I'd never call this a sus chord. It's just F/G ("F over G") or F add 9. There are loads of old house/disco tunes that utilize the technique of playing bass notes that aren't part of the standard triad played above them. One of my favourite examples is Mr Fingers "Can You Feel It", which sounds very jazzy because it starts with an inverted C major 7 over A, which is 5 notes at once (A, G, B, C, E). I think a lot of the classic house tracks were made by bashing in 3 or 4 triads and then choosing bass notes via trial and error, which can 'accidentally' create slash chords, sevenths, add 9s, add 11s, etc.
The difference you demonstrated between the standard Chord 7 and the Someday Chord is so stark; it completely changes the entire vibe of the track by seemingly removing a huge amount of energy from it 😮. Definitely going to be trying this little trick to see if it adds some flavour to my chords! 👌
I'm sure more knowledgeable musicians will provide many opposite exemples, but from my practice of jazz music, sus chords in jazz charts are always sus4 if not specified. The perfect 5th could often be omitted in jazz playing as it has no real distinctive color (guitar players in the big band era often comped using only three notes : root, third and seventh), so, in a jazz context, I'd interpret this chord from the bass as a G9sus4 (G being the root, C the 4th, the 5th is omitted, F is the 7th and A the 9th). And in this context, I would expect it to lead to a C chord of sorts (major 7th, 6/9...). And I'd also expect to see F/G on the chart, as it's far less intimidating. On this track, avoiding the C chord feels less "conclusive" and feels like the better option to push the music forward. I also toyed a bit with the addition of an Eb in this chord to make it a spicy F9/G. And then I quickly got lost in the usual vortex of chords that lead to nowhere. Anyway, that's enough rambling, thanks for sharing this, you're always pointing at new doors to open.
Another great video Ben. It's uncanny that once you start spotting this stuff in one song and understand it, you see it in so many other tracks. Pjanoo being another one I can't be bothered to work out the proper chord names for. Also 93 till infinity...
I wouldn’t look at it this way. I imagine mr jefferson was simply playing Am, Am6 (a bit of voice leading), F, Dm, G with a descending bass note from the same key….. you can tell from the first inversion chords jumping around that its a beginner player moving the same shape around. More experienced players would usually select inversions that reduces the distance between chords. But of course this had become part of the house sound.
Semi related fun fact: Dave Beer once threw Marshall Jefferson off the decks at Back To Basics, then proceeded to get on the mic and give him loads of shit after he left. Even more bizarrely, Masrhall turned up with only a tiny handful of records, in a supermarket shopping bag... An unusual night indeed!
Beer could be an annoying dick at times, especially when Basics became massive and he could afford lots of 'cough' nasal decongestant medicine 'cough'. But he was literally leading from the front when the crowd turned on the old bill when they broke up an illegal rave in a warehouse near Colne in 1989ish. He did fight for our right to party in the acid house trenches so I can forgive him quite a lot.
@@MadelnMachines He said he was a load of bollocks, or words to that effect. The resident Ralph Lawson came back on and smashed it after. I didn't really see the issue myself, the dancefloor wasn't clearing out from memory. Saw Louie Vega practically clear the whole club out one night, he went deep into disco stuff and just lost everyone.
Great. However, I would call such chords "The money chord" as they sell the record. Just like the famous beast, the "minor IV". Great video. Thank you.
Haha now you've got me thinking, I did want to make this video a "3 big tracks that use this chord " type of thing but I completely blanked on what else uses it
Thanks to your UKG series, I'll try to make a track in the UKG style, but one this I was missing in all the UKG video was the arrangement. Did I miss it or haven't you made a video of it?
No I didn't do one. I always thought arrangement was pretty self explanatory Tbh. Doesn't matter what the genre is , my answer is always; If you're not a gigging DJ that has an instinct for the scene or can test these things live, then just copy the structure of other tracks you see working live until you do! Or if you're intention is not live performance but Spotify streams, then copy the best performing structures from there. Is there something in particular you were struggling with arrangement wise?
@@Bthelick I was all the time struggeling with arrangements in general, but over time it changed. mostly using reference tracks of two kinds, one for arrangement and one for the sound.
@@Bthelickoh I see, I was a little confused that it's basically the "9th" of the already "dropped" chords that work, missed that one. Makes more sense now thanks!
Would you be able to explain why it doesn't work with the other chords that aren't 1 4 or 7? Is it because of the type of notes used within the chord that makes it not work? when i say type, i also mean like root, dominant, subdominant etc. I'm pretty new to this so sorry if it doesn't make sense lol
Yes it's a few reasons, only chords that are major sound ok moved over the bass , and that is mostly because of how the natural harmonics of sound stack up, those harmonics are octaves and fifths. Google "the harmonic series " if you want to more on that
I'd never call this a sus chord. It's just F/G ("F over G") or F add 9. There are loads of old house/disco tunes that utilize the technique of playing bass notes that aren't part of the standard triad played above them. One of my favourite examples is Mr Fingers "Can You Feel It", which sounds very jazzy because it starts with an inverted C major 7 over A, which is 5 notes at once (A, G, B, C, E). I think a lot of the classic house tracks were made by bashing in 3 or 4 triads and then choosing bass notes via trial and error, which can 'accidentally' create slash chords, sevenths, add 9s, add 11s, etc.
Just moving 1 note can be so impactful, classic tune! It's first one i ever learned to play, I didn't know the theory like but now I do, cheers
This music channel is GOATED! Among the best music knowledge on the platform. 🙏🙏💐💐
It's sensational. I've learned more this year from him then like, the last 10 years.
@DawlessHouseMusic same here especially about chords and music theory in house music.
In sweet harmony.... One of my youth favorites❤🔥
Those piano chords are iconic.
In sweet harmony, sweet harmony...
The difference you demonstrated between the standard Chord 7 and the Someday Chord is so stark; it completely changes the entire vibe of the track by seemingly removing a huge amount of energy from it 😮. Definitely going to be trying this little trick to see if it adds some flavour to my chords! 👌
Thanks Ben!
Appreciate the Is It Bill Bailey shoutout. We need a greatest cockney house music compilation album now.
Beautiful pattern, superb tutorial, those who have learned can now go off and create in a sweet liquid harmony!
Another great video. We don't dance in stereo is mint by the way, an excellent tutorial and very educational. Thank you! 🙂
Merci pour votre travail passionnant.
I'm sure more knowledgeable musicians will provide many opposite exemples, but from my practice of jazz music, sus chords in jazz charts are always sus4 if not specified.
The perfect 5th could often be omitted in jazz playing as it has no real distinctive color (guitar players in the big band era often comped using only three notes : root, third and seventh), so, in a jazz context, I'd interpret this chord from the bass as a G9sus4 (G being the root, C the 4th, the 5th is omitted, F is the 7th and A the 9th).
And in this context, I would expect it to lead to a C chord of sorts (major 7th, 6/9...). And I'd also expect to see F/G on the chart, as it's far less intimidating.
On this track, avoiding the C chord feels less "conclusive" and feels like the better option to push the music forward.
I also toyed a bit with the addition of an Eb in this chord to make it a spicy F9/G. And then I quickly got lost in the usual vortex of chords that lead to nowhere.
Anyway, that's enough rambling, thanks for sharing this, you're always pointing at new doors to open.
LOVE THIS GUY!
(happy holidays!)
Another great video Ben. It's uncanny that once you start spotting this stuff in one song and understand it, you see it in so many other tracks. Pjanoo being another one I can't be bothered to work out the proper chord names for. Also 93 till infinity...
Thank you for your extra quick teachings and extra usefull tips!!!👍
I wish I was found this yt chanel before!❤
I wouldn’t look at it this way. I imagine mr jefferson was simply playing Am, Am6 (a bit of voice leading), F, Dm, G with a descending bass note from the same key….. you can tell from the first inversion chords jumping around that its a beginner player moving the same shape around. More experienced players would usually select inversions that reduces the distance between chords. But of course this had become part of the house sound.
The things I learn on this channel ❤
excellent and very entertaining video. Great!!
I have that record in my collection. Brilliant.
Semi related fun fact: Dave Beer once threw Marshall Jefferson off the decks at Back To Basics, then proceeded to get on the mic and give him loads of shit after he left. Even more bizarrely, Masrhall turned up with only a tiny handful of records, in a supermarket shopping bag... An unusual night indeed!
Haha no way
Beer could be an annoying dick at times, especially when Basics became massive and he could afford lots of 'cough' nasal decongestant medicine 'cough'. But he was literally leading from the front when the crowd turned on the old bill when they broke up an illegal rave in a warehouse near Colne in 1989ish. He did fight for our right to party in the acid house trenches so I can forgive him quite a lot.
For what reason? What did he say?
@@MadelnMachines He said he was a load of bollocks, or words to that effect. The resident Ralph Lawson came back on and smashed it after. I didn't really see the issue myself, the dancefloor wasn't clearing out from memory. Saw Louie Vega practically clear the whole club out one night, he went deep into disco stuff and just lost everyone.
Another great video.. Thanks! That piano sounds like a certain 90's rave track 😀
Something like Liquid - Sweet harmony, as I've heard it, not as Marshall Jefferson presents Cece Rogers - Someday in a sweet harmony
@@SaundiHemmo Thanks... I couldnt remember the name at the time when I commented.
All-time classic,
great choice 🙌😎❤
Sweet harmony
Great stuff! Cheers, Ben!!
gonna use this !!
Brilliant
Luvvvvvvvvv this
Classic ❤
cool
Great. However, I would call such chords "The money chord" as they sell the record. Just like the famous beast, the "minor IV".
Great video. Thank you.
Daft punk used this also. Can't recall the song tho.
Haha now you've got me thinking, I did want to make this video a "3 big tracks that use this chord " type of thing but I completely blanked on what else uses it
That's a left handed sus. Haha
Numbering the notes in the scale should be an available option in ableton
i came for part 3... was not disapointed. Chord names are often sus.
Can you do a video on the scale of evil?
🤣
Thanks to your UKG series, I'll try to make a track in the UKG style, but one this I was missing in all the UKG video was the arrangement. Did I miss it or haven't you made a video of it?
No I didn't do one. I always thought arrangement was pretty self explanatory Tbh.
Doesn't matter what the genre is , my answer is always; If you're not a gigging DJ that has an instinct for the scene or can test these things live, then just copy the structure of other tracks you see working live until you do! Or if you're intention is not live performance but Spotify streams, then copy the best performing structures from there.
Is there something in particular you were struggling with arrangement wise?
@@Bthelick I was all the time struggeling with arrangements in general, but over time it changed. mostly using reference tracks of two kinds, one for arrangement and one for the sound.
Is converting the 9th chord of the other chrods that don't work with this trick also a thing?
You mean not 1 4 7? Like I showed there with the 5?
@@Bthelickoh I see, I was a little confused that it's basically the "9th" of the already "dropped" chords that work, missed that one. Makes more sense now thanks!
It's called a 9sus4
✅✅✅✅✅✅✅✅✅✅
This is premium content. 🔥 You should put together a paid masterclass course. :take my money meme:
Would you be able to explain why it doesn't work with the other chords that aren't 1 4 or 7? Is it because of the type of notes used within the chord that makes it not work? when i say type, i also mean like root, dominant, subdominant etc. I'm pretty new to this so sorry if it doesn't make sense lol
Yes it's a few reasons, only chords that are major sound ok moved over the bass , and that is mostly because of how the natural harmonics of sound stack up, those harmonics are octaves and fifths. Google "the harmonic series " if you want to more on that