Our Favorite Chord
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- Опубліковано 28 кві 2024
- In this episode, Adam and Peter discuss the functionality of the elusive unicorn chord. What makes this chord so special? Tune in and find out!
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Theme Song
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Diminished Triads to Melt Faces
• Triads to Melt Faces
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Adam has a three-octave voice! I never knew.
Has a strong A7#9 sound to it. The way you used it in Misty was like what Oscar Peterson did.
The podcast should be called You'll Need It.
Episode on how the intro theme was written? It's a great theme
Yes please!
You are amazing guys.
I always think of this shape as a rootless dom7(b9,13), with the minor 7th on the bottom - in the original C#/Db shape shown here, it’d be Eb7(b9,13), resolving nicely to Ab as an altered V chord, or up to F or Fm as a subtonic, for example. The combination of the b9 with a major 13 gives it a really wistful, romantic sound, colorful but not exactly “crunchy”.
Some much great information. Thank you!
I first learned this chord when learning Jobim's Wave. As a guitarist, a friend advised me to play an A7(13), R-7-3-13, with the root up a semitone for the second chord (BbDim). I didn't question it... it sounded great and it transitioned perfectly into the Am7.
I see this used in all kinds of Jobim's tunes as a sort of transition between minor 7th chords a whole step apart. Never fails to sound awesome.
I also use this in All the Things between the Cm7 and the Bbm7 toward the end of the tune. The melody note seems to suggests that chord (that moment 'divine' when). Maybe it could be called the Divine Unicorn Chord...
Still thinking All the Things; you could see the Bdim as Bb(13) with a b9 in the bass (no root), or G7b9 with the 3rd in the bass. Thinking G7 with C harmonic minor in mind seems to be my go-to for that tricky chord IMO. Probably because I stumble a lot with the dim scale thing. Tumeni notes I guess...
Hopefully I'm on the same page here. If not, I blame the coffee.
Thanks for the great content gentlemen!
I think youre pretty much right thinking of it as a dominant II with the flat 9 in the bass resolving to minor ii. I notice there are several different movements in tunes that seem to use the exact same voice leading...
for example if you are playing a tune in C, you could get to D minor using E minor -> Eb dim -> D minor, except a lot of pianists would actually play the E minor as a C major with E in the bass. So in your left hand you have the bass notes E -> Eb -> D but in your right hand you have the chords C maj7 -> Cdim maj7 -> D min7. It gives you really nice voice leading between the iii chord and biii chord because only the inner two notes move chromatically down.
On the other hand, another way to get to D minor is A minor -> D7 -> D minor, which seems like a totally differemt beast but you can use an identical right hand. In your left hand you play the bass notes A -> D -> D, in your right hand you play C maj7 -> Cdim maj7 -> D min7. The end result is A minor 9 -> D13b9 -> D minor with the same beautiful voice leading.
So in my mind, a biii diminished resolving to ii minor is just like a II dominant resolving to ii minor.
Can’t believe this idn’t called The Unichord
Great Episode!
I would pay for a deep dive into Grover Washington jr masterpiece on the soul box album. Which I think is a beast of an album. In case anyone wanted to swoop some cash off me. Great work gentlemen, as a guitarist who should be playing piano I’ve learned so much from the two of you. Thank you so much. God bless ❤
I'm a gearhead so while I practice my mind whirrs. I have read the other suggestions and find value in all of them. Here's my reasoning. since the half diminished is called the m7b5 the unicorn should be called the mM7b5.
great info!
Soooo much Captain Crunch with the Crunch Berries! This was like that random box where they mistakenly fill it with ONLY Crunch Berries and you’re like YEEEEAAAAAAH!!! 😃😃😃😁😁😎👍🏽 GALA!! P.S.: The correct theoretical classification for the chord is a Diminished Major 7th. But clearly it should have been called The Unicorn Chord from the start, if only to put that John Witherspoon twist on it. “You got to Cooo-OORdinate the Unicorn Horn!” 🤣🙌🏽
Might we call this a mM7(#11)?
Isn’t it just the root of the dominant chord you’re using it on? So then #9, b7, and b5 in the other inversions?
Re: technical name of diminished major 7. Classic theory wise I think it would be augmented 7th? Following inversion theory rules -Major inverts to minor, perfect inverts to perfect, augmented inverts to diminished...and interval inversion following the "rule of 9". So the diminished 7th inverts to the augmented 2nd and the augmented 7th inverts to the diminished 2nd, as tortured as that sounds. 😊
I think you're confusing the augmented unison (C - C#) with the augmented 2nd. Augmented unison would invert to a diminished octave.
However, I think this is C# - B#. A simple major 7th.
@@Marklar3 yeah I think you're right. augmented doesn't apply to 7ths. M7 inverts to m2 An augmented 7th is actually an 8ve (at least in well tempered)
The spelling is C#, E, G, B#
What if we’re talking scale degrees? What’s a diminished 7th chord? R-3-5-7? But the root and 7th are a major 6th apart?
@@adammaness c eb GB b double flat but that's the chord tone answer not the scale tone
Yes, in fact, I would rather.
I'm not 100% sure, but I think diminished octave is a legitimate way to name C# to C natural. I'm not sure that C# - C would be a good spelling though.
The first thing I see in this is like a rootless A7#9 kind of voicing, although that doesn't really seem to be how you're using it here. If you see it that way, it's a major 7, C#-B#, which I think is more consistent when moving the voicing (E-G-Bb-D# for example).
It seems like Adam is trying to count scale degrees, but when naming intervals, you only count letter names. Using the diminished "scale" wouldn't change the name of the intervals.
I love these episodes about ways to use certain chords and voicings btw. I'm a bit of a theory nerd, and Adam and Peter's imperfect understanding of theory just makes things more interesting to me. It's always cool to hear new perspectives.
Great concept, thanks guys!
I must say though that when Adam is demonstrating a chord, I find Peter playing over it to be very distracting. And when the notes are displayed in Chordie, Peter's spontaneous contributions make that almost unreadable to me. Perhaps it's just me and maybe my sight reading ought to be quicker, but what springs to mind is, "Poodles, stop noodling!"
Now to go practice my whole - half scales and unicorn chords.
🦄🪗?
Hahahaha
Major 8th? C'mon Adam. Is a major 7th because it's a B# not a Cnat
I’m always confused because it’s an 8-note scale. So if you go up in steps there’s an extra degree of the scale. 🤷♂️
@@adammaness ahhh I see what you mean. I only took theory in undergrad and they didn't talk about this. :)
C/Db (triad over bass note)