I love your heads up display on the screen. The chord/interval name, over the clear midi keyboard, over your hand position and fingering is the absolute best I've seen on RU-vid. Superb.
This tutorial was fantastic for me. I'm already reasonably familiar with intervals up to 7th. Now I need to know more about the function of "bigger" intervals/extensions. This video was really great. Don't hesitate to do more videos at this intermediate/upper intermediate level of harmony
Amazing bro! Your blues chops are SICK!!! I suggest you do a whole course/playlist just for the Blues man! We could all use some in-depth analysis on why do these licks sound great from you, the way you always analyze things. Would you PLEASE consider it?
Merci beaucouup. I love reading the comments on your video. You have knowledgeable people that add much to the conversation. But I bet many became knowledgable since they always found consonance with your channel.
The thing about consonance and dissonance is the TIME that you sustain a note in a chord. When notes in chords are closer to being a melody than just harmonization, then it is even futile to think about it in terms of "chord names" or con/dissonance. This lessons are amazing, they truly are. But this theory is more appliable to plain chords which sound for longer periods of time. If just moving one finger for a milisecond changes the whole name of the chord, and the con/dissonance, only to play another thing a milisecond later... then the name of the chord in between is not important... there are other "core" structures that are sustaining a melody that is rather moving around and within those changing chords
My method is to look for halftone intervals. If the upper chord extensions are overlayed over the first four notes, this can easily be seen. That dissonance can be good in the right context though! Great video! Thanks Man!
Well explained, in terms of a achieving a consonant sound. A major 11th is normally avoided, as indeed is the 4th in improvisation using the major scale. The interesting sound achieved by #11 of course infers the Lydian scale (notes of C major with a #4th. But which colour tones to use surely ultimately depends on what your playing. If it is a standard song there may already be acknowledged harmony. Also the context (what harmony comes before and after) is also a factor. I noted you use dominant 7ths in the blues example (nothing wrong with that), but had you used minor 7ths on 1 and 4 chords the b11 would then be a 10th of course. I guess this is why it sounds right in terms of the blues scale.
Great information, thanks for sharing your knowledge (and showing off your blues skills, hehe). Trying out different tensions in making a chord progression is a lot of fun for me. There are multiple ways of 'proving' the maj11 to be correct; it's right that the distances are 9ths of each other, although I think it's easier to think of a stack of 3 majors. Whatever works for you of course, the goal is that it makes sense :)
Thank you for this video post. Great blues locks towards the end. I'm really a beginner on piano but this will really help in choosing chords and getting out of the block chord box. Keep posting, I'm watching! Thanks agsin.
I listened to this again. I had noticed that certain things sound 👍 good that should not. and vice versa. I like to play a rootless C7#9 (E Bb Eb) just above the middle C with a low C octave. Especially as a finish. also I sometimes play a rootless Eb chord notes (G Bb Eb). Scale degrees (5 n7 #9) ..Here the fifth is 👌ok. As I write this out. Of course it's ok. Its a Cmin chord. I sometimes add a a Db to the above chord (G Bb Db Eb)..That could be a Cmin7. with the C base is a softer sound thana (C7b9#9) Definitely an easy alt chord. I actually think the jazz piano lessons in the 90s are starting to really take hold. I used to just play the above ..had no idea what I was doing. Still learning. Love your videoss.
I love watching your videos because it's actually the only videos I could learn from. But beside learning the chords what else is important for beginners to learn? I know you already did three videos but can you post more for absolute beginner who never play the piano before?
2:17 - 2:21 : Another way I thought about why the second sounded better is: because the main chord on the left is a major chord, then playing a major chord as an extension to it will also sound a lot cleaner than mixing a major with a minor (FYI: That's how I see it) This was proven when the main chord switched to minor, when the extension was minor as well it sounded a lot cleaner
Your best video I've seen yet. I've watched it three times. You take it slow and make the keys you're playing clear (through visualisation and explanation). Keep making more like this!
Seems like it gets a bit tricky figuring out what extensions work in Blues or Jazz scales. Will there be a Jazz or Blues Extensions options video in the future?
To me the Cmaj13(#11) sounds better I believe the reson to that is because it follows some sort of pattern. Let me show you. The pattern is Major third then Minor third. C E G B D F# A C to E is a major third E to G is a minor third G to B is a major third B to D is a minor third D to F# is a major third F# to A is a minor third This is my theory.
This is a good explanation. Another reason is that minor 9ths are very dissonant since they resolve to a perfect octave. This makes them even more dissonant than a tritone I think, since that only resolves to a perfect fifth. Because of this it sounds "better" to not use minor 9ths, however if u want a really dissonant sound it works well
The various internal intervals in a chord seem to play such a big role in the perception of it (and its voicings), I want to get better at understanding and internalizing them. I mean, in the example here, sharpening the F does give you a major 9 instead of a minor 9, but you also get a major 7 instead of a minor 7 between the g and the f#, and a perfect fifth between the b and f# instead of a tritone, so that's likely more consonant, then again between the root of c and the f# you get a tritone instead of a perfect fourth, so that would seem more dissonant, but maybe there being an extra octave in between it creates less of a rub....it's kind of mind-boggling... Do you have any more tips or guidelines regarding these chord note interactions? Do we, for instance, perceive a tritone with the root of a chord as more "tense" than one between its major third and the minor 7 like in a dominant chord? It seems if the notes are more than an octave apart, they create less tension, too (i.e. a b5 is tenser than a #11), right?
Hi! This is a great concept you just taught! Super helpful. By the way, what is the name of that software you use that names the chords as you play them?
been in choir for a while so know how basic music theory but I want to be able to improvise in jazz, where do you think I should start? I was told to take jazz piano lessons
Dear mister, or should I say master, MangoldProject... Could you please ask anyone you know who teaches guitar free like you teach the piano to make a video on how to play any chord on guitar based on your video about how to play any chord on piano! Please feel free to reply and have a nice day 😄
@@MangoldProject I'll give it a watch. But I would really love if you could do one of those blues videos. Especially how to do some of those blues licks that you did.
MangoldProject Sorry I meant to ask a question, what do you use to project the chords on the video, it shows the grand staff with Treble and Bass clef, the chords you play show different voices, basically what is the thing in the video that shows everything chordal wise on the piano (top portion of video)?
Mangold Project, I enjoyed this video. Can you make a video on something that I have found to be overwhelming for me? How to choose whether to use rootless voicings, inverted chords, etc.? Also, There are so many kinds of voicings. What are the best kinds/common types of voicings to learn first (in what order)?
rachelsmename Use rootless, inverted, drop or root chords mostly depend of the style. Same for chord extensions. Basically, you play root chords when you comp and rootless chords when there's a bassist, but it's obviously not a rule. First steps would be playing simple voincings : T 7 (LH) / 3 5 T (RH) and T 5 (LH) 7 3 5 (RH), for major, minor chords, half and diminished chords in all keys... Then add extensions 9, then 11 and 13. Two of the rootless voicing I use a lot for dominant : LH : 7 3 13 or 3 7 9 RH : 9 5 T or 13 9 5(stack of perfect 4th) Ex on C : Bb E A / D G C or E Bb D / A D G For minor i usually use : b3 5 b7 9 or b7 9 b3 5 for left hand. If you're looking for a modern jazz sound, experiment stack of perfect 4th, especially with the right hand. Harmony is a lifelong work...
Yes. I write my voicings like that, and a lot of person do that way. I also write the uppers structures as triad or 7 chords. Try a Ab7 (LH) and put a F major uppon, It makes a Ab13b9. Those uppers triad are often in first or second inversion, rarely in root position. You can find this on sheets with sus4 chords ! For sus chords, I think : Tonic with maj7 chord from the 7. G with a Fmaj7 or F uppon sounds great.
Agreed! I feel sorry for anyone who tries to learn theory on a non-C tuned insturment, or on a difficult instrument-- like well lots of instruments are difficult, but the sax, the clarinet, and the oboe readily come to my mind. I've only ever played piano and organ. Kind of a good place to make myself at home I'd say.
Personally I see the sharp 11th “fitting” not as a result of it being a major ninth, but rather it fitting to the pattern of major 3rd, minor 3rd, major 3rd, minor 3rd and so on. C to e is major, E to G is minor, G to B major and b to d minor. D to F would be minor, this not fitting the pattern and sounding “wrong” in the chord. This pattern can also be continued up and up until you run out of notes, just look up super Lydian chord if you want to hear it.
That's an interesting thought. It doesn't seem to hold if you look at a diminished chord, or if you're doing a C7b9. So I can find many chords that sound great but don't follow this rule. But I'll check out the Lydian chord.
Its really not sounding right because on a major chord, or dominant a 11th clashes with the Maj3, so if you sharpen it to a #11th ( and creating a Maj2 interval between the Maj 3 and the #11th) it fits, thats why you can use the standered 11th on a Minor chord or diminished and it sound correct, its because you dont get a m2 interval between the two, because the third is already flat.. it doesn't have to fit a maj 3rd, minor 3rd pattern because their are alot of instances were thats not the case and it sounds good.. i wouldn't try to stick to that pattern because its going to eliminate other sounds that you could be using that sound good.. in reality any rule can be broken if it sounds good, but theroy should help you understand and give you a guideline, adding rules that are non existent will just limit your options further, and obviously you want to have as many options for different sounds as possible.. but overall i think mangoldproject explained it properly why it doesn't sound as good, you can try it yourself, play the standered 11th, but with a minor7 chord instead of the Maj7.. i think you will find that you like the sound and it doesn't clash..
The m2 interval generally is to be avoided because the notes are too close so they clash, but obviously there will be times when it can work, so even then, use the avoid the m2 interval as a guideline, but if it works for what sound your trying to go for, well you can play whatever you like.
The distance from G to F# (major 7th) is different from the distance from F# to G (minor 9th). The problem with adding the non-sharp 11th is that you're creating a minor 9th interval, not that you're creating a half step interval. The order matters.
Perhaps I'm slower than the rest, but if you had played the bluesy examples using the EXACT chord you had just played (in the same key and inversion/voicing), it would have been easier to follow. AS presented, I am striving to hear some tension chord now played in the middle of a whole bunch of lovely and bluesy pianistic bravado, AND IN A DIFFERENT KEY. I am just not at at that level yet. On the other hand, this sort of IMMERSION has its' place. Whew! I suppose it is up to me to slow this down and parse the content as best I can.
Right! Why it sounds better to me with #11. It takes away the G7 upperstructure (7th\11th tritone), which to my ears is more dominant than the sound of the Cmaj7+extensions.
