Altered Chords 101: Crafting Rich & Colorful Jazz Piano Progressions
ฝัง
- เผยแพร่เมื่อ 6 ธ.ค. 2018
- ► Free Jazz Piano Crash Course:
www.pianogroove.com/free-cras...
Welcome to this 5 minute masterclass on Altered Chords For Jazz Piano.
Altered tensions add colour and texture to our chord voicings and this has become one of the staple sounds of jazz piano. In this lesson we will work through each altered tension over dominant chords. There are only 4 of them to learn, and we will explore the colour and texture created by each of them.
Practice In The Context Of 251s
For all of the examples in this lesson, we will apply the alterations to the V7 chord in a selection of major 251s. We will pay attention to where the tension wants to resolve.
This is often just up or down a half step and being able to visualise this will create smoother transitions in your chord progressions.
b9s, #9s, #11s, & #5s
For any dominant chord, you have a choice of 4 possible altered tensions. You can combine these alterations to create more complex altered dominant sounds, but for the purpose of this tutorial we will just focus on single note alterations.
Upper Structure Triads
The information in this lesson is a nice pre-study for the concept of "Upper Structure Triads". There is a whole PianoGroove course dedicated to this area of jazz piano which you can find in our "Intermediate Jazz Piano" courses.
The core premise behind Upper Structure Triads is that we can quickly access complex altered dominant sounds by simply remembering a handful of formulas where we superimpose triads above the dominant shell.
#AlteredChordsTutorial #pianogroove - แนวปฏิบัติและการใช้ชีวิต
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0:15 Dm7, G7, C△7
0:26 Dm9, G13, C69
0:40 Dm11, G13, C△13
1:49 Dm11, G7(♭9), C69
2:12 Dm11, G7(♭9), C△9
2:35 Dm11, G7(♯9), C△13
3:18 Dm9, G7(♯11), C△9
3:36 Dm9, G7(♯11), C6
4:02 Dm11, G7(♯5), C△9
4:41 E♭m9, A♭7(♭9), D♭△13
5:12 E♭m11, A♭7(♯11), D♭△9
5:32 Gm9, C13, F△9
5:38 Gm9, C13(♭9), F69
6:05 Gm11, C13, F△13
6:19 Gm9, C9(♯11), F69
6:27 Gm9, C7(♯5), F6
These chords you run often into, but very good to take the time to look at _why_ you'd choose one and how it makes sense to the next one. Thanks for this lesson!
You put it so simply yet these chords sound so divine. Treasured lesson in my jazz toolbox. Thanks a ton.
Aaaah the sound is great, gonna practice these, thanks!
Ingenious as always!
I just understood the word “chord”🙂
Love these, I learn best with chords written out in this style huge help for understanding everything quickly
Excellent master jazz piano ! Thank maestro .
Amazing! Thank's for sharing. The best ii, v, i class of my life.
Was just about to request a video on altered dominants and boom, here you are. Your channel is invigorating and reignited my passion for this thing called Jazz.
thanks a lot. this will make for me lots of new ways to play.
Great lesson!
completed, thanks
Very helpful Thank you
great totorail
I love piano
Great summation of the topic at hand. Thanks.
Glad you enjoyed it!
please more lessons from the real book
nice nice top top beutfull
Very lushy sounding chords and wonderful explaination but i have one question, the #5 sounds nice but how would you treat a b13? Even if its enharmonically equivalent, do you treat It differently?
How to make this video ? What kind of software can do this? Please advise! Thanks!
🔥🎹🙌🏾😎💫
What type of piano is he playing on?
jazzy 2 5 1 in C... Who else thinking of "Sunday Morning"?
You have hit 4 flats but where is your CB?
Does the ii and I never get altered? Is it almost always the V?
Altered chords are dominant 7 chords. So in the context of a 2-5-1, yeah it’s always the 5. But any dominant chord can become an altered if you so choose.
Me w the smallest hands ever, watching the 10th interval in the bass in 0:51 👁👄👁 for cmaj13 lol
The alt scale is as follows R,b2,b3,b4,b5,b6,b7,8, what r talking about man?
Mix V Major
Mix b2 V Harmonic Major
Mix b6 V melodic min
Mix b2, b6 V Harmonic min
Mix #4 IV Melodic min
Mix #2, #4 vi Harmonic min b5
loc b4 VII Melodic min
phygian b4 III of Harmonic MAJOR
loc b4, bb6 VII of Melodic min b5
You can play the double harmonic min
A min...B7 into E min,,then E7 into A min
Or play A min , D7, D# dim/aug into E min
or you can play the A lydian b3 as A min....B7 into E Major
or play G# 7 into C # minor ( phrgian b4)
You can play Bb Maj7 ( A Harmonic min b2 or melodic min b2)
to G Min...ect.. D7 into G min.....C7 , D7 into G melodic minor
Or Play Bb7...C7 into F melodic minor
C# min/ Eb Major....
C# Meldodic min b2.......D7 E7 into A melodic minor ( A minor...again)
You just have to get used to play Dominant into MAJOR or Min
G7 into C MAJOR or C min
E7 into A MAJOR or A min
example G7 #4 ( That #4 is the leading tone into D melodic minor)
or you can simply play the C# into D
A min.....B dim C# dim into D
or
G7 A7 into D min
Well, not to diss the time and effort you put into your video, but...
You go too fast. After all, if you teach something, it's supposedly a topic that your audience does not knows much about.
All of a sudden the "G Altered" scale pops up, without telling us what its rationale is, where it comes from, why it matters, and what its intended use is.
How is one like me - not a beginner, but self-taught, and not conservatory-trained either - to absorb and use this information that goes by so quickly, without sufficient explanation? I do teach in my field of expertise, but I never go so fast that I leave behind the people kind enough to give me their time and attention.
Specify, explain, repeat. And at the level of your audience.
Yes, it takes longer that way. But, if you do it, is it not worth doing it right?