Well, that's extremely useful. You'd think it would be obvious that you could leave some notes out of a 13th chord, but that thought had never occurred to me. Not to make you blush, but that you can explain this so simply does mean you're actually a musical genius. I learn more from your short videos than I have from hours of reading music theory. Thank you!
this was so very helpful. I am a novice in music theory and even though I had a great start I was greatly intimidated by chord construction. Your explanation in this video helped me tremendously. Thank you for providing us with such valuable info.
Thank you very much; I found that tutorial both interesting and helpful. However, if I have understood correctly, I would point out that your commentary describes a 'sparse' V-13 consisting of the root, 3rd, 7th and 11th whilst actually fingering the root, 3rd, 7th and 13th (I think!).
That’s most kind. Much more at www.mmcourses.co.uk including details of our 25 online courses and our Maestros programme. The fingered example is the correct one.
@@MusicMattersGB At 6:18 it does seem that you say the 11th but you play an E up the top. Am I not right in thinking that would make it a 13th? Thank you for this excellent tutorial!!
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A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Non chord tones are decorations around chords eg passing tones/ neighbour tones. Extended chords are when you take a chord and add 7ths/ 9ths/11ths/13ths
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
May I ask what the difference is between a Cmaj (add2) and a Cmaj11 without its 7th? They'd share the same notes, I can't find anything about that in the web.
@@MusicMattersGB Ah yes I meant Cmaj9! Do I understand right, that by 9-8 progressions are melodic you mean that one wouldn't play a Cmaj9 chord vertically but rather horizontally?
@@MusicMattersGB I see! But a Cmaj(2) needs the note (D) in the exact correct order after C, it can't be some open voicing, can it? I mean, do I get this right that the Cmaj(2) is a strict instruction about the position of D, whereas it could be anywhere split in Cmaj9.
Extended Roman is the system you identify. Basic Roman uses upper case all the way and doesn’t distinguish major from minor chords. Extended Roman is useful but I thought I would keep it straight forward at this stage. I use Extended Roman in a number of other videos so people can see both systems at work.
@@MusicMattersGB I did not intend this question solely in relation to the topic of chord extensions, although it does connect to the questions and answers that have been raised by the very useful comments from @ I am a maniac. It is rather that I've not yet found a video from MM that uses anything other than uppercase Roman notation when identifying triads built on scale degrees.
@@MusicMattersGB Hence why I wrote! "It is rather that I've not yet found a video from MM that uses anything other than uppercase Roman notation when identifying triads built on scale degrees." Uppercase Roman numerals simply identify scale degrees, not chord qualities.
Perhaps a subject for a quick tip video? I know the various ornaments in music and there are a number of videos on youtube that explain what they are. And I suppose this is simple enough if ornaments are written into a piece (notated)... but as far as actually composing I can find no rules about where, nor when they should/could be used - or what their functionality is... ie: do they bridge two notes? As a composer who is quite novice, I can find no answer to this anywhere... and it would be nice if a master of music could answer what seems to be such a simple question.
I hope you don't mind me asking....i have a question about secondary dominants. In the key of C, we have Bmin7b5.....some people say the secondary dominant of this chord would be F sharp7, but if the chord is diminished...wouldn't it be the secondary dominant F7 instead? Would really appreciate your input. Cheers!
I am not 100% sure, but from what I have learned from reading music theory... A diminished chord would not have a secondary dominant because it cannot be tonicized because it is an unstable chord. This is also the case for secondary leading tone chords because they function as a dominant chord and also need to resolve to a stable chord in the same manner that Bmin7b5 would resolve by step upward to C. Hope this helps... perhaps Gareth can elaborate as to the correctness of this statement.
I double checked this information... here. www.jkornfeld.net/secondary_summary.pdf It also shows how the secondary dominants (only) can also resolve deceptive, much like a deceptive cadence (V-vi rather than V-I). I hope this information can be of some use to you.
+Soul Muse You don't really want to be using chord Vll as a Secondary Dominant because it's not a tonic chord in any major or minor key. You could use a Diminished 7th as a dominant substitute. F# could be the V of B minor but not really if it's B minor Diminished 7th.
Perfectly put guys. I wasn't thinking of using it anyway, but since i was getting the secondary dominants of every chord in the key of C, i wasn't sure about chord VII from an strict Harmony standpoint, the actual theory. Thank you very much for your replies! :)
What you said about 13 chords is you can leave out notes , what you didn't say is you almost have to leave notes out. Full thirteen chords one after the other sound rootless and terribly uninteresting as all seven tones are used in every 13 chord so they all sound the same ,use them sparingly . 11 chords almost have the same problem but not as bad in jazz b9 or #11 adds variety
I don't think this is correct. Extensions are built off the tonic of the chord not the key. For example he plays iii, "Emin9", as an Emin(flat9). It should have an F# as the 9th instead of an F. A major 9th rather than a minor 9th. Extensions, unless altered, always have a major 9th, perfect 11th, and major 13th.
These are chord extensions within the key of C major. You’re correct that Emin9 would have an F# if you’re in the key of E minor but it’s perfectly legitimate to extend any chord within a key. Hope that makes sense.
Music Matters that makes sense but the way you explain it doesn’t clarify that. At least from what I saw. You are incorrectly labeling them. If you are playing from a lead sheet with an extended chord on it you would not play it by stacking thirds of the given key. If you saw an E min 9 on a lead sheet you would play it with an F#. I feel like this video is misleading. Thanks for the reply though. When would you use these extensions that fall within the key. Would they have to be notated with accidentals before the extensions. Should the “Emin9” you play be considered an Emin(flat9)?
I think we are just coming for two slightly different corners of the musical world. You’re absolutely right about reading from a lead sheet. In a more ‘Classical’ world one would reference from the stated key. Composers like Debussy use extended chords in this way all the time.
Perhaps you can explain something for me, if it isn't too much trouble? I composed a short 8 bar measure... in which I used chords from C major as well as C minor (natural). I just picked the chords by ear and built up from this point. Well, I started the piece on an unusual chord I suppose, because I did not use the Tonic... but instead used the Predominant. And it sounds okay, I suppose. But when I imported to MuseScore software, is says the key is F? I am very curious as to why this is??? If it helps.... the midi file is here: www.mediafire.com/file/11e3a10ay183yup/not+sure+what+key.mid and the sheet music as rendered: www.mediafire.com/file/kod2gobl9qdxoha/not+sure+what+key.pdf Thanks, in advance, if you are able to shed light on this perplexing situation???
Thanks for the reply... I suppose this does explain it. I had never thought about the fact that this type of bug might be in the software. I may have to rethink my learning process... I have been relying on software output and processing to study the various aspects of music (and some self experimentation in places where I could not logically deduce the reasoning behind something) but if there are flaws within the software... perhaps this is not the best avenue to learn from?
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Well, that's extremely useful. You'd think it would be obvious that you could leave some notes out of a 13th chord, but that thought had never occurred to me. Not to make you blush, but that you can explain this so simply does mean you're actually a musical genius. I learn more from your short videos than I have from hours of reading music theory. Thank you!
That’s very kind. Much more at www.mmcourses.co.uk
this was so very helpful. I am a novice in music theory and even though I had a great start I was greatly intimidated by chord construction. Your explanation in this video helped me tremendously. Thank you for providing us with such valuable info.
It’s a pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
4:50 Nice.
That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Nice
Nice
😀
Thank you!
A pleasure. Much more at www.mmcourses.co.uk
I cannot thank you enough! It all makes sense now.
Fabulous. Much more at www.mmcourses.co.uk
Thank you for making this!
A pleasure. Much more at www.mmcourses.co.uk
Thank you so much for this you explained this so well you are a genius!
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Thank you very much; I found that tutorial both interesting and helpful. However, if I have understood correctly, I would point out that your commentary describes a 'sparse' V-13 consisting of the root, 3rd, 7th and 11th whilst actually fingering the root, 3rd, 7th and 13th (I think!).
That’s most kind. Much more at www.mmcourses.co.uk including details of our 25 online courses and our Maestros programme. The fingered example is the correct one.
@@MusicMattersGB At 6:18 it does seem that you say the 11th but you play an E up the top. Am I not right in thinking that would make it a 13th? Thank you for this excellent tutorial!!
You are a remarkably good communicator and teacher! 🙂
You’re most kind. Much more at www.mmcourses.co.uk
Excellent tutorial
+Stevethesearcher
Most kind. See www.mmcourses.co.uk for much more.
Exceptionally demonstrated...
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Excellent explanation thank you
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Do you have any video's on what chords to harmonize a certain set of notes or melody?
Take a look at our lessons on harmony in this playlist... th-cam.com/play/PL5j5H06QkhxEQ3H0yacP_A3pjUviYCTl9.html
How is extended chords different from non chord tones? Thank u
Non chord tones are decorations around chords eg passing tones/ neighbour tones. Extended chords are when you take a chord and add 7ths/ 9ths/11ths/13ths
Fantastic thank you!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
great work
Thanks. See www.mmcourses.co.uk for much more
Nice ...... & where to use 6-7-9-11-13 instead of simple C & how to Pick ryt extended chords which going to suits melody ??? Plz rply
When you want a richer chord sound use the extended chords.
@@MusicMattersGB tnx for the reply....but which extended chords to pick how to choose ryt one ? Any video link or quick tip ?
@@MusicMattersGB waiting for ur rply.........
THAAANK you so much!!!
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Sir, i have one doubt. 11 note of g is c isn't. But you are playing e
You are correct that G11 takes us up to C. The E takes us to G13.
@@MusicMattersGB tank you sir
A pleasure
@@MusicMattersGB actually all learned from you
😀
Great explanations
That’s most kind. Much more at www.mmcourses.co.uk
May I ask what the difference is between a Cmaj (add2) and a Cmaj11 without its 7th? They'd share the same notes, I can't find anything about that in the web.
Do you mean Cmaj9? If so they amount to the same thing but 9-8 progressions are melodic while Cmaj(2) is usually harmonic.
@@MusicMattersGB Ah yes I meant Cmaj9! Do I understand right, that by 9-8 progressions are melodic you mean that one wouldn't play a Cmaj9 chord vertically but rather horizontally?
You can play it as a chord but often it occurs as a horizontal 9-8 progression
@@MusicMattersGB I see! But a Cmaj(2) needs the note (D) in the exact correct order after C, it can't be some open voicing, can it? I mean, do I get this right that the Cmaj(2) is a strict instruction about the position of D, whereas it could be anywhere split in Cmaj9.
That’s generally the case
Why do you not use upper and lower case Roman numerals, to identify the 3rd as major or minor?
Thanks.
Extended Roman is the system you identify. Basic Roman uses upper case all the way and doesn’t distinguish major from minor chords. Extended Roman is useful but I thought I would keep it straight forward at this stage. I use Extended Roman in a number of other videos so people can see both systems at work.
@@MusicMattersGB
I did not intend this question solely in relation to the topic of chord extensions, although it does connect to the questions and answers that have been raised by the very useful comments from @ I am a maniac. It is rather that I've not yet found a video from MM that uses anything other than uppercase Roman notation when identifying triads built on scale degrees.
In my reply above I’m not talking about extended chords but just about the system called Extended Roman.
@@MusicMattersGB
Hence why I wrote! "It is rather that I've not yet found a video from MM that uses anything other than uppercase Roman notation when identifying triads built on scale degrees."
Uppercase Roman numerals simply identify scale degrees, not chord qualities.
Absolutely. That’s because I’m working in Basic Roman, though in some of our videos we use Extended Roman.
how can we deepen our knowledge on extended chords and learn how to use them?
+garbanzo1997
See the Advanced Theory package at www.mmcourses.co.uk
Also, experiment with them at the keyboard.
Perhaps a subject for a quick tip video? I know the various ornaments in music and there are a number of videos on youtube that explain what they are. And I suppose this is simple enough if ornaments are written into a piece (notated)... but as far as actually composing I can find no rules about where, nor when they should/could be used - or what their functionality is... ie: do they bridge two notes?
As a composer who is quite novice, I can find no answer to this anywhere... and it would be nice if a master of music could answer what seems to be such a simple question.
+garbanzo1997
See the Advanced Theory films at www.mmcourses.co.uk
I hope you don't mind me asking....i have a question about secondary dominants. In the key of C, we have Bmin7b5.....some people say the secondary dominant of this chord would be F sharp7, but if the chord is diminished...wouldn't it be the secondary dominant F7 instead? Would really appreciate your input. Cheers!
I am not 100% sure, but from what I have learned from reading music theory...
A diminished chord would not have a secondary dominant because it cannot be tonicized because it is an unstable chord. This is also the case for secondary leading tone chords because they function as a dominant chord and also need to resolve to a stable chord in the same manner that Bmin7b5 would resolve by step upward to C. Hope this helps... perhaps Gareth can elaborate as to the correctness of this statement.
I double checked this information... here. www.jkornfeld.net/secondary_summary.pdf
It also shows how the secondary dominants (only) can also resolve deceptive, much like a deceptive cadence (V-vi rather than V-I). I hope this information can be of some use to you.
+Soul Muse
You don't really want to be using chord Vll as a Secondary Dominant because it's not a tonic chord in any major or minor key. You could use a Diminished 7th as a dominant substitute. F# could be the V of B minor but not really if it's B minor Diminished 7th.
+gerald edwards
😀
Perfectly put guys. I wasn't thinking of using it anyway, but since i was getting the secondary dominants of every chord in the key of C, i wasn't sure about chord VII from an strict Harmony standpoint, the actual theory. Thank you very much for your replies! :)
Thanks
A pleasure. Much more at www.mmcourses.co.uk
Cheers!
A pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
What you said about 13 chords is you can leave out notes , what you didn't say is you almost have to leave notes out. Full thirteen chords one after the other sound rootless and terribly uninteresting as all seven tones are used in every 13 chord so they all sound the same ,use them sparingly . 11 chords almost have the same problem but not as bad in jazz b9 or #11 adds variety
Absolutely.
I don't think this is correct. Extensions are built off the tonic of the chord not the key. For example he plays iii, "Emin9", as an Emin(flat9). It should have an F# as the 9th instead of an F. A major 9th rather than a minor 9th. Extensions, unless altered, always have a major 9th, perfect 11th, and major 13th.
These are chord extensions within the key of C major. You’re correct that Emin9 would have an F# if you’re in the key of E minor but it’s perfectly legitimate to extend any chord within a key. Hope that makes sense.
Music Matters that makes sense but the way you explain it doesn’t clarify that. At least from what I saw. You are incorrectly labeling them. If you are playing from a lead sheet with an extended chord on it you would not play it by stacking thirds of the given key. If you saw an E min 9 on a lead sheet you would play it with an F#. I feel like this video is misleading.
Thanks for the reply though. When would you use these extensions that fall within the key. Would they have to be notated with accidentals before the extensions. Should the “Emin9” you play be considered an Emin(flat9)?
I think we are just coming for two slightly different corners of the musical world. You’re absolutely right about reading from a lead sheet. In a more ‘Classical’ world one would reference from the stated key. Composers like Debussy use extended chords in this way all the time.
@@MusicMattersGB Chord extensions greater than a 7th are by default major.
Perhaps you can explain something for me, if it isn't too much trouble? I composed a short 8 bar measure... in which I used chords from C major as well as C minor (natural). I just picked the chords by ear and built up from this point. Well, I started the piece on an unusual chord I suppose, because I did not use the Tonic... but instead used the Predominant. And it sounds okay, I suppose. But when I imported to MuseScore software, is says the key is F? I am very curious as to why this is???
If it helps.... the midi file is here: www.mediafire.com/file/11e3a10ay183yup/not+sure+what+key.mid
and the sheet music as rendered:
www.mediafire.com/file/kod2gobl9qdxoha/not+sure+what+key.pdf
Thanks, in advance, if you are able to shed light on this perplexing situation???
+gerald edwards
Sometimes the software recognises accidentals and shifts the key. Human interpretation is always helpful!
Thanks for the reply... I suppose this does explain it.
I had never thought about the fact that this type of bug might be in the software.
I may have to rethink my learning process... I have been relying on software output and processing to study the various aspects of music (and some self experimentation in places where I could not logically deduce the reasoning behind something) but if there are flaws within the software... perhaps this is not the best avenue to learn from?
love u sir....
Most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Err yes, But why? It seems to be something Jazz pianists throw in to a tune "Because they can"
True but it’s a great way of enriching the colour and impact of chords