Four Misunderstood Chords (And How to Use Them) - Peter Martin & Adam Maness | You'll Hear It S2E51

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Today on You'll Hear It, Peter and Adam take some time to review a few commonly misunderstood chords in jazz. You can get our podcast on Apple Podcasts, Google Podcasts, Spotify or wherever you get your podcasts. For more info, check out our website: www.youllhearit.com
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The theme song for You'll Hear It is Peter Martin's "Emotion in Motion":
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Опубликовано:

4 ноя 2018

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Комментарии : 47

@davaxschinko 3 года назад

My life used to be a mess. I was a failure. Then I found the Open Studio Podcast with Peter Martin & Adam Maness and now I'm a smashing success, and you can be a success too!

@georgehiggins1320 2 года назад

Idk why I think this comment is so funny but I do. XD

@robertgloverjr 5 лет назад

Excellent podcast. Had not known until now that altered 7 chord must use ALL possible altered notes (b9, #9, #11, and b13). So really it boils down to NOT playing an unaltered 13 and NOT playing an unaltered 9 and NOT playing an unaltered 4th.

@weedanwine 3 года назад

After only a month or so of discovering Open Studio my playing level has gone way up!

@josephciolino2865 Год назад

As a classically trained pianist with 40 years experience, I take my hat off to you guys and all jazz players. I don't think you know how gifted you all are.

@LukeTheringMusic 5 лет назад

Framing the altered scale as half of "half-whole" and half "whole" is nice; I like it. Thanks for that jazz nugget.

@BirchPereira 2 года назад

I'm glad you guys brought up the major 7 under the melody root note, drives me nuts how many charts write that!

@craigthomas6104 5 лет назад

This is great! I have always wondered why an Ebmaj7 chord sounds "off" when playing On Green Dolphin Street!

@davidsummerville351 3 года назад

This topic should be discussed so much more often. Thanks

@faisletoismeme Год назад

This was helpful. Thanks. On the slash chords, I think it should be noted that it sometimes indicates a chord inversion (if the note is part of the usual chord tones). The C maj 6/9 part was somewhat new to me.

@robertomui333 Год назад

Important lesson 4 me !! Thx 😎

@swiftla 5 лет назад

Sus 7 chords explanation so helpful for dolphin dance solos. And chords in general. I think of as as root note. Then do a maj 7 chord from the note a tone below. E.g F13sus4, il play Ebmaj7/ F

@jorymil 3 года назад

I first heard about the altered scale from the Aebersold books, which calls it the "diminished whole-tone scale," and doesn't try to relate it to melodic minor.

@BrendaBoykin-qz5dj 11 месяцев назад

Coker and Baker used to call the altered scale:"diminished wholetone". Also for G7alt quick-mercury thinking:"Db9#11/G". Most people can think of lydian dominant more quickly than alt. Bass player has the root. Thanks, Gentlemen ⭐🌹⭐🌹⭐

@garydonnelly5568 Год назад

If you're the bass player, just look at the second part, if you're the drummer, don't switch to the flat ride in the middle of the measure.

@johnchapman5037 4 года назад

The "3rd on the dominant 7 sus 4 chord is properly understood as the 17th. It is only really played above the 4 (if below it generates a minor 9th), so this is an extension going into another octave, past the 13th, which is also a nice extension of this chord. You could spell the chord and its extensions as 1-4-5-7-9-13-17. Sorry to get so academic, but a proper understanding yields more insights.

@DonyaLane 3 года назад

That's very interesting! Who would ever consider the 3rd of a chord an extension? But I kinda like the way you're thinking of it!

@johnchapman5037 3 года назад

@@DonyaLane If that line of thinking interests you, next think about the 15th, 19th, 21st and 23rd of a chord. You can have extensions through all 12 notes.

@DonyaLane 3 года назад

@@johnchapman5037 , ummm... OK, now my brain hurts! That's like thinking of infinity in space. LOL

@patrickgallagher1161 3 года назад

@@johnchapman5037 That is very interesting, thank you for sharing!

@povilasl5383 9 месяцев назад

i can only count to 13 sorry

@JulianFernandez 5 лет назад

#ABL

@terrykosowick594 2 года назад

A/C7 is another way to write a C13b9 chord and Ab/C7 is another way to write a C7alt (C7#9#5) chord. Some people use these. The can be handy.

@neilclappguitar 4 года назад

Hey guys. Really great episode! Thanks. You touched on slash chords. My question is: how are composers generally writing the chord symbol for two superimposed triads (or 7th chords or polychords)? And you did allude to this. I understand the simplest notation would be the best. But in the case of triads especially, could a slash be used? Thanks for any insights

@garygimmestad4272 2 года назад

Two years later . . . Polychords are indicated with a horizontal line.

@neilclappguitar 2 года назад

@@garygimmestad4272 haha. Better late than never. Thanks man. I kinda figured that was the common way to notate poly chords but wasn’t sure :)

@88KeysMan 4 года назад

I’m new to your channel, but that I God for those MIDI controllers you are now using in 2020.

@weedanwine 3 года назад

agreed!

@mikewalterspn 5 лет назад

Thanks guys -really love your podcasts! Probably not the question for this particular podcast but I was working on Peters topics of Quartet Voicings ,melodic ideas and playing outside. My question is what quartal Voicings to use against altered dominants ? I have used quartal Voicings Of The Tritone ie playing F#7 quartal over C7 +9,+5 . I also worked out quartal Voicings based off the ie. C harmonic minor to fit a C alt . What do the pros do? Thanks -Mike (from Chicago)

@OpenStudioJazz 5 лет назад

Thanks for this question, Mike. We might have to do a whole episode on this topic. Stay tuned...

@mikewalterspn 5 лет назад

That would be awesome ! Thanks , I'll eagerly stay tuned .

@med3484 5 лет назад

So I apologize if I missed this but can you confirm that in a 6/9 chord the 6 is “substituting” the 7 which is why it’s not a major 7 chord right? Otherwise if those tensions were together the chord would be viewed as a 13 right? The 9 is an “add 9” for the 6/9 chord isn’t it.

@robertgloverjr 5 лет назад

Michael Daugherty He said 6/9 chord is ONLY used when Melody note is the root note: "C, E, A, B, G, C". He said 6/9 chord has a DISTINCTIVE sound.

@rockstarjazzcat 3 года назад

I was taught the altered scale, all the ways… Ultimately, chord-wise, I didn’t get it until it was simplified to core components R b9/#9 3 b5/#5 b7, with the R 3 b7 dominant sound not lost in the meta analysis. I mean, we can spell the corresponding scale as R b2 b3 b4 b5 b6 b7, call it melodic-minor starting on the seventh, diminished whole-tone, super-locrian, and/or mention #11 b13 (no 5), but… Cheers all, Daniel

@rockstarjazzcat 3 года назад

And on a less burning note… ;-) Thanks for covering tonic major 6 chords-the same holds true of tonic minor 6 sounds, sometimes more so, I’ve found. And on the 7sus sounds, I think of them as ii-V’s squashed into a single dominant chord.

@rockstarjazzcat 3 года назад

The eighties-tough time to be exposed to jazz pedagogy. Lol.

@stephenpaul668 3 года назад

As a trombone player, I’m sorry that you were told that a maj6/9 and maj7 are the same. It’s truly tragic how poorly I’ve been represented.

@jorymil 3 года назад

Same scale, but very different chord!

@a12bgt Год назад

On Toon's other than Green dolphin Street I like to just play a three note 6 9 chord rootless, it gives me that McCoy! Ie e a d Would this be wrong to play over green dolphin?