I love this idea. I’ve know that stacking a minor chord with the major a step below on top makes a m11 (Dm in left hand, C with right hand). But for some reason I never thought about inversions. Using different inversions gives so many more voicings!
Yeah i think iot should be called Dm 9/11 since the 7 is implied by the 9 or 11 but calling it Dm11 as Jeff did is not accuratee coz it misses/forgets the 7th
no it doesn't! @@CourtWatchAu , dm11 conveys that the seventh is there, just like dm9 is also called Dm(7)(9). the seven is always there its just a given. like Dm13, that includes the 7th, 9th, 11th and 13th.
@@sebastianaddis2916 You are right Sebastian :) Im not sure if i mean to say it forgets to refernce the 9th (i said 7th in above comment which I admit is wrong) , if you scroll down to where@ zackmatthews235 says But there’s a 7th and a 9th as well? i replied to taht as well and i said it implies the 7th . But i think my point was that imo the 9is optional in an 11 and the 9 and 11 are optional in a 13 but as you said yes the 7th is implied and reqd for a 9,11 or 13 chord name. I wrote the wrong thing thankyou for correcting me 👍
i like the way you separated the roots from the extensions to make it easy to digest although i think it would be more helpful if you explained that the extensions are a natural part of the minor (11) chord, rather than "just an inverted c major"
lately I've been wondering why in the heck it's always inversion chords that sound discernibly better than using root position voicings in your right hand. Like if you're playing an upper structure chord such as C dominant seventh over F sharp. You play the F sharp with the C sharp in the bass and just sounds better. C E G Bb A# C# F# = C7(b9, #11) The sharp is an harmonic with the bee flat so it's just a doubling of the flat seven in the dominant chords. and for the minor 11th chords, try voicing the D minor with a flat third in the bass. F A C D then play C major in third version: G C E You get D minor (9, 11)/F or, play the same chord in the left hand and play C major seventh in the right hand. D minor (9,11,13)/F
Something I've been playing with recently is "tension introductions" which is to move notes from the last chord that would be tensions contrarily into the next. So here, say D is the i-. First have A7 with A E G C# F. Nice m9 crunch between E and F and opens the ear to accept a -11 chord as a resolution, even with the obfuscation of b3 on bass. Perfect for gospelly passing chords
@reddillon8425 Not really the same, that's just a chord of the seventh. It's one thing labeling the "extra" notes as extensions of the D minor if there were only a seventh and an eleventh, for example, but here there are two complete and distinct chords. Unless you can explain why that's preferable in more objective terms, I don't see the point.
@@moeb4348 you don’t necessarily HAVE to include all of them but it’s more so implying that harmony compared to something else like a dominant 7 sound for example. it’s mainly just how our chord notation system is built upon stacking 3rds. it’s different from if it was DmAdd11 where add means the basic triad Dm + (adding) an 11th.
@@moeb4348 Normally chords with upper extensions eg 9th, 11th and 13th chords imply the 7th as well. But i disagree with Jeff & Flee, i think the 9th is not implied in the Dm11 and it should be called the Dm9/11 imo
@@zacnationtypically (always exceptions) you’ll only see b9s on dominant chords because they have so much tension. So maybe you’ll have a G7b9 leading to a Cmaj where that Ab in the G chord can resolve down to a G in the Cmaj.
you go by mixolydian: 1 3 5 b7 9 11 13 every deviation must be noted: 'm' for minor third instead of major 'b5' or '#5' for altered fifth 'M7' for major seventh instead of minor and now '9' means 9 and b7, 5, 3, 1 '11' - 11, 9, b7, 5, 3, 1 '13' - 13, 11 ,9, b7, 5, 3, 1 if you want to have major chord instead of dominant (b7 -> 7) you just write M before number like: xM9: 1, 3, 5, 7, 9 9, 11 and 13 can be altered and then you have to write it like that: xM7(b9) for 1, 3, 5, 7, b9 x7(#9 #11 b13) for 1, 3, 5, b7, #9, #11, b13 EXCEPTION - major chords with 11 are quite modern so if you have it written like CM13 that probably means 1, 3, 5, 7, 9, 13 (without 11) Much more common chord is M13(#11): 1, 3, 5, 7, 9, #11, 13 If you want to play 1, 3, 5, 9 you just write add9 like Cadd9 minor add9 (madd9) exist but they're much less used I think sus2 you take 3 and replace with 2 sus4 you take 3 and replace with 4 just sus usually means sus4 possibly with dominant b7 like B7sus: 1, 4, 5, b7 6 is exception because you can just have x6 or x6/9 and then it's 1, 3, 5, 6 and 1, 3, 5, 6, 9 half diminished means that the 3, 5, 7 are lowered to b3, b5, b7 can be also written as m7(b5) diminished means 3, 5, b7 (dominant chord notes) are lowered to b3, b5, bb7 There’s also dim(#7) or dim(maj7) which means 1, b3, b5, 7 alt is just dominant chord with altered fifth or (or and) ninth (altered chords in jazz almost always mean that both of them are) F#alt can be 1, 3, b5, b7, #9 (b7 because its dominant chord by definition) but can also be 1, 3, #5, b7 b9
You could use it in place of any d minor chord. This colourful voicing would suit well to being the tonic chord, as well as a 5 minor in G or 4 minor in A. As a pop sound it would also nicely with a C, F, or Bb chord. You could use voice leading to smoothly lead this up/down to any of those and add similar extensions to jazz up the sound. Alternatively it would sound nice in a kind of vamp followed by a G7 chord, common in funk music (it’s sort of a 2,5 in c major) It would also resolve to C major 7 quite nicely. You could also use it with an Eb major 7 for chromaticism where the 9th of this D minor (E) would smoothly roll down to the comparatively dark Eb. These are just some ideas of course, but just try everything and see what works! Happy musicing 😊
What are you guys going on about? A 2nd inversion chord has its 5th as the lowest note, so a D minor chord in 2nd inversion has A as its lowest note, and a C major chord in 2nd inversion has G as its lowest note. And this is exactly what we have in the video.
When you see a chord like D11, they always include the tones before them (so in this case a 9 and a b7) A D9 includes the b7, if you want JUST the 9, that would be a Dadd9 chord.
I love this idea. I’ve know that stacking a minor chord with the major a step below on top makes a m11 (Dm in left hand, C with right hand). But for some reason I never thought about inversions. Using different inversions gives so many more voicings!
Thank you for even more explanation.
Check out drop 2 voicings, they sound neat as well
@@kaield4763 love drop 2!
This neo soul chord is gorgeous
What a colorful voicing! Thank you for sharing. I’m a ii-V-I, you can play A D F G C E - Ab D F G B E = G C E G B D
This is why I love Jeff 😌
Just bought your guide excited to learn more thanks
Very nice
Beautiful ❤
Nice voicing. I like to stack 4ths
Nice, dude 👍🏾
The day I learned the minor 11 changed my playing forever!
😊
❤❤❤
The Joni Mitchell Chord!!
Van Der Graaf Generator - A Plague of Lighthouse Keepers; the opening part
🤌🏻🤌🏻🤌🏻
This is instant Sims 1 to me. Always will be.
Yes! I can hear it 😊
D-7(9)(11)
Yeah i think iot should be called Dm 9/11 since the 7 is implied by the 9 or 11 but calling it Dm11 as Jeff did is not accuratee coz it misses/forgets the 7th
Reminds me of that tragedy
D-7(9)(11) /A
no it doesn't! @@CourtWatchAu , dm11 conveys that the seventh is there, just like dm9 is also called Dm(7)(9). the seven is always there its just a given. like Dm13, that includes the 7th, 9th, 11th and 13th.
@@sebastianaddis2916 You are right Sebastian :) Im not sure if i mean to say it forgets to refernce the 9th (i said 7th in above comment which I admit is wrong) , if you scroll down to where@ zackmatthews235 says
But there’s a 7th and a 9th as well? i replied to taht as well and i said it implies the 7th . But i think my point was that imo the 9is optional in an 11 and the 9 and 11 are optional in a 13 but as you said yes the 7th is implied and reqd for a 9,11 or 13 chord name. I wrote the wrong thing thankyou for correcting me 👍
Wait until you hear about Dm13, you just slam your hand on to the keyboard
i like the way you separated the roots from the extensions to make it easy to digest
although i think it would be more helpful if you explained that the extensions are a natural part of the minor (11) chord, rather than "just an inverted c major"
Functionally that's a Dm triad with it's 7th, 2th and 4th added tho, cuz Dm is basis, other notes are psychologically perceived relative to it.
You are definitely a jazz musician
lately I've been wondering why in the heck it's always inversion chords that sound discernibly better than using root position voicings in your right hand. Like if you're playing an upper structure chord such as C dominant seventh over F sharp. You play the F sharp with the C sharp in the bass and just sounds better. C E G Bb A# C# F# =
C7(b9, #11)
The sharp is an harmonic with the bee flat so it's just a doubling of the flat seven in the dominant chords.
and for the minor 11th chords, try voicing the D minor with a flat third in the bass.
F A C D
then play C major in third version:
G C E
You get
D minor (9, 11)/F
or, play the same chord in the left hand and play C major seventh in the right hand.
D minor (9,11,13)/F
First guitar chord in Walking On The Moon by The Police.
Reminds me of Ant Phillips
Why does that sound so pretty to me
"D minor 11 is one of my favorite chords"
Musicians: 😃
Non-musicians: 💀
LOL
Rootless bro
sounds like the first chord of some other time by bill evans
And what he plays on so what
@@chrisgallardo2130 yeah! Love so what, what a tune!
What is the chord progression for the track at the beginning of this short? FIRE!!!
Why can’t we just love m11 Chords- they should sound and feel all pretty much the same outside of context
what are some chord progressions this can be used in? it sounds really beautiful!
Something I've been playing with recently is "tension introductions" which is to move notes from the last chord that would be tensions contrarily into the next. So here, say D is the i-. First have A7 with A E G C# F. Nice m9 crunch between E and F and opens the ear to accept a -11 chord as a resolution, even with the obfuscation of b3 on bass. Perfect for gospelly passing chords
It sounds really good, thanks a lot for your advise, have my best regards...
Or it can be the Am(11)(b13) with the five on top
Make a whole tone below it a major chord triad
Cómo se llega a la suma de 11?😅 Es lo mismo si lo llamo Dm4/7/9? No entiendo
tried playing the same voicing on guitar... It doesn't work
Keith Jarrett 🗿
All of the notes in the lick are in that chord
Hey its parlie chuth!
G9 sus4 share some of the same notes.
Why not just call it a C over D minor polychord, instead of Dm11? I think it's more straightforward and descriptive.
Same reason we don’t call a Dm7 an F/D.
Different contexts.
@reddillon8425 Not really the same, that's just a chord of the seventh. It's one thing labeling the "extra" notes as extensions of the D minor if there were only a seventh and an eleventh, for example, but here there are two complete and distinct chords. Unless you can explain why that's preferable in more objective terms, I don't see the point.
Because that's just not how extended chords are thought of in jazz.
@@asukalangleysoryu6695 of course, there's no logic in it.
Ah yes the studio ghibli chord
But there’s a 7th and a 9th as well? 🤔
when u see m11 the m7 and 9 are implied
Why do you have to include the 7 and 9?
@@moeb4348 you don’t necessarily HAVE to include all of them but it’s more so implying that harmony compared to something else like a dominant 7 sound for example. it’s mainly just how our chord notation system is built upon stacking 3rds. it’s different from if it was DmAdd11 where add means the basic triad Dm + (adding) an 11th.
@@Fleetato i agree the 7 is implied but i think the 9 is not implied by the name Dm11
@@moeb4348 Normally chords with upper extensions eg 9th, 11th and 13th chords imply the 7th as well. But i disagree with Jeff & Flee, i think the 9th is not implied in the Dm11 and it should be called the Dm9/11 imo
Add 9
Why call it Dm11 but then have the E note in there? Does the 11 imply the 9 as well?
Yes it does
@@Hamppzah Is there a reason it is not a b9 or #9?
@@zacnationtypically (always exceptions) you’ll only see b9s on dominant chords because they have so much tension.
So maybe you’ll have a G7b9 leading to a Cmaj where that Ab in the G chord can resolve down to a G in the Cmaj.
@@micahisonYT so is the 9 always perfect unless we are told otherwise?
you go by mixolydian:
1 3 5 b7 9 11 13
every deviation must be noted:
'm' for minor third instead of major
'b5' or '#5' for altered fifth
'M7' for major seventh instead of minor
and now
'9' means 9 and b7, 5, 3, 1
'11' - 11, 9, b7, 5, 3, 1
'13' - 13, 11 ,9, b7, 5, 3, 1
if you want to have major chord instead of dominant (b7 -> 7) you just write M before number like:
xM9: 1, 3, 5, 7, 9
9, 11 and 13 can be altered and then you have to write it like that:
xM7(b9) for 1, 3, 5, 7, b9
x7(#9 #11 b13) for 1, 3, 5, b7, #9, #11, b13
EXCEPTION - major chords with 11 are quite modern so if you have it written like CM13 that probably means 1, 3, 5, 7, 9, 13 (without 11)
Much more common chord is M13(#11):
1, 3, 5, 7, 9, #11, 13
If you want to play 1, 3, 5, 9 you just write add9 like Cadd9
minor add9 (madd9) exist but they're much less used I think
sus2 you take 3 and replace with 2
sus4 you take 3 and replace with 4
just sus usually means sus4
possibly with dominant b7 like B7sus: 1, 4, 5, b7
6 is exception because you can just have
x6 or x6/9 and then it's 1, 3, 5, 6 and 1, 3, 5, 6, 9
half diminished means that the 3, 5, 7 are lowered to b3, b5, b7
can be also written as m7(b5)
diminished means 3, 5, b7 (dominant chord notes) are lowered to b3, b5, bb7
There’s also dim(#7) or dim(maj7) which means 1, b3, b5, 7
alt is just dominant chord with altered fifth or (or and) ninth (altered chords in jazz almost always mean that both of them are)
F#alt can be 1, 3, b5, b7, #9 (b7 because its dominant chord by definition)
but can also be 1, 3, #5, b7 b9
How would you use this in a chord progression?
I was about to ask the same thing.
You could use it in place of any d minor chord. This colourful voicing would suit well to being the tonic chord, as well as a 5 minor in G or 4 minor in A. As a pop sound it would also nicely with a C, F, or Bb chord. You could use voice leading to smoothly lead this up/down to any of those and add similar extensions to jazz up the sound. Alternatively it would sound nice in a kind of vamp followed by a G7 chord, common in funk music (it’s sort of a 2,5 in c major)
It would also resolve to C major 7 quite nicely.
You could also use it with an Eb major 7 for chromaticism where the 9th of this D minor (E) would smoothly roll down to the comparatively dark Eb.
These are just some ideas of course, but just try everything and see what works!
Happy musicing 😊
Tasty
Dm11/A
Why isn’t this considered Dm11/A
It’s actually an A7sus4#9 if you’re into bdsm
That’s a Dm9/11, no? I mean, that’s what I’d label it..
Niether chord is in 2nd inversion
I agree, i think its first inversion
What are you guys going on about? A 2nd inversion chord has its 5th as the lowest note, so a D minor chord in 2nd inversion has A as its lowest note, and a C major chord in 2nd inversion has G as its lowest note. And this is exactly what we have in the video.
That is the saddest chord
Dminor plus C chord😂
The E should not be there: it has no place in a D-11 chord.
The E is the 9
When you see a chord like D11, they always include the tones before them (so in this case a 9 and a b7)
A D9 includes the b7, if you want JUST the 9, that would be a Dadd9 chord.
@@reddillon8425
Ok, I didn't know.
Why did they create it? Life wasn’t good enough? Come on 2009 was a great year, look at us now..
*Promo sm* 😠
Yeah there’s so many ways of playing EVERY chord lmaoooo what???? *when you have no ideas for a video*