(#9) chord, it's common to remove the 5th in the chord. Why? Because it really doesn't add any "important flavors" to the chord. Also, the nature of the guitar makes it difficult or sometimes impossible to play afull 7(#9) chord. 🔴As mentioned at 07:10, you'll rarely hear the 3 and b3 played side-by-side on a single instrument. But across different instruments, you can expect that the two will compete against one another in a blues or rock setting. For example, a blues pianist might play A7 with a major 3rd of C#, and in that same octave, a lead player might play a C natural. 🔴There is some VERY UGLY NOTATION at 10:53, during the David Gilmour lick. I wrote this tablature in MuseScore and forgot to check all the staff notes :( 🔴At the end of this video, when I say my videos have "no ads," I meant promotions or in-video advertisement. I don't have ads in my lessons because 1) i hate ads and 2) they completely destroy the flow of an educational lesson. But I do monetize this channel, meaning you probably see some ads before clicking on one of my videos. This collects enough money to pay a few bills, but it's really my patreon supporters who enable me to make straightforward lessons without spamming you with VPN ads, razors, or one of the other hundred other companies bugging me to do ad-reads!
Most of the things you discuss are beyond my skill level. However, I listen because I know you are gifted. Thanks for all that you have shared regarding music. One day it will click for me.
Thanks for commenting about omitting the 5th! I was noticing that when I go to try this chord on my baritone uke I'll have to omitting the 5th scale degree for lack of strings. So it's good to know that's a common practice on a six-string.
The 5th is often left out, especially with jazz chords (dominant 7, minor 7, mayor 7 etc.) These are called ‘shell chords’. Playing the 5th in the chord just ‘clutters’ things up.
Jake! Long time no see, bud! Glad to see you're still at it. I don't know that I would've made the progress that I made without your channel. Thanks for all of the hard work!
Yep! I didn't want to get into flat 9s (that's it's own lesson IMO) but i teach V7#9 - V7b9 - i in the Codex. The pink Floyd song Breathe actually resolves more like a backdoor cadence though, bVII - i (D to Em)
This was an amazing video! It's so necessary for us as musicians to come at topics like this major/minor rub from new perspectives and with a different focus. Yes, I can see why this video could be confusing to a newer musician. But the good news is: it's all confusing until it's not. Food for thought is way more important than knowing every ingredient.
One thing to note is that minor 9th intervals sound very dissonant and won't sound right in most contexts. A 3 above a b3 creates a minor 9th interval, while a #9 above a 3 creates a major 7th interval. This would explain why it sounds better in major. However, that doesn't explain why the #9 sounds good in the bass (this creates a minor 9th). It probably works because it gives the major chord a dominant sound, which is all about tension.
I made exactly this same comment. The minor 9th has pretty limited application. It sounds really cool if you add it to a V7 chord before resolving to a I or a i, for example. The reason is because the V7-I movement is already built on tension and release. The V7 already has several notes pulling you toward the tonic chord. By introducing a b9, you simply get an even greater pull toward that tonic. The major 7th is much easier to work with.
purple haze voodo chile the #9th gets used alot by srv too also that song funky town but its a jazz chord from green dolphin street peter gunn ans many many more
@@simonhawker9277It's also in Hocus Pocus by Focus, after each descending chord progression after the riff, but on the first one Jan leaves his pinky on the top string to add a C note, really dramatic!
@@SignalsMusicStudioThe simplest explanation why the Hendrix chord works is to not treat the C as a normal minor third (6/5). 12-tone equal temperament makes a comma the size of 36/35 vanish, meaning that the 6/5 minor third is equal to the septimal minor third, or 7/6. It also makes the harmonic seventh 7/4 equal to 9/5. This means that a no-5 Hendrix chord has pitches 1/1, 5/4, 7/4 and 7/3 (=7/6 one octave above the root) instead of 1/1, 5/4, 9/5 and 12/5. Thus the chord will be tuned as 12:15:21:28 instead of the much more dissonant 20:25:36:48. The former has smaller values meaning that it will have less harmonic entropy than the latter. The C can also be interpreted as 19/16 (!!!), in which case the chord is 1/1, 5/4, 7/4 and 19/8 and tuned to 8:10:14:19, demonstrating even lower harmonic entroy. In 12-tone equal temperament it is still identical to 12:15:21:28, anyway.
Interesting. I wrote a YT comment about this a couple of weeks ago. In Sweden we call that a -10 (minus 10) chord. As you said it contains both the major and the minor third. So there is a 3 and a flatted 10 (the minor third, one octave higher). That way of thinking makes the function of the chord clearer, at least to me. Like @ulomagyar7166 says in the comment I guess it should be called a minor 10. The problem arises when you have a minor chord with a major 10. I guess it could be minor 7 add maj 10. A bit of a mouth full, I think I’ll stick to +10. A long time fan of your channel. I’ve bought a couple of your well crafted courses. I recommended your excellent Codex to a music student friend of mine. He couldn’t be happier. Neither could I. Keep up the good work𝄢
Good to know, that might be a regional thing! I've never heard of a minor 10th in this context, but everything you're saying makes sense to me... however the + sign is used to "augment the 5th" so a +10 chord would be very confusing for many musicians I think. Also I'm thrilled you're enjoying the book :)
I know some Indians songs that have both major and minor thirds. They were composed in Sindhu Bhairavi and Piloo / Kapi ragas. One of them is "Thumbi Vaa" composed by Illayaraja. It was composed in the Kapi raga. 😊
The solo section around 10 minutes in is great! That weird modal mixture sound where just one note shifts a half step has become one of my favorite musical "toys" - that little shift really stands out to the ear and creates these little moments of interest. I think I actually first started exploring this as a result of your video where you demo'ed that Emaj7 - Am progression, but another great example is the jam sections from The Grateful Dead's song Eyes of the World. It goes from an Emaj7 to a Bm, and there's this shift from E major to E mixolydian. In that case the note that "shifts" is the 7th - you play the natural seven over the Emaj, then use the flat 7 in the mixolydian portion. Every time I land that little shift as the chord changes, there's a special little moment of interest and satisfaction. There are so many cool progressions that use a trick like that, it's a very cool thing to explore. Thanks for your vids!
Holy crap this is a big moment for me, i waited patiently for two years and only on your third video back does RUclips deem it appropriate to let me know! 😅 Welcome back man we've missed ya
i consider myself to be decently versed at understanding the concepts of music theory. even if something like this is considered review for me, I still love it. because there's always an opportunity to learn more
I bought a used 6505MH awhile ago and I agree it’s an amazing amp head from raw metal tones to Heavy Blues tones .. ..just WOW every time I hit power on‼️. Onto Peavey cabs next 👍
A couple of years ago I was improvising a song on piano, and I happened to do that minor third over a major chord, and it's so good. My tune feels completely wrong if it's not there. I just checked, and I do not play the fifth, but a minor seventh. I might change that to a major seventh in a later verse, but it's actually almost too spicy in the context of the tune.
man, I'm just happy to be subscribed to this channel, those videos are really great Trying to slowly but surely learn (guitar) music theory (I am a drummer). You explain and show it on a level that resonates with me very well :)
E7#9 is also the first chord in Sunny Day Real Estate's song "Killed By An Angel". First time I ever played that chord was when I figured out that song when I was 14 or 15 years old. I'm almost positive (despite my fuzzy memory of how to even play the song) that the guitar line in the verse resolves into dancing with accidentals around an arpeggiated A Maj chord. Interesting in light of what you were saying about the interplay of E7#9 and A Maj It was fun to hear your analysis of this. I had always felt like this chord shape was dissonant and a bit strange, yet powerful as hell when utilized properly; and I hadn't really thought about it much in the last 25 years since then.
A maior dificuldade que eu tive no estudo da harmonia foi esse "olha como soa estranho as terças maior e menor tocadas ao mesmo tempo", aí eu ouço o som e acho lindo. Foi um caminho longo e árduo pra entender a harmonia tradicional e como ignorar ela solenemente na hora de compôr, pra não limitar a arte a uma convenção, uma vez que a convenção jamais se aplica a expressão de maneira eficaz.
One of the most intriguing applications of this “wrong but right” clashing thirds thing, is in the song “Drive my car” by the Beatles, specifically in the “you can do something in between” bit. The twist is that the perceived dissonance isn’t between major and minor thirds that are actually played, but between the minor third that we ACTUALLY hear, and a major third that, while in reality it is entirely absent, is so clearly IMPLIED by the context in which the chord appears that our brains sort of supply the major/minor dissonance that isn’t really there. The weird thing is that, in the context of the song, it sounds really crunchy and dissonant, and is often erroneously transcribed as an A7 #5 #9 chord, a pretty dissonant chord. But if you actually analyse what notes are being played/sung, in isolation, it’s not particularly dissonant at all. It’s just a major triad in first inversion, with an added major 2nd above the root. Specifically, it’s just an F add 9 with the third in the bass. Now, if you just play an F add 9 over an A bass, in isolation, it is NOT going to sound like that chord from “Drive my Car”. Out of context, it entirely lacks the distinctive dissonant “crunch” associated with that moment in the song. But… in the song it appears in the context of the key of D major, exactly at the point where we expect to hear a classic dominant 7 chord built on the fifth degree, which would be an A7. Also, the lowest note is an A. So the context primes us to experience the chord, not as an F chord, but as some kind of A7, even though it’s missing the major third required to make it that chord. If it’s any kind of A chord, you would think it would be an A minor, as it DOES have the minor third. But we simply don’t experience it that way. We experience it as a major chord, and we experience the minor third that in reality is an integral part of the chord as a dissonant blue note over it.
As a new viewer, that face reveal of talking while playing was something else haha. I was thinking "Oh that's cool, he must've pre-recorded the script and then played to it to keep the notes in line with what he's describing." But no, you were playing and casually reciting your script at the same time like a savage! Love it!
So great brotha, as a guitar teacher myself I'm always dreaming of ways to explain this exact conundrum. Cheers to you for putting it all together and sharing this info! Man, if I'd had this youtube channel when I was a teenager. Amazing
The whole blues major minor things took me forever to wrap my head around when 1st learning music theory, this video gonna help a lot of people to get them on the right track. Good see ya back :)
First time I heard the explanation of #9. Since it's the minor chord and major I've thought that -10 would have been the correct one. Now I know why it's #9.
This relationship naturally occurs in the dominant 13th Court. From the bottom up, the voicing of the flat seventh third and 13th creates that critical element. E7#9 A13 D7#9 G13 highlights the usability and beauty of that musical phenomenon. The song "Spinning Wheel " uses a very obvious version of that combination in a sequence. On a more obscure note, the sonority created from flat seven major third and sharp nine in atonal classical music is referred to as the "Viennese triad."
3:33 yes, and no. The chord that uses both the minor and the major thirds both of which function like thirds and not ninths is often cslled the "split-third chord" or "mixed third chord"
In jazz (and therefore funk and fusion) the full scale elaboration of a 7#9 chord is typically either of: R b9 #9 3 #11 5 6 b7 (half-whole diminished scale) R b9 #9 3 #11 #5 b7 (altered scale) Both sound bluesy but the latter especially so. Actually by shorthand convention the first one is notated 7b9 and the latter 7#9, even though both contain both 9ths as well as other alterations.
Cool man, I’ve been thinking about and messing with this very concept, and was just thinking minor third is happy in major context but not the opposite. You elaborated on it nicely, appreciated.
Dylan Carlson from Earth (especially the modern version of the band) uses the minor to major third move a lot in his music. Has a country/blues twang while still being over a moody chord. Great vid as always Jake!
Fantastic video that’s very helpful with composition. Also the mutually exclusive thirds jam absolutely sounds like a million 80s and 90s power ballads. A lot of songs use that tonality all over the place.
You said it well: the clashing of thirds. Which is why I really prefer calling this a "flat 10" chord rather than a "sharp 9." But I realize nobody does that.
Wonderful topic. I remember a G7#9 used for the piano fill stabs, in between the phrases in the chorus of "Maybe I'm Amazed," for the reasons you mention. I think this chord was favored by jazz keyboardists, since they can't play "in-between" the keys to hit that blue note, the way a guitar / voice / clarinet / harmonica can bend in to it.
It's (shhh) jazz. A tritone substituted Bb13 shell chord. The key elements are the D (maj3) and Ab (7) of the Bb13 that invert to produce a G# (maj 3) and D (7) in E7#9... G moves from the 13 to the #9 (F##). You can do this with all altered and extended dominant chords due to the tritone between the maj3 and the 7. Blues loves a dominant seventh chord so we're not compelled to resolve it, and because the bass is firmly E, we think E dominant. This is the same reason that E minor pentatonic works over an E7 chord... that "G" is actually an F##, #9. It works fine over a bass player playing a walking line that incorporates G# (maj 3).
It’s been a long time since I played it, but I believe Opeth’s song Deliverance uses an F#7#9 chord in the riff under the first couple verses. Though it may be something else, because I definitely wouldn’t call that riff bluesy 😄
That's crazy. I'll be damned. That really does have a very distinct "chordish" sound of it's own. The intervals combine to create more than the sum of their parts. That's what chord is to me, "chordish."
The basics of Blues is fairly straightforward but to really understand and play the many styles of Blues is anything but. Many a good guitarist has sat in with a seasoned Blues Band and fell flat. Like any genre, it takes immersion to be fluent. A common refrain that I hear is, it’s just a 12 bar and easy or boring.
![How to Sound Like Daft Punk, Tool, or EVERY Rock Band using Minor/Aeolian [Riffing With Modes #6]](http://i.ytimg.com/vi/Bz_q96JhSOg/mqdefault.jpg)
![How to Sound Like Daft Punk, Tool, or EVERY Rock Band using Minor/Aeolian [Riffing With Modes #6]](/img/tr.png)
![The Awesome Power of the Andalusian Cadence - Making Music in 5 Styles [SONGWRITING + ARRANGEMENT]](http://i.ytimg.com/vi/qbeRVJMT5CY/mqdefault.jpg)
CLARIFICATIONS AND CORRECTIONS!
🔴When playing a 7(#9) chord, it's common to remove the 5th in the chord. Why? Because it really doesn't add any "important flavors" to the chord. Also, the nature of the guitar makes it difficult or sometimes impossible to play afull 7(#9) chord.
🔴As mentioned at 07:10, you'll rarely hear the 3 and b3 played side-by-side on a single instrument. But across different instruments, you can expect that the two will compete against one another in a blues or rock setting. For example, a blues pianist might play A7 with a major 3rd of C#, and in that same octave, a lead player might play a C natural.
🔴There is some VERY UGLY NOTATION at 10:53, during the David Gilmour lick. I wrote this tablature in MuseScore and forgot to check all the staff notes :(
🔴At the end of this video, when I say my videos have "no ads," I meant promotions or in-video advertisement. I don't have ads in my lessons because 1) i hate ads and 2) they completely destroy the flow of an educational lesson. But I do monetize this channel, meaning you probably see some ads before clicking on one of my videos. This collects enough money to pay a few bills, but it's really my patreon supporters who enable me to make straightforward lessons without spamming you with VPN ads, razors, or one of the other hundred other companies bugging me to do ad-reads!
Most of the things you discuss are beyond my skill level. However, I listen because I know you are gifted. Thanks for all that you have shared regarding music. One day it will click for me.
You should pin this comment
Good clarifications. Thanks much!
Thanks for commenting about omitting the 5th! I was noticing that when I go to try this chord on my baritone uke I'll have to omitting the 5th scale degree for lack of strings. So it's good to know that's a common practice on a six-string.
The 5th is often left out, especially with jazz chords (dominant 7, minor 7, mayor 7 etc.) These are called ‘shell chords’. Playing the 5th in the chord just ‘clutters’ things up.
The cigarette and whisky graphic were hilarious.
hi, my name is kozmo, and i have a seventh chord addiction.
I am so happy to see more of your videos Jake. Please keep them coming!!!
I agree
Me too. Been a while, was really happy to see this 🙂👍💯
Please never stop making these as you give hope to guitarists who are trying really hard
YEAHHHHH! ANOTHER LESSON!
Thank you, Mr. Lizzio!!!
WELCOME BACK BABY!
I'm not even a guitarist and I know music theory but I still love your videos and I still can learn something from them.
Dude, I remember watching a ton of your videos when I first started studying music theory, it’s so cool to see you upload again!
Jake! Long time no see, bud! Glad to see you're still at it. I don't know that I would've made the progress that I made without your channel. Thanks for all of the hard work!
Great to see you making content again man. I love the channel and your work ethics. I learned a lot from your channel. Massive respect.
Great to see you back with new videos! ✨
New Signals Music Studio video HYPE! I'm so pumped
Another awesome thing you can do is V7#9 - V7b9 - i . Or, speaking of stealing from Pink Floyd, D7#9 - D7b9 - Em
Yep! I didn't want to get into flat 9s (that's it's own lesson IMO) but i teach V7#9 - V7b9 - i in the Codex. The pink Floyd song Breathe actually resolves more like a backdoor cadence though, bVII - i (D to Em)
Those are all used as passing tones for a long time.
10:30 Beautiful. So glad to have you back, Jake! You're like my favorite music RUclips channel!
babe wake up !!!!
This guy is teaching classical college music he is correct in that way however THE maj 3 is ablue note in minor
Don’t wake her up she’s had a rough week
This was an amazing video! It's so necessary for us as musicians to come at topics like this major/minor rub from new perspectives and with a different focus. Yes, I can see why this video could be confusing to a newer musician. But the good news is: it's all confusing until it's not. Food for thought is way more important than knowing every ingredient.
You're a great, great teacher and this video is gold. Great didactics without under or overestimating the audience. On point! Thanks!
thanks for this nice comment 😁
One thing to note is that minor 9th intervals sound very dissonant and won't sound right in most contexts. A 3 above a b3 creates a minor 9th interval, while a #9 above a 3 creates a major 7th interval. This would explain why it sounds better in major.
However, that doesn't explain why the #9 sounds good in the bass (this creates a minor 9th). It probably works because it gives the major chord a dominant sound, which is all about tension.
I made exactly this same comment. The minor 9th has pretty limited application. It sounds really cool if you add it to a V7 chord before resolving to a I or a i, for example. The reason is because the V7-I movement is already built on tension and release. The V7 already has several notes pulling you toward the tonic chord. By introducing a b9, you simply get an even greater pull toward that tonic.
The major 7th is much easier to work with.
As soon as you played THE chord, I instantly heard purple haze.
Yeah. It was in my brain as well 😎
They were super common in jazz and classical music before that, and now it's known as the "Jimmie Hendrix Chord" lol
purple haze voodo chile the #9th gets used alot by srv too also that song funky town but its a jazz chord from green dolphin street peter gunn ans many many more
@@simonhawker9277It's also in Hocus Pocus by Focus, after each descending chord progression after the riff, but on the first one Jan leaves his pinky on the top string to add a C note, really dramatic!
@@ThinPicks and 10,000 other songs……
One of the best lessons I've seen on RUclips, I'd rate it 7#9/5.
So glad to see you back at it making great educational videos again !!! Thank you !!
Dude i love your videos. I'm so glad that you're back.
The Codex is amazing ❤
First time I actually enjoy reading a music theory book from cover to cover
yeahhhhhh!
min3 half-sharp is also very useful in blues, especially with slide players. So in key E, halfway between G and G#.
Love that chord, it's like a joker in music theory; breaks all rules but it works!
I still don't understand why it works 😅
@@SignalsMusicStudio Me neither ;D But that's, apparently, the magic of music
@@SignalsMusicStudioThe simplest explanation why the Hendrix chord works is to not treat the C as a normal minor third (6/5). 12-tone equal temperament makes a comma the size of 36/35 vanish, meaning that the 6/5 minor third is equal to the septimal minor third, or 7/6. It also makes the harmonic seventh 7/4 equal to 9/5.
This means that a no-5 Hendrix chord has pitches 1/1, 5/4, 7/4 and 7/3 (=7/6 one octave above the root) instead of 1/1, 5/4, 9/5 and 12/5. Thus the chord will be tuned as 12:15:21:28 instead of the much more dissonant 20:25:36:48. The former has smaller values meaning that it will have less harmonic entropy than the latter.
The C can also be interpreted as 19/16 (!!!), in which case the chord is 1/1, 5/4, 7/4 and 19/8 and tuned to 8:10:14:19, demonstrating even lower harmonic entroy. In 12-tone equal temperament it is still identical to 12:15:21:28, anyway.
I ALWAYS wonder about this. Love the hendrix chord since the first time I heard it. This was top notch as usual, you spoiled us! Thank you
Great lesson, and the graphics around 4:45 had me lol'ing
oh how our little major triad has grown up!
When the triad joins the triads!
Absolute inspiration Jake. Thank you!
I only discovered this channel recently and, seriously, where have you been all my life!
Interesting.
I wrote a YT comment about this a couple of weeks ago.
In Sweden we call that a -10 (minus 10) chord.
As you said it contains both the major and the minor third.
So there is a 3 and a flatted 10 (the minor third, one octave higher).
That way of thinking makes the function of the chord clearer, at least to me.
Like @ulomagyar7166 says in the comment I guess it should be called a minor 10.
The problem arises when you have a minor chord with a major 10.
I guess it could be minor 7 add maj 10. A bit of a mouth full, I think I’ll stick to +10.
A long time fan of your channel.
I’ve bought a couple of your well crafted courses.
I recommended your excellent Codex to a music student friend of mine.
He couldn’t be happier.
Neither could I.
Keep up the good work𝄢
Good to know, that might be a regional thing! I've never heard of a minor 10th in this context, but everything you're saying makes sense to me... however the + sign is used to "augment the 5th" so a +10 chord would be very confusing for many musicians I think. Also I'm thrilled you're enjoying the book :)
Sorry my bad.
Yes of course, that would be an aug 10.
So it only works in Sweden🇸🇪
You're finally back!!!
Hey, that was really useful and presented clearly. Instant subscribe. I'm gonna hit up your back catalog.
your content and lessons are among most fun and informative across whole youtube
jake I love you please never stop making videos
Nice to see you again Jake, your videos are so insightful
This is the best vídeo in the Internet
Omg the best guitar teacher is back, and it’s a video on jimi hendrix at that !!! let’s go
I know some Indians songs that have both major and minor thirds. They were composed in Sindhu Bhairavi and Piloo / Kapi ragas. One of them is "Thumbi Vaa" composed by Illayaraja. It was composed in the Kapi raga. 😊
Yes! Raga Jog also employs both thirds in a pleasant way
The solo section around 10 minutes in is great! That weird modal mixture sound where just one note shifts a half step has become one of my favorite musical "toys" - that little shift really stands out to the ear and creates these little moments of interest.
I think I actually first started exploring this as a result of your video where you demo'ed that Emaj7 - Am progression, but another great example is the jam sections from The Grateful Dead's song Eyes of the World. It goes from an Emaj7 to a Bm, and there's this shift from E major to E mixolydian. In that case the note that "shifts" is the 7th - you play the natural seven over the Emaj, then use the flat 7 in the mixolydian portion. Every time I land that little shift as the chord changes, there's a special little moment of interest and satisfaction.
There are so many cool progressions that use a trick like that, it's a very cool thing to explore. Thanks for your vids!
It’s been used over and over all over rock and blues for at least 100 years.
I'm halfway through the Chord Progression Codex and it's great!
2023 will forever be known as the signals-less year. Love watching these videos again.
Holy crap this is a big moment for me, i waited patiently for two years and only on your third video back does RUclips deem it appropriate to let me know! 😅
Welcome back man we've missed ya
love to see someone who knows what theyre talking about and explains it well
i consider myself to be decently versed at understanding the concepts of music theory.
even if something like this is considered review for me, I still love it. because there's always an opportunity to learn more
Important detail is that the minor third is often played sharp (with a bend) where possible (e.g., in lead).
Paging Mr. Page. 😊
LedHed Pb 207.20 🎶 🎸 🎹
I bought a used 6505MH awhile ago and I agree it’s an amazing amp head from raw metal tones to Heavy Blues tones ..
..just WOW every time I hit power on‼️. Onto Peavey cabs next 👍
A couple of years ago I was improvising a song on piano, and I happened to do that minor third over a major chord, and it's so good. My tune feels completely wrong if it's not there. I just checked, and I do not play the fifth, but a minor seventh. I might change that to a major seventh in a later verse, but it's actually almost too spicy in the context of the tune.
The Chord Progression Codex is amazing. Thank you for putting that together.
man, I'm just happy to be subscribed to this channel, those videos are really great
Trying to slowly but surely learn (guitar) music theory (I am a drummer). You explain and show it on a level that resonates with me very well :)
E7#9 is also the first chord in Sunny Day Real Estate's song "Killed By An Angel". First time I ever played that chord was when I figured out that song when I was 14 or 15 years old. I'm almost positive (despite my fuzzy memory of how to even play the song) that the guitar line in the verse resolves into dancing with accidentals around an arpeggiated A Maj chord. Interesting in light of what you were saying about the interplay of E7#9 and A Maj
It was fun to hear your analysis of this. I had always felt like this chord shape was dissonant and a bit strange, yet powerful as hell when utilized properly; and I hadn't really thought about it much in the last 25 years since then.
"Extra bluesy commotion." 🎸🎉
hahaha I also enjoyed that string of words!
@@SignalsMusicStudio More Jake-isms: "Blues-ify," "riff-ify" (from Riffing with Modes Ionian).
Great stuff!
A maior dificuldade que eu tive no estudo da harmonia foi esse "olha como soa estranho as terças maior e menor tocadas ao mesmo tempo", aí eu ouço o som e acho lindo. Foi um caminho longo e árduo pra entender a harmonia tradicional e como ignorar ela solenemente na hora de compôr, pra não limitar a arte a uma convenção, uma vez que a convenção jamais se aplica a expressão de maneira eficaz.
this thought me a LOT Jake! stellar work yet again
Welcome back jake. Have learned much from you and look forward to learning a lot more.
I see Signals, I watch immediately!
When your book is available in the UK i will buy it for sure. I really want to support your work and say thank you for all these amazing lessons.
Currently available to ship to UK!
@@SignalsMusicStudio Brilliant news... save me a copy. I'll order this week !
Thank you patrons! I think I finally get 7#9
One of the most intriguing applications of this “wrong but right” clashing thirds thing, is in the song “Drive my car” by the Beatles, specifically in the “you can do something in between” bit. The twist is that the perceived dissonance isn’t between major and minor thirds that are actually played, but between the minor third that we ACTUALLY hear, and a major third that, while in reality it is entirely absent, is so clearly IMPLIED by the context in which the chord appears that our brains sort of supply the major/minor dissonance that isn’t really there.
The weird thing is that, in the context of the song, it sounds really crunchy and dissonant, and is often erroneously transcribed as an A7 #5 #9 chord, a pretty dissonant chord. But if you actually analyse what notes are being played/sung, in isolation, it’s not particularly dissonant at all. It’s just a major triad in first inversion, with an added major 2nd above the root. Specifically, it’s just an F add 9 with the third in the bass.
Now, if you just play an F add 9 over an A bass, in isolation, it is NOT going to sound like that chord from “Drive my Car”. Out of context, it entirely lacks the distinctive dissonant “crunch” associated with that moment in the song.
But… in the song it appears in the context of the key of D major, exactly at the point where we expect to hear a classic dominant 7 chord built on the fifth degree, which would be an A7. Also, the lowest note is an A. So the context primes us to experience the chord, not as an F chord, but as some kind of A7, even though it’s missing the major third required to make it that chord. If it’s any kind of A chord, you would think it would be an A minor, as it DOES have the minor third. But we simply don’t experience it that way. We experience it as a major chord, and we experience the minor third that in reality is an integral part of the chord as a dissonant blue note over it.
As a new viewer, that face reveal of talking while playing was something else haha. I was thinking "Oh that's cool, he must've pre-recorded the script and then played to it to keep the notes in line with what he's describing."
But no, you were playing and casually reciting your script at the same time like a savage! Love it!
Hell yeah !!!He posted!!!
So great brotha, as a guitar teacher myself I'm always dreaming of ways to explain this exact conundrum. Cheers to you for putting it all together and sharing this info! Man, if I'd had this youtube channel when I was a teenager. Amazing
Youre such a great music educator!
Great channel. Love the work you do.
The whole blues major minor things took me forever to wrap my head around when 1st learning music theory, this video gonna help a lot of people to get them on the right track.
Good see ya back :)
Thank you for this lesson. Incredibly well presented as usual.
Your voice is fenomenal!
HE'S BACK!!!
The tritone (3-b7) is so dissonant that it can easily support b9, #9, b5, #5, #11, 13, b13 … it can handle anything!
One fun place to use a 7#9 is on an applied dominant to the vi chord, because the #9 is actually diatonic to your original key.
First time I heard the explanation of #9. Since it's the minor chord and major I've thought that -10 would have been the correct one. Now I know why it's #9.
Another fantastic video, great enthusiasm and wonderful music!
Michael Brecker would sometimes play major thirds over a minor harmony and he made it work!😮
I’ve always hated blues, and I think you finally clarified why. My brain just cannot enjoy those clashing thirds for some reason.
This relationship naturally occurs in the dominant 13th Court. From the bottom up, the voicing of the flat seventh third and 13th creates that critical element. E7#9 A13 D7#9 G13 highlights the usability and beauty of that musical phenomenon. The song "Spinning Wheel " uses a very obvious version of that combination in a sequence. On a more obscure note, the sonority created from flat seven major third and sharp nine in atonal classical music is referred to as the "Viennese triad."
3:33 yes, and no. The chord that uses both the minor and the major thirds both of which function like thirds and not ninths is often cslled the "split-third chord" or "mixed third chord"
I Need You Tonight by INXS is a great example of a song that’s both major and minor at the same time
8:57 - The main riff to "Have a Drink on Me" by AC/DC has that "corrected" third.
Excellent presentation of an obscure topic, bonus points for the callout to Adam Neely. #FeedTheAlgorithm
great explanation, mate! keep up the great work, much love
In jazz (and therefore funk and fusion) the full scale elaboration of a 7#9 chord is typically either of:
R b9 #9 3 #11 5 6 b7 (half-whole diminished scale)
R b9 #9 3 #11 #5 b7 (altered scale)
Both sound bluesy but the latter especially so. Actually by shorthand convention the first one is notated 7b9 and the latter 7#9, even though both contain both 9ths as well as other alterations.
Cool man, I’ve been thinking about and messing with this very concept, and was just thinking minor third is happy in major context but not the opposite. You elaborated on it nicely, appreciated.
Dylan Carlson from Earth (especially the modern version of the band) uses the minor to major third move a lot in his music. Has a country/blues twang while still being over a moody chord.
Great vid as always Jake!
Fantastic video that’s very helpful with composition. Also the mutually exclusive thirds jam absolutely sounds like a million 80s and 90s power ballads. A lot of songs use that tonality all over the place.
You said it well: the clashing of thirds. Which is why I really prefer calling this a "flat 10" chord rather than a "sharp 9." But I realize nobody does that.
YES, otherwise it's as if we have an augmented second when it's functionally much more similar to a minor third
Wonderful topic. I remember a G7#9 used for the piano fill stabs, in between the phrases in the chorus of "Maybe I'm Amazed," for the reasons you mention. I think this chord was favored by jazz keyboardists, since they can't play "in-between" the keys to hit that blue note, the way a guitar / voice / clarinet / harmonica can bend in to it.
It's (shhh) jazz. A tritone substituted Bb13 shell chord. The key elements are the D (maj3) and Ab (7) of the Bb13 that invert to produce a G# (maj 3) and D (7) in E7#9... G moves from the 13 to the #9 (F##). You can do this with all altered and extended dominant chords due to the tritone between the maj3 and the 7. Blues loves a dominant seventh chord so we're not compelled to resolve it, and because the bass is firmly E, we think E dominant.
This is the same reason that E minor pentatonic works over an E7 chord... that "G" is actually an F##, #9. It works fine over a bass player playing a walking line that incorporates G# (maj 3).
I was sipping coffee when the cigarette and booze graphic came up and it made me laugh! I was like the guy in Too Gun when Maverick buzzes the tower!
Awesome lesson!!👍🙏
Great video. I was listening while driving, looking forward to rewatching with a guitar in the evening.
Absolutely LOVE your videos! 🎉
Classically trained and I could never get my head around the flat thirds everywhere.
You're speakin' my language!
HE’S BAAAAAAACK
It’s been a long time since I played it, but I believe Opeth’s song Deliverance uses an F#7#9 chord in the riff under the first couple verses. Though it may be something else, because I definitely wouldn’t call that riff bluesy 😄
Incredible
Play the minor 3rd and the natural 2nd if you want your descending lines to sound bluesy over a major or a dominant chord.
That's crazy. I'll be damned. That really does have a very distinct "chordish" sound of it's own. The intervals combine to create more than the sum of their parts. That's what chord is to me, "chordish."
The basics of Blues is fairly straightforward but to really understand and play the many styles of Blues is anything but. Many a good guitarist has sat in with a seasoned Blues Band and fell flat. Like any genre, it takes immersion to be fluent. A common refrain that I hear is, it’s just a 12 bar and easy or boring.
Blues is great! I just can't wait until someone somewhere writes a second blues song /s
Another goated upload by our goated teacher 🎉
4:07 - I know that chord as the chord that comes in on beat two of the chorus of "Thinderkiss '65“ by White Zombie.