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Playing upper chord extensions like 9ths, 11ths and 13ths can be a little intimidating, so today I'm showing you a great tip for pianists and guitar players alike that will make it much easier to play and remember 9th, 11th and 13th chords!
And, an extra unique thanks goes to Chase Heeler, Peter Keller, Douglas Lind, Vidad Flowers, Ivan Pang, Waylon Fairbanks, Jon Dye, Austin Russell, Christopher Ryan, Toot & Paul Peijzel, the channel's Patreon saints!.
0:00 How to play 9th, 11th and 13th chords.
6:24 Synchron Pianos by VSL.
7:05 When to use Dominant chords.
9:39 12 bar blues with dominant 9ths.
11:10 upgrade 7ths to 9ths.
14:50 Patreon.
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This is so helpful!! Thank you David!
This is so cool
Wow! I donāt even care about jazz lol (sorry, itās just never appealed to my ear, not my taste), but this was still fascinating! I can use jazz chords in my rock music if I want š and now Iām pretty prepared to do so ā thanks David!!
As someone who used to not care about jazz and is now trying to catch up, I say don’t hesitate to dive in! In my humble opinion, jazz is the lineage and vocabulary that opens up virtually all other styles of music. If you’re normally into rock, maybe check out some bluesy players. If you play piano, Oscar Peterson is a must! That dude SHREDS
Thanks, ive always wanted to play jazz piano
6:08 This is the first chord I use in my song Keen On You. It’s such a great chord when played before G6.
Also 12:00 the chord FMaj9, I’ve used that in Next Holidays as the first chord of the chorus, such a beautiful sound.
charles cornell actually talked about this a few weeks ago! much useful tho for people who watch you, but not him
I love this channel!
Love your videos David! you make learning music theory really fun and are an inspiration to us all
David iām a guitarist but youāve helped me a TON with branching out with my chord choices and understanding music theory as a whole concept, from building chords to different modes to slash chords and so on. Love your videos and canāt thank you enough.
Nice! Question on notation: does X 13 always mean you have the 9 and the 11 too?
2:49
I’m sure everyone’s different, but if I saw C13, I’d assume the 9 and 11 but not the 5 (and David said often not the 3, but I’d say sometimes not the 3). If I didn’t want the 11 in the chord, then I’d call it a C69 chord… or a C6 if I also didn’t want the 9. On a C11, if I only wanted the 11 and not the 9, then I’d call it a Csus4 or Cadd4, depending on whether I wanted the 3 in there.
I hope that helped to clear it up rather than to add more confusion. If David answers and contradicts that in some way, then go with what he says.
I mentioned this in the comment section of the video on the 2-5-1 chord progression, but didnāt really go into detail on it. But the Super Mario World Game over theme is a 2-5-1, and it uses upper chord extensions. For context this theme is in the key of F. The chords are G minor 9, C 13 flat 9 double flat 11, F major 9.
But with the slash chord trick in mind, you could think of it as going B flat major 7 over G followed by B flat diminished (add major 7) over C, then ending on A minor 7 over F, which is a simpler approach than what you actually hear in the actual soundtrack.
Funny you mention the SMW ending theme. I was just thinking that some of the chords David was playing sound just like parts from that theme (although transposed)
0:34 gg face
Thank you for the info, david!
It would be nice to publish the image of the slash chord conversions (from upper extensions) that was used in the video.
Thinking of upper chord extensions as slash is definitely helpful. But is there a formula for figuring out the correspondence, or do you have to memorize them? For example, a lot of them seem to be built on the flat 7 (for dominant chords anyway), but not all of them…
i love jazz harmony!!
My favorite place to use a #11 chord is as the bVI chord in a minor key – the #11 is the second degree of the key so resolving to it in the melody over the VI chord is absolutely brutal (in a good way haha)
Mate, we are so lucky to have resources like this. Really instructive, as ever – particularly in providing examples of suggested usage! Something that is missing from a lot of music theory content is the way one can apply the understanding, but this was really inspirational and helpful.