Choosing Dominant Alterations
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- Опубликовано: 12 ноя 2018
- Choosing which altered dominant chord to play during a minor 2 5 1 can be a daunting task, but using a popular holiday classic, I attempt to demystify the process for you and make something beautiful.
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you have such an enjoyable entertaining personality, i’m not a jazz musician i’m just a producer but i find value in all of your videos, thank you for doing everything that you’re doing and providing such a useful and fun resource
I like to pick the one that I want to hear. You mentioned a great idea - to practice listening to all the possibilities. Then eventually you’ll hear it before you play it. Another great idea you mention is not to discount something that is really dissonant in the moment. The resolution is the thing. For any guitarists watching: a tense sounding extension on piano can sound quite pleasant on guitar. (My dominant chord is giving me a nasty look cause I knocked the crap out of its extensions. Aimee told me to do it.)
Aimee, you totally alter my fifth with your videos, thank you so much)
О, Саня, объясни, а то я ничего не понял)
@@beyondbirthday5760
это шутка
@@billb1413 я про видео
( ͡° ͜ʖ ͡°)
Really? Aimee susses my fourth.
Love these in-depth videos. Thanks for helping us along our musical journeys!
Thank you Aimee, I finally understand minor 2-5-1's. I'm as excited about them as I was when I first learned about secondary dominants and what they can do to approach chords in dressier ways.
Thanks Aimee - Been toying with these ideas for a while, and this more methodical approach is a great help.
Great explanation as always, Aimee! And what a great song to use for demonstration purposes. Such a gorgeous, piece. Thank you!
Love what you do in the intro with your left hand, as well as the voices separation in the right hand - the movement that’s going on under the melody! Would be great to see a video about how you construct those lines.
Hi Aimee! I appreciate that you give so much care to preparation and resolution of chromatic alterations. It's going to help my students' ears to feel these dissonances in context. I would like to add that the ii-V to e minor is a great spot to insert a tritone substitution. Great video!
Great stuff as usual Aimee!
This is perfect! I literally just played this song in my Big Band in College, and now i can understand it and this question even more so! Thanks so much for making this video! :)
Great food for thought Aimee cheers me deers from Scotland
Love the lesson, thanks! The #9 is one of my favorite chords--and always an instantly recognizable one (Hendrix chord!) I suppose because of my guitar playing 'days'...
By far my favorite Christmas song! Clearly explained and beautifully played
It's never too early for that Have Yourself A Merry Little Christmas! Great lesson Aimee!
pnojazz testify
Beautiful Aimee!
Thanks Aimee, this lesson is very much appreciated you are great
Holy moly, you're good at this!
A Christmas song? Great choice Aimee! Now i can watch and practice again and again, without it sounding odd.
Friends / family will just think i'm practicing for the holidays. :-) So thank you for this creating and sharing this excellent video.
Thank you, exactly what I was looking for.
Yes! This is one of those pieces of information that is terrifying to imagine having never heard. Been playing guitar for 20 years almost entirely by ear. Been playing piano and practicing theory/learning all the important information I had neglected; for about 6 months. Luckily I'm able to absorb it pretty quickly from having so much practice/composition/gig time on the guitar, but I've never taken a single lesson for any instrument. Goes without saying I've missed alot of important information. This is some of said information.
THANK YOU
what ever where you are, the most important thing is; where you go! The way you choose, the way you understand what you talking about.
As I advance in my lessons with you Aimee, I will revisit this video, there is a lot of knowledge here for me to learn. Thank you for sharing your knowledge, I appreciate it very much!!!
I learned so much in my skype lesson with you today, I am so excited and thankful to learn from you!!! :)
It's never to early for Christmas with a voice like yours 😭 I came from bill Evan's transcriptions. Thanks for helping me open a new door ❤
Great lesson!!!!!! Thanks!!! Merry Christmas!!!!
beautifully explanied, thank You Aimee
I'm learning so much from you. Thank you for this tutorial.
Excellent tut, so detailed and insightful, and yes, as somebody noticed in the comments, your voice is nice (too).
Very nice!! So many great ideas, explained in an accessible way. ❤️
Aimee, you demonstrate and teach so incredibly well giving all reasons purposes of the music you teach. As an educator, this was incredibly easy to follow. thank you!
Absolutely agree.
Another great video. You rock.
great video Aimee
This was great, thank you!
Great lesson ! Thank you so much !
Very useful tutorial!
I loved this video!
Beautiful all of these altered lead in tones church keyboard players use all the time I hear these alot. I play them myself unconsciously the longer I watch this video. But to watch your perspective gives me the reason why and the name of what it is .
GREAT Lesson
Love you way and your person. Nice thick jazzy notes, are the way to good music. ; )
Thanks Aimee! You are a great teacher
Great teaching , thanks
THX! Professor Aimee
Wow! What a beautiful lesson. Don't play piano but a lot of what you say applies to guitar as well. I think guitarist get away with more dissonance because of the strong downward pull of moving a *shape* down (or up, but often a bit weaker to my ear) a half step. It's kinda like gravity and can pull a lot of dissonance as long as it resolves, and half-step resolutions are so strong. Hope I'm making sense.
BTW, the sharp dissonance you talk about at the end works for me. It's such a sad lyrical song -- that jarring dissonance fits in well to me. But I love Bartok's 44 duets for violin so I guess I've destroyed my ear :)
Thank you!
I love your videos. You are an amazing teacher!
I love the sound of the #5 an octave down from the natural 5
It's never really too early/late for holiday music: the melodies are _really_ nice, and are a great way to work through all 12 keys. Then when the holiday gig rush or the party rush hits, you're ready to go--especially for a singer that only knows the song in B, Gb, or some other "hard" key.
great lesson nice playing
Sooooo NICE ! YOUR VOICE IS GORGEOUS TOO ! MIND EXPANDING LESSON ! 10 LIKES FOR YOU !
Amazing ✨✨✨
This is really interesting. I don't really listen to that much jazz and in most cases when it gets to harmonically complex I can't really follow along. But in this instance when it's a quite simple song I really liked the more sophisticated choises and could hear how to resolve the tensions. The #9 sounds really cool.
Awesome!
Beautiful! It’s not too soon, I broke out the Christmas music last night, haha!
Thank you so much
The "Stairway" reference was great!
No Stairway!?? Denied!
Nice job Amy! The sharp 9 sounds like something Thelonious Monk would be vary comfortable adding on to. (I think that is style unless I getting him mixed up with another piano player)
Some nice ideas there for the flat 9 and the sharp 9 for the more avant garde style.
This is 21 minutes of pure gold.
Thanks, Wiz!
You're the man!
Yes she is :-)
This is way over my head but I still like it because I feel like I'm scouting territory that I will get to. I will learn all the bricks in the wall that you need to have locked and then when I get back here, I'll be like, hey new colors and sounds to play with, awesome.
Aimee, your videos are awesome. I chose this one as part of an assignment for my UVU contemporary theory and improv students as we get into melodic voiceleading through dominant alterations. Thank you!
I’m so glad! Thanks for letting me know. Hope you guys have fun with it!
I just double-checked wiki
pedia. It has a midi of the diatonic triads. I had never looked this up before. It goes All triads. (Amin
Bdim Caug Dmin Emaj Fmin
G#Dim Amiin. For those new to diatonic chord's. The first note of each chord should be the A harmonic scale. A B C D E F G# A.
There will always be a leading tone a 1/2 step below the root (G# in this case)) Also the above harmonic scale is extrapolated
to get the E triads. E G# B. If we take this to the diatonic 7th this is
E G# B D. 1 3 5 b7. ..so E dom7.
this is a great video, thank you so much :-)
Great video! I was just wondering which tensions to choose. Making sure they don’t clash with the melody makes the most sense. And if they do clash, make sure the resolve them appropriately to the next chord.
Also interesting I've just started doing one of those techniques you mentioned just upon my own volition because it seemed like it would help. Specifically practicing/playing scales and Hanon patterns (played without raising the fingers) slowly while singing the note, just as I hit it.
ie "C": plays C- "E", "D", "F", "E", "G, F, E, D" etc etc. as that seems to be the only way I can divide my attention between the muscle memory of hitting notes, and the intellectual memory of being fully aware of every (or any) notes that I'm playing in real time. Almost like quantum physics, I can tell you where a note is on the keyboard, or I can play you notes, but I can't dp both at the same time. LOL. That will go away with practice though I'm sure.
great!
I love dominant b9s. They're really nice in tunes like Giant Steps or Cherokee, using chromaticism to go from the b9 to the 5th of the I chord. Ie. C#-7 F#7b9 BMaj7.
@mozak plesa Oooh, yeah!
So good 😭
I didn't like the #9 sound at first, but once I started playing a bunch of altered chords for my big band, I started to be able to hear the #9. I just recently discovered that you can play a D7(#9) in Autumn Leaves, which sounds really nice, especially, when it resolves to the 6 of the G-. It also uses both the 7th from G natural minor and the 7th from G harmonic minor, which I didn't realize I could do.
You might want to remember that listeners usually don't get to train their ears by playing many many times chords until they "learn" to like it
Speaking about diatonic and notes outside the scale, why is it that it is so easy for the ear (or actually brain) to recognize such a note and why do we like that so much (including modulation)?
hey aimme great vid, do you have anything on utilization of the minor-major seven chord
One famous altered dominant voicing is 1, 3, 5, b7, #9 (the Hendrix chord).
Nice piano :)
Прекрасный звук , голосоведение . Вы восхитительно выглядите
No sharp 9 over the flatted 9th in melody? Charles Ive's would say we have softy ears!
Nice video, thank you!
tbh I dug the tense sound of that!
i dont know why but that sharp 9 youre talking about at 7:35 more or less sounds soo good to me ahah dynamics surely help i guess, but i really like the clash
I came to the comments just for this. "A little much"? No way! That sounds AMAZING! Maybe even better when she sings it
Question: when you play in a group, do we have to tell everybody which dom 7th to use? Or just simply let them play whatever dom7 (with alt 5 or 9), or it has to be compromised in advance??
you could just play one note on that lovely piano and i'd melt all the same. SO NICE
I'm not there yet on my harmony courses, but every time I hit a V7#5 I hear that it resolves to three different keys like the Augmented chord which is embedded in the chord
Great video, Aimee! I was wondering, what if those C and B at 19:15 work well because they relate as maj7?
(Maybe a stupid comment - but here's a self taught guitar player, so double handicap! :D)
first and foremost many thanks for the great videos and the outstanding work Aimee :)
I kinda wonder why u focused on minor 2 5 context for the altereations,
for my understanding, some of the alteration in the 2 5 context are in the harmonic minor scale, therefore they sound in and are no problem to consider as long as they don't clash with the melody for non sophesticated ear,
whereas in major 2 5 context, every single alteration sounds out and leads to bringing other set of options while improvising to make it work (alterate scale...)...
so I wonder in a major 2 5 context, other than the rule "no clashing with the melody notes" how do u choose your alterations?
warm greetings from Berlin Germany, and I hope you visit the jazz community here someday :)
HOW I WISH WE HAVE AIMEE FOR "GUITAR"
I love Have Yourself A Merry Little Christmas. 16:30 - the beauty of triads and polychords. One of my big band jazz compositions made use of a series of polychords underneath the melody in the verse way back in 1980 at North Texas. It was performed at the Spring Concert by the 3 o’clock band. A nice memory. 20:00 - definite magic E7 #9 to E7 b9 to Am6.
I’d like to say that I’ve not been feeling well today, so it was so nice to binge a bit on your videos. You lifted my spirits, thank you.
Well caught, Aimee. People would have pointed out for sure that "it is a little soon for Christmas". :)
I guess you just love Christmas music, don't you? Me too. Speaking about, time for me to practice this song. I have it lying around.
Lol no...it IS too early for Christmas music and I’m not a huge fan. :) But this is the perfect song to demonstrate this and most everyone knows it. Thanks Peter!
@@AimeeNolte
It is a bit early. It is an interesting video to show how to color the music and make it your own instead of just playing from a sheet.
Beatiful video thanks Aimee. This brings up two questions for me though. First: What to chose when comping for a soloist. Will you keep it close to the melody to keep it easy on the soloist? Will using different alterations for comping add nice tension or will you step on the soloist's feet?
Second: Let's say there are two harmony instruments comping at the same time (i know, what you are thinking but it happens alot) will one instrument just have to stay away from the fifth and nine completely? Is there some sort of universal rule of safety?
Thanks so much for all the great videos, I enjoy them a lot despite the fact that i play drums mostely.
Thirds and sevens are always safe. Listen closely and follow your gut. :)
Hi Aimee,
Is there a score for this lesson?
Hello from France...
Hi Aimee. Thank you for the amazing content! I like the sound of your piano. Can you pls advise the brand and model? Thanks
If you visit my website there is a gear tab that will tell you. Thanks so much.
@@AimeeNolte I will...Thanks!
Calling b5 and #5 instead of the regular tensions #11 and b13 makes it easier to access to those notes in a practical way. Is that why you are calling it that way?
😍😍😍
When is your Christmas album coming out?
You could play A min/maj after the altered E7th, couldn’t you?
In my slightly unconventional world of harmonic common practice (b9) ends up implying auxiliary diminished. Everything else like 7+11, and fully altered which is a (#9) and sus(b9) and a streight (b13)conform to and imply modes of the melodic minor. I have found that with the exception of diminished chords and (b9)dominants it's almost always melodic minor family. Anyway this approach works really well on this song if memory serves I wish we could sit at a piano and compare notes.
You are amazing aimee. A very good teacher..thanks for sharing your knowledge and talent. I am from the philipines...
Im almpst convinced some just go around to random videos and just dislike videos hah
Where were you when I was 16? (My guess: waiting to get born 10 or so years later.) I finally learned these things in my dotage, but it sure would've been more productive if the guitar had been presented as an exploration of good taste rather than an athletic event. Still, even though I finally did get the picture, I really enjoyed and learned from this video today. If I had my 'druthers, every school would have its music theory & appreciation classes reinstated and properly budgeted -- and your videos would be required watching.
This raises a question Ive had for a long time. What exactly is the purpose of a modulation? Is it entirely about the transitional chords being novel or something else? It's most confusing to me when songs modulate from major to a different major (or minor to minor). Going major to minor makes sense because it's clearly different, but going from say C major to G major, something just hasn't clicked for me. It almost seems like a just technical exercise to me.
That's a bit of a tough question to answer objectively. What is the purpose of changing chords? What is the purpose of changing octaves? It's all done to keep the song moving forward, and to sound good. You can look at the circle of fifths and say, "The modulation from C to Gb gives it a really alien sound because they barely share any notes", but the answer to "what is the purpose of the modulation from C to Gb" might not be anything more than "to get a really alien sound".
I think that they can be used as just a technical exercise or to show off, but they have more to them than just that. A song like "Love on Top" by Beyoncé wouldn't have nearly the same stratospheric, over-the-top feeling in the ending without the upward modulations. "Giant Steps" wouldn't be a free-wheeling romp of manic energy without it's rapid-fire major third modulations. But the "purpose" of these modulations is kind of hard to pin down to much other than that they just sound good.
...kinda like watching Bill Evans' mind slowed down and splayed out on the keyboard...
What if your melody note is the root of the dominant chord do you flatten the 9th or sharpen when you use at stations to dominant chords?
Use your ears and your best judgement. Sometimes a flat nine against that root can be a nice rub...I’d be less likely to choose a sharp nine but it might work! Maybe alter the fifth instead or in addition. Really though LET YOUR EARS BE YOUR GUIDE.
@@AimeeNolte I'm trying to take Blue skies and alter the chords to find the appropriate chords after that I reharmonize the whole chord progression to make my version of a jazz tune. I have one minor chord altered into a Bm7flat9 the 9th was the melody note so I flattened it. I took an F major 7 chord and made it dominant F7 flat9 upper structure because of the melody note is a 3rd it was suitable for the chord to be altered to a dominant Fla9.
@@AimeeNolte thank you for the reply back and advice to my question.
Here is link to a transcript I made of first 5 minutes of this video: www.noteflight.com/scores/view/19546768a1d50287301f126cfe8d871e53eca6d4
Sorry I couldn't do more, but there is only so much time in a day for practice (sigh). The score will play itself on your iPhone or PC/MAC if you click the triangle in upper left. There is also a menu option where you can export the transcript to PDF or print it.
Gosh that’s pretty cool. There are a couple of mistakes, but they are very minor. Good job!
Aimee, do you ever use the sub Maj 7th 1/2 step above target maj7?
Sure! And every time in the intro of Girl From Ipanema
Not many people can pull off the word "hip", but when you do it you sound like a total jazz cat
Is there any exercise to increase independence of both hands ?please
Just look up my name and the words, hand independence in the RUclips search bar.
On the 2-5-1 of E minor instead of the minor can you replace it with an E major?
Sure!