The first Cmaj9 voicing was the best sound I've ever heard. It made me imagine happiness in a small apartment in Paris with a cozy kitchen and all that. Imagine the bathroom...
Had a piano teacher who taught me a method similar to this. Really helped me sound more hip with my comping, and I came to the realization that voicings are not really supposed to be memorized
2:52 Including a 7th is somewhat implied by default when voicing/building a Cmaj9 chord. However, there's a discrepancy when considering both the 7th and 9th intervals need minor/major specifiers. If the type of 7th isn't specified, many musicians will default to the dominant 7th (minor 7th), which is not what Jeff did in his Cmaj9 example in the video (he played a B natural/M7). Jeff included both a M7 and M9 in his Cmaj9, so that major interval specification in the chord name could go towards either interval-- but more importantly, it refers specifically to the 9th because it is the intentionally chosen flavor of the chord, and therefore needs that additional information for the performer. If this is true, then Jeff does not add sufficient minor/major specifiers to his Cmaj9 to indicate that BOTH added intervals are major. There would be no way of knowing if he intended for C major chord with an added m7 and M9, unless he verbally stated to add a minor 7th instead of a major 7th. To resolve this problem, Jeff's Cmaj9 chord should be spelled "CM7+M9" or "CM7maj9" or "Cmaj7+M9" (or any other variation of nomenclature...yet another music theory inconsistency) so that the performer has no say in what type of 7th to play, if the composer so wishes to be specific with the precise 7th he/she had in mind. Not to tangentalize too much further, but minor 7th chords make all of what I said moot! Why? Because the "minor" specifies the chord and not the added interval! Rahhhh!!! This part of music theory happens to be very inconsistent. To resolve this FURTHER discrepancy, I write minor 7th chords with the lowercase "m" the same size as the letter of the chord name, and the 7 written smaller and to the right of the chord letter like how you would see an exponent in mathematics. This is a nice solution because you can clearly see that the uppercase/lowercase M refers to the chord and only the chord, and the smaller number (exponent) refers to the interval and only the interval. The minor/major interval would also be written smaller like an exponent, right next to the interval number so there is absolutely no confusing what the minor/major is specifying. Unfortunately, I can't type these out as examples because of the limitations of keyboards and web browser running RUclips, but feel free to respond to this comment if you'd like for me to show you examples of my proposed resolution to this "enormous" problem! And for the record, I verbally state these chords as "major-minor 7th" "major-major 7th" and "minor-minor 7th" where the first word denotes the chord type and the second word denotes the interval type. So, then, Jeff's Cmaj9 would be verbally stated as "major-major 7th add major 9."
wow Jeff i feel so blessed i found your channel, I can actually understand what you are saying and it's the perfect pace for me.. it's giving me hope!! thankjs again for that sick ass hip hop progression!
I think it's a bit silly to put good voicings up against nice chord progressions though. Both have great value, and are fundamental building blocks for great musicians. Combine them, and get gold.
I gotta disagree. Voicings do matter, but voiceleading is above this. You can have great voicings, but if the voiceleading sucks, it sounds all jumpy and not connected.
The first Cmaj9 voicing was the best sound I've ever heard. It made me imagine happiness in a small apartment in Paris with a cozy kitchen and all that. Imagine the bathroom...
That voicing makes me want to resolve it into a FMaj9 with a C on the top and then maybe loop it
Had a piano teacher who taught me a method similar to this. Really helped me sound more hip with my comping, and I came to the realization that voicings are not really supposed to be memorized
Didn't expect to be as shocked as I was when you scrambled that c maj9 chord
2:52 Including a 7th is somewhat implied by default when voicing/building a Cmaj9 chord. However, there's a discrepancy when considering both the 7th and 9th intervals need minor/major specifiers. If the type of 7th isn't specified, many musicians will default to the dominant 7th (minor 7th), which is not what Jeff did in his Cmaj9 example in the video (he played a B natural/M7). Jeff included both a M7 and M9 in his Cmaj9, so that major interval specification in the chord name could go towards either interval-- but more importantly, it refers specifically to the 9th because it is the intentionally chosen flavor of the chord, and therefore needs that additional information for the performer. If this is true, then Jeff does not add sufficient minor/major specifiers to his Cmaj9 to indicate that BOTH added intervals are major. There would be no way of knowing if he intended for C major chord with an added m7 and M9, unless he verbally stated to add a minor 7th instead of a major 7th. To resolve this problem, Jeff's Cmaj9 chord should be spelled "CM7+M9" or "CM7maj9" or "Cmaj7+M9" (or any other variation of nomenclature...yet another music theory inconsistency) so that the performer has no say in what type of 7th to play, if the composer so wishes to be specific with the precise 7th he/she had in mind.
Not to tangentalize too much further, but minor 7th chords make all of what I said moot! Why? Because the "minor" specifies the chord and not the added interval! Rahhhh!!! This part of music theory happens to be very inconsistent. To resolve this FURTHER discrepancy, I write minor 7th chords with the lowercase "m" the same size as the letter of the chord name, and the 7 written smaller and to the right of the chord letter like how you would see an exponent in mathematics. This is a nice solution because you can clearly see that the uppercase/lowercase M refers to the chord and only the chord, and the smaller number (exponent) refers to the interval and only the interval. The minor/major interval would also be written smaller like an exponent, right next to the interval number so there is absolutely no confusing what the minor/major is specifying. Unfortunately, I can't type these out as examples because of the limitations of keyboards and web browser running RUclips, but feel free to respond to this comment if you'd like for me to show you examples of my proposed resolution to this "enormous" problem!
And for the record, I verbally state these chords as "major-minor 7th" "major-major 7th" and "minor-minor 7th" where the first word denotes the chord type and the second word denotes the interval type. So, then, Jeff's Cmaj9 would be verbally stated as "major-major 7th add major 9."
Spot on musical advice. My dad imparted this to me long ago. It serves well.
Thanks ,uncle Jeff from Samarinda..
wow Jeff i feel so blessed i found your channel, I can actually understand what you are saying and it's the perfect pace for me.. it's giving me hope!! thankjs again for that sick ass hip hop progression!
Brilliant. I definitely don’t think enough about voicings!
Excellent!!!!
Thank you!!!!
Loved the white board software that you used to taught us. I wonder what software is it if you mind sharing. Thankyou Jeff👍
I wish I could've had a teacher like you when I learned how to play
what do you use to display the piano ?
A good one
This is great and useful knowledge, Jeff and I know I'm going to use it. But I have to ask: What do I do about those damn guitar players??
I think it's a bit silly to put good voicings up against nice chord progressions though. Both have great value, and are fundamental building blocks for great musicians. Combine them, and get gold.
Cool...
❤
Voicings sound better than progressions 🙌🏾.
ehm... mmhm, mhmm ye, ye yea, uh huh... ok
🇦🇺
I gotta disagree. Voicings do matter, but voiceleading is above this. You can have great voicings, but if the voiceleading sucks, it sounds all jumpy and not connected.