Wonderful series. I'm diving into jazz music for the first time. It had always seemed intimidating to me before but your approach is allowing me to feel confident in trying out new things.
I came up with a maj7#9 by accident when composing on the guitar lol. My ear just took me to it, I didn't know what it was until I stuck the notes in a chord analyzer.
I was toying around using a #9 over a maj7 chord, and I was actually pretty surprised how good it sounds. It has a similar feeling as an augmented chord to me, especially when you omit the 5th. When you do that you basically end up with 2 sets of major 3rds separated by a perfect 5th. Don't know what use that information is, but I found it interesting. Great explanation on avoid notes by the way, I didn't properly understand the concept except for 'b9 bad'. Now I understand the concept is specifically aimed at consonant chords.
Jonathan Kreisberg's version of "My Favorite Things" starts with two min7(b13) chords in a row with extra emphasis on b13s. Sounds fantastic to me. As you said - it's all very subjective.
Thanks for publishing this as usual great video (I feel I have a part in it 😉) just want to add that the structure of 3rd inv of maj7 appears quite frequently when we have a I-VI progression with a passing note in the bass ex C C/B Am. But that's only "in passing"...
I love your videos and I'm very fan of you blog, but I think you should play more during the video (not necessarily talk less) so that what you explain gets even more obvious to the listener.
you cant play the wrong note. Music is tension and release....and it all dosnt have to sound like church music. ..I play different style of music. I play neo classical metal with lots of blues influence. it's from listening to Bach as a kid or all the different background music in cartoons.lol....There's wierd scales and sounds in cartoons.lol. The music is part of the story.... Jazz is my least favorite. I actaully would rather play country. It's a totally different sound and tension. and it requires you to approach playing the guitar in different ways....I prefer celtic, spanish. They too require different approach. as strange as it might be,,,my favorite type of music to listen to is female vocal with piano. it's night and day between that and death metal.lol anyways...Min/Maj7 is the TONIC of Harmonic min... melodic min Harmonic min b2 melodic min b2 Harmonic min b5 melodic min b5 Harmonic min #4 Melodic min #4 Natural Min....relative to MAJOR. 9 scales.....63 modes/chords. They are what they are. Every possible 7 notes intervals within the chromatic scale. A lot of it has to do with hearing these different scales and modes..played. There's plenty of music I still can;t listen to....it;s too harsh or/and too busied for my ears..It's not wrong though...just too spicy for me.lol
i hear you , i was in a great prog band, until one of our band leaders got into heavy duty drugs. i think this dude is specifically talking about jazz tho. there are a few things that he said that i totally disagree with but i think what hes mainly trying to say is stay conscious of these notes - or at least that how i take it lol
@@diminishedthicc it's just getting used to the different sounds and movement. even the domiant chords at first sounded god awful to me. The Harmonic MAJOR = ion b6 The b6 is the second arpeggio of the IV chord. C Maj F min G7 into C Maj....it's sounds different. The II, IV, vi. VII of the harmonic major are also possible full diminished. Theres a video about X mas songs..... it's just C Maj D dim G7 into C Maj....ect but people thinks it modulated to C min ( it can) In C Harmornic MAjor = F Lydian b3 A Harmonic min = F lydian #2 It's common to hear....F Maj...E Maj......( a semi tone apart) especailly in spanish guitar...it's a worn out progression also use in Rock, pop songs...ect A min.....G Maj......F Maj......E7 into A min They're also alter chords....Maj or min....Min/Maj7 and dim You can play C . E. G# augmented into C#......F....or A if you use the A harmonic min b2 ( the Bb note) you can make that Maj. dominant or dim... This Bb Maj will occur in many songs.. while in C MAJOR/A min You might mistaken it as F MAJOR/Dmin ( it'll help you play into D min) anyways...you can also play Bb7 C7 into F melodic min so you're thinking ..wtf ???? E dim into F It's the VII of the harmonic scales..... the b4 and b6........they can be this maj3 #5 Loc b4......loc b4. bb7....loc b4 bb6 .bb7 so you;re thinking WTF ??? G# Loc b4, bb6 bb7 Why get all retarded and not just call it the 5 and 6 ???? lol well........it's make the F as F7.lmao A Harmonic min b5 = F Lydian #2, b7........There b7 with #9 lol it's AKa Hungarian MAJOR so you're hinking..that's retarded....why not just play the G# as MAJOR and the FFFFFFFken F as min....FFS lmao
@@diminishedthicc You can also go like this to C# min/E MAJOR C Aug into C# yes??? If you play A lydian b3 ( A melodic min #4) it's G# Phrygian b4...you can alter this mode..as will. Maj. min. dominant or augment The term LYDIAN..ish will help you see it as the IV of E MAJOR So you can play G# min or G# 7 into C minor or G# Phrygian dominant into C # min The B will be B mix b2...so you can also play B7 into E MAJOR or E Minor A lydian b3 = E Harmonic MAJOR C = Lydian augmented #2....the #9 and Maj7 combo so the process gets sort of reverse. Lets say you were in E MAJOR/ C# minor....C # Harmonic min...ect. If you play C# Harmonic min b2.....it'll simply be D7 E7 into A melodic min whalla...back in C MAJOR/Amin again.lol
@@Sighdafekt oh no i doubt, i love the 1maj7, but i never ever drone out on it. for me the maj7 interval has this highlighter glow like sound. and the mixed with the major chord only brings it out more. however in a minmaj7, dimmaj7, and even the maj7b5 chords, that glow sound is not there
because the chord tone major 7th clash the root in half tone, you can use I major 6th chord(vi minor 7) or I maj 9 rootless vocings (iii minor 7) which also was the same tonic function as I major 7
ludwig amadeus minor 9th, tritone, half step, the natural maj11; they all got there place, except a maj11 chord better sharp that shit (not including the natural 11 as a passing tone)
Wonderful series. I'm diving into jazz music for the first time. It had always seemed intimidating to me before but your approach is allowing me to feel confident in trying out new things.
I came up with a maj7#9 by accident when composing on the guitar lol. My ear just took me to it, I didn't know what it was until I stuck the notes in a chord analyzer.
I was toying around using a #9 over a maj7 chord, and I was actually pretty surprised how good it sounds. It has a similar feeling as an augmented chord to me, especially when you omit the 5th. When you do that you basically end up with 2 sets of major 3rds separated by a perfect 5th. Don't know what use that information is, but I found it interesting. Great explanation on avoid notes by the way, I didn't properly understand the concept except for 'b9 bad'. Now I understand the concept is specifically aimed at consonant chords.
Very helpful. Thank you.
Jonathan Kreisberg's version of "My Favorite Things" starts with two min7(b13) chords in a row with extra emphasis on b13s. Sounds fantastic to me. As you said - it's all very subjective.
Thanks for publishing this as usual great video (I feel I have a part in it 😉) just want to add that the structure of 3rd inv of maj7 appears quite frequently when we have a I-VI progression with a passing note in the bass ex C C/B Am. But that's only "in passing"...
I love your videos and I'm very fan of you blog, but I think you should play more during the video (not necessarily talk less) so that what you explain gets even more obvious to the listener.
wow i'll try playing Maj7#9 when getting home today!
the maj7 #9 is great especially in putting flavor in the 1 chord
1:44 isn't minor's 3rd should be b3?
But min7(b13th) chord sound consonant no ?
how to,play any songs and always sound good?
That face when you realize the avoid notes and the cononant tensions are just chords in of themselves
you cant play the wrong note. Music is tension and release....and it all dosnt have to sound like church music. ..I play different style of music. I play neo classical metal with lots
of blues influence. it's from listening to Bach as a kid or all the different background music
in cartoons.lol....There's wierd scales and sounds in cartoons.lol.
The music is part of the story....
Jazz is my least favorite. I actaully would rather play country. It's a totally different sound and tension. and it requires you to approach playing the guitar in different ways....I prefer celtic, spanish. They too require different approach.
as strange as it might be,,,my favorite type of music to listen to is female vocal with piano.
it's night and day between that and death metal.lol
anyways...Min/Maj7 is the TONIC of
Harmonic min... melodic min
Harmonic min b2 melodic min b2
Harmonic min b5 melodic min b5
Harmonic min #4 Melodic min #4
Natural Min....relative to MAJOR.
9 scales.....63 modes/chords. They are what they are.
Every possible 7 notes intervals within the chromatic scale.
A lot of it has to do with hearing these different scales and modes..played.
There's plenty of music I still can;t listen to....it;s too harsh or/and too busied for
my ears..It's not wrong though...just too spicy for me.lol
i hear you , i was in a great prog band, until one of our band leaders got into heavy duty drugs. i think this dude is specifically talking about jazz tho. there are a few things that he said that i totally disagree with but i think what hes mainly trying to say is stay conscious of these notes - or at least that how i take it lol
@@diminishedthicc it's just getting used to the different sounds and movement. even the domiant chords at first sounded god awful to me.
The Harmonic MAJOR = ion b6
The b6 is the second arpeggio of the IV chord.
C Maj F min G7 into C Maj....it's sounds different.
The II, IV, vi. VII of the harmonic major are also possible full diminished.
Theres a video about X mas songs.....
it's just
C Maj D dim G7 into C Maj....ect
but people thinks it modulated to C min ( it can)
In C Harmornic MAjor = F Lydian b3
A Harmonic min = F lydian #2
It's common to hear....F Maj...E Maj......( a semi tone apart)
especailly in spanish guitar...it's a worn out progression
also use in Rock, pop songs...ect
A min.....G Maj......F Maj......E7 into A min
They're also alter chords....Maj or min....Min/Maj7 and dim
You can play C . E. G# augmented into C#......F....or A
if you use the A harmonic min b2 ( the Bb note)
you can make that Maj. dominant or dim...
This Bb Maj will occur in many songs.. while in C MAJOR/A min
You might mistaken it as F MAJOR/Dmin ( it'll help you play into D min)
anyways...you can also play Bb7 C7 into F melodic min
so you're thinking ..wtf ???? E dim into F
It's the VII of the harmonic scales.....
the b4 and b6........they can be this maj3 #5
Loc b4......loc b4. bb7....loc b4 bb6 .bb7
so you;re thinking WTF ??? G# Loc b4, bb6 bb7
Why get all retarded and not just call it the 5 and 6 ???? lol
well........it's make the F as F7.lmao
A Harmonic min b5 = F Lydian #2, b7........There b7 with #9 lol
it's AKa Hungarian MAJOR
so you're hinking..that's retarded....why not just play the G# as MAJOR
and the FFFFFFFken F as min....FFS lmao
@@diminishedthicc You can also go like this to C# min/E MAJOR
C Aug into C# yes???
If you play A lydian b3 ( A melodic min #4)
it's G# Phrygian b4...you can alter this mode..as will.
Maj. min. dominant or augment
The term LYDIAN..ish will help you see it as the IV of E MAJOR
So you can play G# min or G# 7 into C minor
or G# Phrygian dominant into C # min
The B will be B mix b2...so you can also play B7 into E MAJOR or E Minor
A lydian b3 = E Harmonic MAJOR
C = Lydian augmented #2....the #9 and Maj7 combo
so the process gets sort of reverse.
Lets say you were in E MAJOR/ C# minor....C # Harmonic min...ect.
If you play C# Harmonic min b2.....it'll simply be D7 E7 into A melodic min
whalla...back in C MAJOR/Amin again.lol
i still find the major 7 to be very dissonant
Richard Ancona Cmaj7 is the spiciest of all chords imfaooo
@@Sighdafekt oh no i doubt, i love the 1maj7, but i never ever drone out on it. for me the maj7 interval has this highlighter glow like sound. and the mixed with the major chord only brings it out more. however in a minmaj7, dimmaj7, and even the maj7b5 chords, that glow sound is not there
because the chord tone major 7th clash the root in half tone,
you can use I major 6th chord(vi minor 7) or I maj 9 rootless vocings (iii minor 7) which also was the same tonic function as I major 7
ludwig amadeus minor 9th, tritone, half step, the natural maj11; they all got there place, except a maj11 chord better sharp that shit (not including the natural 11 as a passing tone)
Richard Ancona very true, however, the aforementioned Cmaj7 was a trick; it was actually the bVI in the key of E all along! 🔑