The Coolest Passing Chord For Neo-Soul 

Japanese music takes a surprising amount of inspiration from jazz/neo soul, which is really cool

Also sounds nice as a bVII dominant chord, since its like a mixolydian#11 sound.

@@Akram-b3m Not surprising at all if you study. Korg, Yamaha, amazing Japanese music companies. History of jazz musicians shows they know some of their best supporters are from Japan.

There are only a few sixth chords in the musical landscape and a Japanese is nowhere to be found. These are AUGMENTED SIXTH CHORDS. Other variants of augmented sixth chords can be found in the repertoire, and are sometimes given WHIMSICAL geographical names. For example: 4-♭6-7-♯2; (F-A♭-B-D♯) is called by one source an Australian sixth, and ♭7-1-3-♯5 (B♭-C-E-G#), sometimes called the Japanese sixth. Such anomalies usually have alternative interpretations. 1. If a major sixth is added to a major or minor triad the chord is called a sixth chord. The chord name is followed by a figure 6. 2. The German augmented 6th chord is derived from the raised subdominant chord, whereas the Swiss augmented 6th chord is derived from the raised supertonic chord. Both chords resolve to the key's dominant chord by way of the I 6-4 chord (to avoid parallel 5ths). The progression is: German aug. 6th (or Swiss aug. 6th) = I 6-4 chord-»V chord. It is a seventh chord generally used in its first inversion. Its root is raised in order to create an augmented sixth interval with the bass. 3. the English augmented 6th differs from the German augmented 6th in its 'spelling'. This is why the English augmented 6th is sometimes known as the misspelled German, Swiss, Alsatian or doubly augmented fourth. the German augmented 6th chord is 'spelled' (1-3-5-#6), whereas the English augmented 6th chord is 'spelled' (1-3-x4-#6). The two chords are actually enharmonic because double sharp 4 (x4) and 5 are enharmonically equivalent. In a major key, the perfect fifth of the English augmented 6th chord is preferred when going to the I 6-4 because the approach to the 3rd of the tonic appears as an ascending minor second (for example, English aug. 6th: Ab C D# F# to I 6-4 chord, G C E G) and not an ascending augmented unison (for example, German aug. 6th: Ab C Eb F# to I 6-4 chord, G C E G). In a minor key, the equivalent note would remain unchanged (in this example: Eb of the German aug. 6th to Eb, minor third, of the i 6-4 chord) 4. The Italian sixth is formed on the fourth degree of the scale and generally used in first inversion. Its root is raised creating an augmented sixth interval with the bass. Augmented sixth chords function by resolving the dissonance of the augmented sixth outward to the octave. In the Italian augmented 6th, there is no fifth (for example: F A D#); in the German 6th, the fifth is perfect (for example: F A C D#); in the French 6th, fifth is flattened (for example, F A B D#). Despite these differences the chords are functionally identical. 5. The French augmented sixth is formed on the second degree of the scale, it is a seventh chord, generally in its second inversion. Its third is raised in order to build an augmented sixth interval with the bass. ;)

@@alexanderyozzo Postwar culture

Oh yeah! What's up guys here's another kool chord...we all be smiling.

It's far better learning HOW and WHY the chord was formed as opposed to only WHAT, so you'll be well aware if this poster is a genuine teacher.

Nope, you're probably already playing it for decades BUT don't know how to spell it and name it correctly. And this post adds insult to your injury...

It's my pleasure man! Thanks for watching and being encouraged 🙂

Isn't it just 😃

Thanks bro! 🙏

Thanks man, much appreciated 🙏

Get that practice ooonnn!!

Okay sir😊

Thanks man, much appreciated! 🙏🙏

G7#5

@@lucamcardle729 isn’t it G7b5?

@@spencergauthier7898 it's actually a F9#5, why did he put G7sus? IDK. not always the root note is the name of the chord. This is called chord inversion :)

@@victor9470 I guess everyone looks at chord names differently haha. F7#5/G = G7b5(no3)

@@spencergauthier7898 those chords ain't the same cuz their harmonic function are way different.

Good take

Faug/G Is pretty easy to read I find

@@jammanmcguin yeah but that's a "reader's chord" and not a composer's/analyst's chord. It's not related to an F aug chord functionally so it's a bit misleading to fefer to an F chord of any kind. It's a G dominant, so it should be described as such. However, I do agree with you that for fast reading Faug/G is fine.

Its not a sus4 at all, its a sus2 with the A. But because it is up an octave and there is the 7th I would call it G9(#11) or G9(#11)no3 for functionality and Faug/G for readability

@@YourFavouriteColor Honestly I find that in the first example from a functional perspective it could even be argued as an inverted C#aug(#11)/G with that G serving as semitonal bassline movement, because the inherent function of the chord is to lead from the Dmaj7 into that F#min11 chord which is greatly assisted by the raised seventh of that harmonic minor dominant chord (C#-F#m (V-I). That's the thing with chords I find is that they can be argued so many different ways and really, nobody's wrong, although I definitely agree with your sentiment that Faug/G is definitely more of a typical reader's chord.

The sound you're hearing is from Keyscape 🙂

That’s what I was thinking. It’s easier to think of it as an augmented triad with the 9 in the bass. F+/G

@@michaellicko2746 One of the other comments pointed out that reading this chord as an augmented chord with the bass notes moved around is fine from a sight reading perspective, but if you are to look at these chords analytically, this chord serves as a dominant chord, not as an augmented chord, in the context of this piece. Therefore, within the scope of analysis/composition, this chord should be written as in the video. It's a bit chaotic seeing the chord written as G7sus(#11) to me personally, but I understand why it is written this way now thanks to another comment.

yeah, i'm loving the sound of the chord but ***how*** do i use it

just experiment with it, try it out in different contexts, see what works. that's what music is about, not some dude on the internet telling you exactly how to use a certain chord ;)

🐷🐷🐷

The name "G7sus♯11" is pretty ambiguous. On the one hand, the "sus" usually goes at the end of the name (like in "dominant 7 sus 4"), but on the other hand, using the compound interval name (♯11 instead of ♯4) implies that it's a chord extension. Plus he's got that 9 in there. Really with the chord as he first plays it (with no perfect 5th), I'd respell the ♯4 as a ♭5 and call it a dominant 7 sus 2 ♭5 (or just bite the bullet and call it a slash chord, F+/G). With the perfect 5th included, I'd call it a dominant 9 sus ♯4. Your interpretation I'd probably call a dominant ♯11 sus 4. It may be pushing it to use a name that includes both a 4 and an 11 but conventional naming starts to break down when you include chromatic clusters.

Because it is a dominant 7 chord. 9#11 would mean it has a major seventh.

@@TheLazyClips G9#11 includes the dominant 7 and not the major seven. The "problem" with G9#11 though is that the fifth and the third also should be in it, which they aren't in his voicing. None if these are correct names because the miss out notes etc. The only "right" one would be F#5/G.

I dont think anyone really owns chords lol unless the big artists decide to copyright you for some ridiculous reason

Yeah I wouldn’t use it in the way I normally use sus chords because this sounds nothing like it.

A sus chord simply means the 3rd is not present. There is no 3rd in this voicing therefore it's a sus chord.

@@Piano_Pig Are there 3rds in your chord?

@@Piano_Pig Justifying a sus chord just because of the absence of the third is also, like a comment downstairs, idiotic since when we're dealing with sus chords, it's either a sus4, a sus2, or if these two are absent, it's NOT a suspended chord at all. =)

@@Piano_Pig Take the eleventh chord as an example: it's phenomenally voiced by omitting the dissonant third. Does this mean that it is a suspended chord? =)

@@Piano_Pig Well?