"I'm sorry this was such a long and dry and theory heavy lesson" .. dude shut up. It was fucking lovely. Very helpful, not too dense but heady enough to be actually useful. You are a very clear, concise and effective instructor. cheers
I don´t really know if I was after a dry and heavy theory lesson when starting to watch this video - I started it just out of curiosity, to find out, if there was something in it I could use/didn´t know, but then watching it it became more and more exciting for me keeping on listening and getting new informations about which scales to use...
This video was extremely helpful. I was just reading The Jazz Theory Book on Phrygian and sus chords by Mark Levine and everything taught here really brings the theory to life. Thanks so much for this video!
I'm enjoying your videos a lot. I've been binging out on them lately as I am a classical musician hoping to deepen her knowledge and get some skills in jazz improvisation. Your videos provide me with everything I am looking for and as I am also a geek I find a huge pleasure in all the tables and examples you give. Thank you very much for this rich source of immeasurable information which we are privileged to get for free, it's HUGELY appreciated!
some really good teaching here. That makes sense a c clashes with the b and and c sharp.. on that tritone subject I can see Mozart or Bach saying but judge i just had a fifth and slipped a made a flated fifth. prithee give me another chance. lol.
Excellent vid, I wish I'd had it to hand years ago when I bought the Brecker Brothers song book. I also wish I'd realised back then what a simple device this is in reality, cropping up in Motown cadences and some 60s/70s pop and soul hits.
Hi there, thank you SO so SUUUUUPER much for all your videos. I really appreciate how you explain things so succinctly and you assume the intelligence of the viewer= awesome.
Thanks for the lesson, you got a profound understanding of modes. You did say 3 minor modes, It's more like 4 minor modes even if I found the LOCRIAN mode useless lol.
Maybe there's still a bit more about this fascinating chord. You can use it to modulate to faraway keys when improvising, e.g. if you want to MODULATE to the 6th tone of a major scale (from C major to A major, for example: Cmaj7>Dm7>G7>G7/E=Esusb9>Amaj7 >> Sounds somewhat surprising!). I studied classical harmony, so to call an Esusb9 a G7/E is downright confusing to me. If the tonic is C, then it's G7/E, if it's A, then I need to call it Esusb9 or E Phrygian. I am currently studying Jazz with Mark Levine's book and had some trouble understanding the Phyrgian chords because he starts off with a G7 (in a complex voicing) which led to Amaj7 (???). You did a great job NOT starting with something like "dominant chord with the 13th in the bass". Thank you for helping me to understand this tricky chord better than before! I am not an English native speaker - do you understand what I'm talking about??
+Mops Samson I completely understand, Mops. Your English is perfectly fine. And yes, you're right about the modulation, that can sound very interesting. An E7 substitute chord derived from the key of C Major is quite a strange and curious idea. I too started with Classical and moved onto Jazz; it is a little different and takes a bit of time to get the hang of it. But anyway, glad this video helped.
The same as my experience. I recall not really understanding the Phrygian chord explanation in the Mark Levine book, but this video has just made it crystal clear. Thank you Walk That Bass.
Mops Samson : Nothing surprising about modulating to the relative key center as major, the III7 is used all the time. What the underlying theory we need to know says is that dominants a minor third apart substitute for each other. In C they are G7 E7 Dd7 Bb7. If you hold and analyse that you will quickly find Bb7 the bVII of C minor (the famous Backdoor Progression) and the Db7 (the tritone substitution). And with a little bit of thought some other interesting connections...
Thanks a lot. Just read about these in Mark Levine's book. If the tritone was considered sinful for its dark sound in its time, the E phyrg beast would have you sent to the gallows! It's curious to note that these chords also have the same intervals as a dominant 7#5#9. I noticed if you take an Ephyg for ex. and just move the root down a minor 3rd to Db, you have Db7#5#9. Anyways, great vid, subscribed!
+Ryan D Hey, Ryan. Yeah, exactly. And there's a reason for that. An E Phryg is really a G13 with an E in the base. And a Db7 is just a tritone substitution of the G7. So they are all very much all related.
arguably couldnt we use the C in E aeolian mode of G major as a tension or cadential note, it does make for that mode whether or not clashing with G major.
That helps alot, Your Lessons are fascinating me. I don't want to correct or critize you, you play better than I would in my whole life, but the e and f in e-a-b-d-f sound a bit crushing to me, so I use to play the "e" one octave lower.
Thanks, The Ibanover. Noted. And yeah, you're right. Technically, I should have avoided that flat 9 interval between the E and F. I was just a little clumsy with my voicing (or just got distracted by trying to explain the concept so didn't voice it as well as I should have). Apologies. And no offence taken. My playing certainly isn't perfect. I do not have nearly as much time as I would like to practice; unfortunately work and life get in the way. Thanks for the comment.
also I would suggest to pla b2 chords for phrygian dominants, and notice that the picardian third is also possible to let the minor third temporarely let resolve to, than later it could nicely resolve down to the 5th of the Dominant EF AB D i would prefer in my left hand...because of the melodic aspect of this mode...that loves the b3 &b2... still this film is very useful!!!
Found this video years after upload so I doubt you'll read this, but I've heard of other chords relating to the phrygian scale, and also the lydian scale. for example I believe I heard someone use the nameCsus2 phrygian chord for a C5 flat 2, so c dflat and g. I thought sus chords were limited to 4 and 2 but maybe that is not the case? What is the reason for these sus chords being called a phrygian chord, and what other kinds of phrygian chords exist?
Thanks for an excellent explanation. Really helpful. One option you didn’t cover (unless that’s obvious ) is whether you can use an E Phrygian scale over an E7 when it’s played as a regular unaltered E7. I,e you imply the substitution as an improviser even though the accompaniment is playing the traditional chords?
Sounds like the minor chord really wants to be dominant. My bread and butter is normally minor chords but I have so much trouble with 3 minor. Interesting that it seems to have no functional upper structure like every other chord does.
Just a question: rather than considering this one like a phrygian chord (in G containing the notes: G C D F and A flat), isn't it simpler to see this one like a slash chord? I mean D half dimished in 3rd inversion with G on the bottom?
one thing I'm slightly confused about (and reading some of the comments I think gave an answer): the E Dorian b2 chord. Isn't the E and F a b9, which we want to avoid? I saw someone mention in the comments here that you could avoid this just by lowering the E in the left hand an octave. Is that all there is to it? still along this concept, at 15:37 you mention that while soloing over an Esusb9 chord, we can use the E phrygian mode since the F natural is a chord tone...aren't we trying avoid avoid notes though? I thought that was the point of using the susb9 in the first place. sorry if this is something obvious I'm missing, no worries on replying to this if you're busy - I just watched this now and I find that after I let these ideas percolate for a few days things start to make sense. At the moment I'm just a little confused.
Hey Kris, This is a complex topic, so all good. So: 1. For a minor 7 chord, an Avoid Note is a note one semitone above a chord tone. So yes, the F would be an avoid note over an Em7 chord. You're not allowed to have Em7b9 chords. 2. But Dominant chords are a little bit different. A dominant chord is already quite dissonant because of that tritone between its 3rd and 7th. Dominant chords only have avoid notes one semitone above their guide tones (3rd & 7th). So a b9 above the root is actually ok for a dominant chord. You're allowed to have E7b9 chords, for example. So a b9 is an available tension over a dominant chord. Now precisely because we cannot have b9's over m7 chords, we turn the Em7 into an Esusb9 (or E7susb9) chord. So we in effect turn the Em7 chord into an E7 chord and thus turn the F from an 'avoid note' to an 'available tension'. This is the whole point of the phrygian chord. Because we can't have an Em7b9 chord, we turn it into an E7susb9, so the F is now an available tension. You are allowed to use F over an E7 or E phrygian chord. It will still sound dissonant, but a bit of dissonance over an already dissonant chord is ok. Does that make sense? If you haven't already check out my video on available tensions, where I discuss exactly this about dominant chords: th-cam.com/video/KKk1HLsbi7A/w-d-xo.html On your other point, I like to differentiate between 'chord tension' and 'voicing tension'. So, technically, a m7 chord cannot have a b9. It is not an 'available tension' over this chord. If you play an Em7b9, it will not really sound like a minor chord anymore. It'll sound like some kind of diminished or poly chord or something. So regardless of how you voice it, it is not an allowable chord. I call this 'chord tension'. On the other hand, you can voice perfectly reasonable chords in a really dissonant way. For example you could voice a CMaj7 as: B C E G - where the semitone interval between the B and the C will create a very dissonant sound. I call this 'voicing tension' or 'dissonance arising from voicing' because the chord itself is perfectly fine - CMaj7 is an allowable chord. This is what happens when you move the E down an octave to remove the b9 interval with the F. The voicing tension will be reduced. It will be a less dissonant voicing. So going back to our Em7b9 chord. You can drop the E down an octave and therefore remove the 'voicing tension' - i.e. there is no more b9 interval between the E and the F. But you will retain the 'chord tension' or 'chord dissonance' because an F is still not an available tension over an E and so the chord will not sound like an Em7 chord. I touch on this topic here: th-cam.com/video/qNff0NZiXC8/w-d-xo.html Does that largely answer your questions?
I don't have a question - just wanted to say that your videos are amazing, and the effort your put into even your comment responses are unmatched. You are a blessing, thank you so, so much
Quick question! Just wanted to know if I understood the Jazz Chords playlist. It's basically explaining different chords and how to use them right? :))
Largely, yes. The first few videos explains how to build jazz chords (extensions, alterations, available tensions). A few videos explain how to use jazz chords (passing chords, chord substitutions, harmonic rhythm). And the last few discuss particular jazz chords (sus chords, phrygian chords, slash chords). So I try to cover how to build and use chords and then explain some specific ones.
If you're in C maj scale if you did C scale starting from the E then you done a Phrigian, isn't it right? So if I do a D maj scale and I start this on the 3rd maj (F#). Would it be called F# phrigian? I thought since you're basically doin a major C scale it would be called C phrigian and so on to anothers modes.
Hey man, thanks for the amazing video ! I had one question actually since Phrygian chords feel like a Fm 6 with a G in the bass for me. I feel like its weird resolving an E phryggian chord to a C major chord. I would prefer to resolve it to an 1 major or a F Sharp minor chord . Any thoughts on that !?
E7b9sus4 is alos very effective to resolve to Cm7...than the E7B9SUS4 substitustes de G7(13b9), IS VERY NICE IN Blue Bossa and doesnt clash with the harmony...
Great video! I'm confused about something. So if you play the Em7 then the avoid tones are C and F, but I'm sure I've seen guide books that suggest playing Em7 over Cmaj. In fact, isn't that essentially Pat Martino's whole approach to playing? I'm guessing that I am missing something here... wouldn't Emin7 over C just be a C9 chord? So I don't get how C is an avoid note when playing Emin7 😫?
The CMaj7#11 actually sounds much more dissonant to me than the CMaj11. This is not a situation that I have any control over. One just sounds far more wrong. The Cmaj11 is only very subtly wrong, while the other one sounds truly "off." It's not a situation that I have any control over. Maybe it varies from person to person.
Because it is a semitone (or flat 9) above the 5th (B). The definition of an avoid note is just a note that is a semitone above a chord tone - so C above B. It just means it clashes a bit with the underlying harmony as a b9 or semitone interval is quite dissonant.
Hi,An avoid note is a note that is one semitone above a chord tone (I've got a separate video on this). They are generally avoided because they create a dissonant interval with a chord tone. The F is a semitone above the E in an Em7 chord, ergo it is an avoid note. You can play the F, but treat it as a quick passing note and don't linger too long on it. The note F clashes over a Em7 chord (and a CMaj7 chord for the same reason).
Found this video years after upload so I doubt you'll read this, but I've heard of other chords relating to the phrygian scale, and also the lydian scale. for example I believe I heard someone use the nameCsus2 phrygian chord for a C5 flat 2, so c dflat and g. I thought sus chords were limited to 4 and 2 but maybe that is not the case? What is the reason for these sus chords being called a phrygian chord, and what other kinds of phrygian chords exist?
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"I'm sorry this was such a long and dry and theory heavy lesson" .. dude shut up. It was fucking lovely. Very helpful, not too dense but heady enough to be actually useful. You are a very clear, concise and effective instructor.
cheers
Thanks, Seth. Yeah, I suppose if you click on a 20 min video called 'Phrygian Chords', you're probably after some dry and heavy theory :)
I don´t really know if I was after a dry and heavy theory lesson when starting to watch this video - I started it just out of curiosity, to find out, if there was something in it I could use/didn´t know, but then watching it it became more and more exciting for me keeping on listening and getting new informations about which scales to use...
Best frigian on earth Explanation
This video was extremely helpful. I was just reading The Jazz Theory Book on Phrygian and sus chords by Mark Levine and everything taught here really brings the theory to life. Thanks so much for this video!
That's Matthew. Glad it helped :)
That's exactly what got me here too!
@@jimkangas4176 also what brought me here ha! Glad im not the only one
I'm enjoying your videos a lot. I've been binging out on them lately as I am a classical musician hoping to deepen her knowledge and get some skills in jazz improvisation. Your videos provide me with everything I am looking for and as I am also a geek I find a huge pleasure in all the tables and examples you give. Thank you very much for this rich source of immeasurable information which we are privileged to get for free, it's HUGELY appreciated!
Beautyfull Chord Sophisticated It is use very much in Tropical Music ¡¡!!
Thanks a lot ! This kind of video really helps me go through Mark Levine theory book.
Really educative...it wasn't boring sir. Captivating, to say the least. I like that you were thorough. Thank you very much, more videos like this. 👍
thank you for taking the time to share such informative materials.. more power to you
Cheers, Josemaria. Thanks for the comment.
Gosh, not long, technical, dry as you suggest. Exactly the sort of knowledge base I was after! Thanks!!
some really good teaching here. That makes sense a c clashes with the b and and c sharp.. on that tritone subject I can see Mozart or Bach saying but judge i just had a fifth and slipped a made a flated fifth. prithee give me another chance. lol.
An excellent explanation of how and when to use a Phrygian chord. Been bugging me so thanks.
Thanks, Alex.
Great lesson! Really helped my understanding of these ideas. I really enjoy your teaching style!
This was extremely helpful as well as eye opening. You really helped contextualise this bit of harmony for me.
thank u for this clarification
Great to know! thanks!
Nice lesson! I am always really enjoying your lessons!
Always informative, I learn a lot from you thanks
Excellent vid, I wish I'd had it to hand years ago when I bought the Brecker Brothers song book. I also wish I'd realised back then what a simple device this is in reality, cropping up in Motown cadences and some 60s/70s pop and soul hits.
Thanks, Claymor. Yeah, people overthink this chord. It's just a dominant substitute. No need for all the fancy names :)
Hi there, thank you SO so SUUUUUPER much for all your videos. I really appreciate how you explain things so succinctly and you assume the intelligence of the viewer= awesome.
No worries. Oh, and apologies for the late reply. I was on holiday for the last month.
thanks! will take a while to absorb but i appreciate the info!
Brilliant!
Thanks for the lesson, you got a profound understanding of modes.
You did say 3 minor modes, It's more like 4 minor modes even if I found the LOCRIAN mode useless lol.
I thought the same thing! I was like don't forget about Loc :"
Locrian is called a diminished mode because of the flat 5.
great video! Subscribed
Great great explanations !!
+PTbodybuilder Thanks, PTbodybuilder.
Maybe there's still a bit more about this fascinating chord. You can use it to modulate to faraway keys when improvising, e.g. if you want to MODULATE to the 6th tone of a major scale (from C major to A major, for example: Cmaj7>Dm7>G7>G7/E=Esusb9>Amaj7 >> Sounds somewhat surprising!). I studied classical harmony, so to call an Esusb9 a G7/E is downright confusing to me. If the tonic is C, then it's G7/E, if it's A, then I need to call it Esusb9 or E Phrygian. I am currently studying Jazz with Mark Levine's book and had some trouble understanding the Phyrgian chords because he starts off with a G7 (in a complex voicing) which led to Amaj7 (???). You did a great job NOT starting with something like "dominant chord with the 13th in the bass". Thank you for helping me to understand this tricky chord better than before! I am not an English native speaker - do you understand what I'm talking about??
+Mops Samson I completely understand, Mops. Your English is perfectly fine. And yes, you're right about the modulation, that can sound very interesting. An E7 substitute chord derived from the key of C Major is quite a strange and curious idea. I too started with Classical and moved onto Jazz; it is a little different and takes a bit of time to get the hang of it. But anyway, glad this video helped.
The same as my experience. I recall not really understanding the Phrygian chord explanation in the Mark Levine book, but this video has just made it crystal clear. Thank you Walk That Bass.
No worries, Julian :)
+Julian Lambert ditto
Mops Samson : Nothing surprising about modulating to the relative key center as major, the III7 is used all the time. What the underlying theory we need to know says is that dominants a minor third apart substitute for each other. In C they are G7 E7 Dd7 Bb7. If you hold and analyse that you will quickly find Bb7 the bVII of C minor (the famous Backdoor Progression) and the Db7 (the tritone substitution). And with a little bit of thought some other interesting connections...
Thank you very much.
Thanks a lot. Just read about these in Mark Levine's book. If the tritone was considered sinful for its dark sound in its time, the E phyrg beast would have you sent to the gallows! It's curious to note that these chords also have the same intervals as a dominant 7#5#9. I noticed if you take an Ephyg for ex. and just move the root down a minor 3rd to Db, you have Db7#5#9.
Anyways, great vid, subscribed!
+Ryan D Hey, Ryan. Yeah, exactly. And there's a reason for that. An E Phryg is really a G13 with an E in the base. And a Db7 is just a tritone substitution of the G7. So they are all very much all related.
Ahah! So it's even better than I thought. 3 sweet chords for the price of 1!
I read Mark Levine's Jazz Piano book, too, it is fabulous!!!
Thank you so much for this, you are the best!
+Oliver Grey No worries. Hope it was what you were after.
everything and more!
You are great...really!
Thanks, mate.
thanks !!!!!!!!!!!!!!!!!!!!!!!!!!
I just realized how the Cmaj7#11 can sound more like a Gmaj7 in root position if you emphasize the 5, 7, 9, and #11 over the 1 and 3!
arguably couldnt we use the C in E aeolian mode of G major as a tension or cadential note, it does make for that mode whether or not clashing with G major.
That helps alot, Your Lessons are fascinating me.
I don't want to correct or critize you, you play better than I would in my whole life, but
the e and f in e-a-b-d-f sound a bit crushing to me, so I use to play the "e" one octave lower.
Thanks, The Ibanover. Noted. And yeah, you're right. Technically, I should have avoided that flat 9 interval between the E and F. I was just a little clumsy with my voicing (or just got distracted by trying to explain the concept so didn't voice it as well as I should have). Apologies. And no offence taken. My playing certainly isn't perfect. I do not have nearly as much time as I would like to practice; unfortunately work and life get in the way. Thanks for the comment.
Well, I'm really relieved.
Thanks Man. I try to practice as much as I can.
also I would suggest to pla b2 chords for phrygian dominants, and notice that the picardian third is also possible to let the minor third temporarely let resolve to, than later it could nicely resolve down to the 5th of the Dominant EF AB D i would prefer in my left hand...because of the melodic aspect of this mode...that loves the b3 &b2... still this film is very useful!!!
So does this mean that a scale is the collection of notes to play, whereas the mode is the order in which to play them?
Excuse me. Just a question. Why do you replace the B-7 chord with Esusb9, the b9 is F, and the F is the b5 of B-7, so you get a B-7b5 ....
Found this video years after upload so I doubt you'll read this, but I've heard of other chords relating to the phrygian scale, and also the lydian scale. for example I believe I heard someone use the nameCsus2 phrygian chord for a C5 flat 2, so c dflat and g. I thought sus chords were limited to 4 and 2 but maybe that is not the case? What is the reason for these sus chords being called a phrygian chord, and what other kinds of phrygian chords exist?
Thanks for an excellent explanation. Really helpful. One option you didn’t cover (unless that’s obvious ) is whether you can use an E Phrygian scale over an E7 when it’s played as a regular unaltered E7. I,e you imply the substitution as an improviser even though the accompaniment is playing the traditional chords?
Sounds like the minor chord really wants to be dominant. My bread and butter is normally minor chords but I have so much trouble with 3 minor. Interesting that it seems to have no functional upper structure like every other chord does.
Just a question: rather than considering this one like a phrygian chord (in G containing the notes: G C D F and A flat), isn't it simpler to see this one like a slash chord? I mean D half dimished in 3rd inversion with G on the bottom?
An inversion of maj7 will give you a Phrygian sound, too.
Thanks, I actually really like all the "avoid" and "wrong" notes, sounds much more interesting and making them resolve is jazz to me.
one thing I'm slightly confused about (and reading some of the comments I think gave an answer): the E Dorian b2 chord. Isn't the E and F a b9, which we want to avoid? I saw someone mention in the comments here that you could avoid this just by lowering the E in the left hand an octave. Is that all there is to it?
still along this concept, at 15:37 you mention that while soloing over an Esusb9 chord, we can use the E phrygian mode since the F natural is a chord tone...aren't we trying avoid avoid notes though? I thought that was the point of using the susb9 in the first place.
sorry if this is something obvious I'm missing, no worries on replying to this if you're busy - I just watched this now and I find that after I let these ideas percolate for a few days things start to make sense. At the moment I'm just a little confused.
Hey Kris,
This is a complex topic, so all good. So:
1. For a minor 7 chord, an Avoid Note is a note one semitone above a chord tone. So yes, the F would be an avoid note over an Em7 chord. You're not allowed to have Em7b9 chords.
2. But Dominant chords are a little bit different. A dominant chord is already quite dissonant because of that tritone between its 3rd and 7th. Dominant chords only have avoid notes one semitone above their guide tones (3rd & 7th). So a b9 above the root is actually ok for a dominant chord. You're allowed to have E7b9 chords, for example. So a b9 is an available tension over a dominant chord.
Now precisely because we cannot have b9's over m7 chords, we turn the Em7 into an Esusb9 (or E7susb9) chord. So we in effect turn the Em7 chord into an E7 chord and thus turn the F from an 'avoid note' to an 'available tension'. This is the whole point of the phrygian chord. Because we can't have an Em7b9 chord, we turn it into an E7susb9, so the F is now an available tension. You are allowed to use F over an E7 or E phrygian chord. It will still sound dissonant, but a bit of dissonance over an already dissonant chord is ok.
Does that make sense?
If you haven't already check out my video on available tensions, where I discuss exactly this about dominant chords: th-cam.com/video/KKk1HLsbi7A/w-d-xo.html
On your other point, I like to differentiate between 'chord tension' and 'voicing tension'.
So, technically, a m7 chord cannot have a b9. It is not an 'available tension' over this chord. If you play an Em7b9, it will not really sound like a minor chord anymore. It'll sound like some kind of diminished or poly chord or something. So regardless of how you voice it, it is not an allowable chord. I call this 'chord tension'.
On the other hand, you can voice perfectly reasonable chords in a really dissonant way. For example you could voice a CMaj7 as: B C E G - where the semitone interval between the B and the C will create a very dissonant sound. I call this 'voicing tension' or 'dissonance arising from voicing' because the chord itself is perfectly fine - CMaj7 is an allowable chord. This is what happens when you move the E down an octave to remove the b9 interval with the F. The voicing tension will be reduced. It will be a less dissonant voicing.
So going back to our Em7b9 chord. You can drop the E down an octave and therefore remove the 'voicing tension' - i.e. there is no more b9 interval between the E and the F. But you will retain the 'chord tension' or 'chord dissonance' because an F is still not an available tension over an E and so the chord will not sound like an Em7 chord.
I touch on this topic here: th-cam.com/video/qNff0NZiXC8/w-d-xo.html
Does that largely answer your questions?
I don't have a question - just wanted to say that your videos are amazing, and the effort your put into even your comment responses are unmatched. You are a blessing, thank you so, so much
Thanks, mate. Just trying to do what I can.
Walk That Bass that was amazing, and the chord tension vs voicing tension got it to click perfectly - thank you!!
No worries. Just glad it made sense :)
Quick question! Just wanted to know if I understood the Jazz Chords playlist. It's basically explaining different chords and how to use them right? :))
Largely, yes. The first few videos explains how to build jazz chords (extensions, alterations, available tensions). A few videos explain how to use jazz chords (passing chords, chord substitutions, harmonic rhythm). And the last few discuss particular jazz chords (sus chords, phrygian chords, slash chords). So I try to cover how to build and use chords and then explain some specific ones.
Thank you! Your videos are really helpful :)
you've found a new subscriber right here :):):)
Much appreciated :)
To me the sharp 11 sounds worse, and what's acceptable is up to the player, not others' opinion. Nice video.
If you're in C maj scale if you did C scale starting from the E then you done a Phrigian, isn't it right? So if I do a D maj scale and I start this on the 3rd maj (F#). Would it be called F# phrigian? I thought since you're basically doin a major C scale it would be called C phrigian and so on to anothers modes.
Hey man, thanks for the amazing video ! I had one question actually since Phrygian chords feel like a Fm 6 with a G in the bass for me. I feel like its weird resolving an E phryggian chord to a C major chord. I would prefer to resolve it to an 1 major or a F Sharp minor chord . Any thoughts on that !?
What’s a sub for 3 minor. I wanna get rid of this chord in my playing all together lol
E7b9sus4 is alos very effective to resolve to Cm7...than the E7B9SUS4 substitustes de G7(13b9), IS VERY NICE IN Blue Bossa and doesnt clash with the harmony...
Great video!
I'm confused about something. So if you play the Em7 then the avoid tones are C and F, but I'm sure I've seen guide books that suggest playing Em7 over Cmaj. In fact, isn't that essentially Pat Martino's whole approach to playing?
I'm guessing that I am missing something here... wouldn't Emin7 over C just be a C9 chord? So I don't get how C is an avoid note when playing Emin7 😫?
Than the c is the Root and you create a c maj 9. The e min 7 is contained and the tension is less.
The CMaj7#11 actually sounds much more dissonant to me than the CMaj11. This is not a situation that I have any control over. One just sounds far more wrong. The Cmaj11 is only very subtly wrong, while the other one sounds truly "off." It's not a situation that I have any control over. Maybe it varies from person to person.
Your videos are good but please improve your mic
why is the C and avoid note for the E Phrygian mode?
Because it is a semitone (or flat 9) above the 5th (B). The definition of an avoid note is just a note that is a semitone above a chord tone - so C above B. It just means it clashes a bit with the underlying harmony as a b9 or semitone interval is quite dissonant.
ah ok! got it! hehe thanks for the reply!
I can't understand why a F is an avoid note. Isn't ok to play the 4th? Why?
Hi,An avoid note is a note that is one semitone above a chord tone (I've got a separate video on this). They are generally avoided because they create a dissonant interval with a chord tone. The F is a semitone above the E in an Em7 chord, ergo it is an avoid note. You can play the F, but treat it as a quick passing note and don't linger too long on it. The note F clashes over a Em7 chord (and a CMaj7 chord for the same reason).
noice
I thought phrygian's only available extension note was the 11th
Delicious, but, for me; too much food on the plate for one sitting
Found this video years after upload so I doubt you'll read this, but I've heard of other chords relating to the phrygian scale, and also the lydian scale. for example I believe I heard someone use the nameCsus2 phrygian chord for a C5 flat 2, so c dflat and g. I thought sus chords were limited to 4 and 2 but maybe that is not the case? What is the reason for these sus chords being called a phrygian chord, and what other kinds of phrygian chords exist?