A very good guide, but one i will put on the back burner for a while. I want to master my triads. I started trying jazz chords early on and had no idea what I was doing. Slow and steady wins the race.
Hi Gareth, I tried creating a German sixth chord progression using extended chords but I think the momentum got lost in all the extended notes. It may've been my arrangement but it just sounded like it went from one cool chord to another. Is there a way of possibly creating German sixth chord progressions using extended chords?
I checked on your website but there are no this videos from RU-vid there. I wanted to know that all this information shared here does it it include in those courses?
Hi. The course videos are not available on RU-vid, they are unique to the website and each course. There are only preview’s available here: ru-vid.com/group/PL5j5H06QkhxG6CaTXXaPWFh2FWQUIORHe
Thank you for another excellent Video on resolution of these intervals. I would love to see a video on how to prepare for the 7ths and extensions. thank you for your great channel 🙂
Great lesson! I have a question: I often see 7 chords in Baroque and older music where the third is missing and not the fifth (1-5-7) So is it also possible in a major 7th chord to leave out the third?
In a relative minor of G major, is it possible for I to use F# while playing a song it that minor key. Secondly , how does natural harmony or melody affect that same minor relative of G Major
Excellent - very helpful. Your video has given context and affirmed / helped firm up my understanding of use of extended chords: making the Jazz "guide tones" (3rd and 7ths) have context in the tones to include in extended chords. You discussed the b9 : next time around I would find it helpful if you could address use of #9, #11 and b13 which are extensions used in Jazz - most frequently in relation to dominant chords. You discussed making ii9 into II9 by raising the 3rd ; in other videos you have talked about the bII chord (and here i beg forgiveness as I can never instantly remember how this relates to Neopolitan 6ths) - can one extend the bII chord? Thanks
Thanks Gareth. Why is the semitone clash between the simultaneous sounding of the leading note and its note of resolution (B and C in C major) seen as ugly in an 11th chord, whereas the same between the subdominant and its note of resolution (F and E in C major) is hunky-dory in a 13th? My choir did a modern piece a while ago where I had to sing the latter clash against the singer with the melody, accurately but not too loud, and it was a bit of a pain.
Thanks for sharing this interesting video. 2:28 Just when I ran out fingers.. . . and noticed that it's just two "chromatic" 7th chords stacking one on top of the other.
@@MusicMattersGB Great lesson, thanks! It would be great to have a more elaborate discussion on the rationale for using the extended chords, their stylistic implication, and the extensions' voicing specifics.
