This Chord Is Not Like the Others. 

Mangold is the kind of RU-vidr, who makes you want to make a beat after his tutorial, right on spot 🔥🔥🔥

The sound of the 13(#11) chord is so familiar to me. Actually it is the root of the 'Blackadder Chord' popularly used in J-pop or Anime songs. it can be dominant9(#11), mM7/5 and also aug/-5(Blackadder). Thank you for uploading interesting progressions.

Any Secondary Dominant chords that are Tritone Substituted work well with a #11 or b5. The #11 (or b5) on Secondary Dominant chords will always be a note that's not related to the key. When they become Tritone Substitutes, the #11 (or b5) will be a note from the Major Key the chords are constructed from. Example: Db13#11 ---> Cmaj7, the #11 note is G which belongs to the key of C. Eb13#11 --> Dmin, the #11 note is A, which belongs to the key of C. F13#11 --> Emin, the #11 note is B. And so on for each Tritone sub resolving to a chord in the key of C. I believe that since the #11 (or b5) is so tense, it works out much more smoothly if the #11 note itself turns out to be a note that belongs to the key you're in. Conversely, all the Secondary Dominants that resolve to chords of the major key you're in work well with a b13 (#5.) Yin and Yang.

Thanks for this. This is out of my pay grade for now, and will go earn my chops and come back to this. Mangold has helped tremendously and it won't be long.

In my lessons so far, this sounds like either the tritone substitution or Sub V7 with added tensions (#11 & 13) since these types of substitutes resolve a half step down. I never thought about it quite the way you explained it. 👍🏾

Looking forward to this!

Smashing lesson mangold 👍 awesome. Thanks

Mangold! Congrats on a new video :)

Thanks so much for this! Super helpful!

Very useful, thank you!

thank you this is very interesting. you can also use Bb 13#11 as a substitution of the Fm6 when you are in C major. and play the F minor melodic scale. moreover you can finish a song in F minor with a Bb13#11 instead of Fm.

The C13#11 could also be seen as F#7(b5) which is a tritone substitution. And F#7 wants to resolve to B major.

Excellent video! While watching the video it occurred to me that when playing C13#11 you voice it with a D on top and this reminds me of a D7/C, so you could also think of C13#11 as D9(b13)/C and resolve it to G

Sounds like what they use in Detective or Suspense type movies. Sweet Sound. Thanks Mangold for another great lesson.

You can start getting that sort of chromatic motion by flatting the five of a primary dominant 7th chord. For example, use gbdflatf and then interpret that as a dflat7also with a flatted fifth but with the g instead of the dflat as a flatted fifth and then move cromatically down with the dflat and f to a ce to get a Cmaj7.

I think "The Girl from Impanena" uses this technique from a F#13#11 down to a F maj7. That's a good song to study as it's full of suprises..

Examples fine. Just chaining it. Also fine. LD does I still think resolve to tonic directly if you want it to

Nelward Strawman immediately comes to mind.

it's kind of a substitute for the tritone substitute

Can the 13#11 possibly resolve to a minor which would be 1 tone above it?

What is the connection between the 13#11 and the diminished scale? E.g. C13#11 appears to take all of its notes from the C HW diminished (the natural 13 being the characteristic sound which prevents it from being an altered dominant)

It reminds me of the beginning of R. Sakamoto's "Merry Christmas Mr Lawrence" but the version with David Sylvian called "Forbidden Colours" : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-qezTmpJpHXI.html From 21" to 30" seconds in the beginning there's this particular progression and at 26" it sounds like this chord. It also sounds like the first chord of Depeche Mode's "Stripped".

hi sir, i think of it as all major chords have a #11 i dont use "13" becuase the major and its relative minor are 1 object so C maj and Amin are the same thing C6 then becuase its a major chord it has a #11 it is just C6 combined with D6 so 4 triads combined C maj + Amin ( + ) Dmaj + Bmin = ( CMaj13#11) becuase all maj chords have # 11 its the same for a dominant chord G7 is really G13#11 ( coming from the lydian dominant) * although many times ill convert a dominant to its primary form the Dim7 if i want the G7 with #11 i think Tritone substitution or G7 lydian dominant

This sounds like what every pianist plays as he sits down at a restaurant or club as a short little intro before the actual music starts lol. Still beautiful though

Im on the middle bit ?? Why. How doesnt it. Seems fine

1:00 pm US EST ?

In example 1 I see that F13#11 as a B13b5 so it functions like a 2 in a 2-5-1

There’s someone out here using your logo, pretending to be you. They’re trying to lure people in the comments to use the telegram app, claiming that you have a surprise giveaway. FYI