This Chord Is Not Like the Others.
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- Опубліковано 12 лип 2024
- There's one type of dominant chord that is unlike any other type of dominant chord: The 13#11, also known as the Lydian-Dominant. Here I explain what I mean by this, and show you how to use it in your compositions and playing regardless.
(Sorry for a little bit of audio distortion in the middle ... )
TABLE OF CONTENTS
0:00 Introduction
0:22 Playing the chord
1:07 Memorizing it
1:44 What is a dominant chord?
3:44 Why a black sheep
5:04 What it is good for
5:33 Example 1
7:00 Example 2
7:40 Example 3
8:45 Example 4
Mangold is the kind of UA-camr, who makes you want to make a beat after his tutorial, right on spot 🔥🔥🔥
Awesome! Then I've achieved my goal :)
Facts..
@@MangoldProject you been the most helpful UA-camr ever. Like literally, so sure thing you did 🙏🏽
The sound of the 13(#11) chord is so familiar to me. Actually it is the root of the 'Blackadder Chord' popularly used in J-pop or Anime songs. it can be dominant9(#11), mM7/5 and also aug/-5(Blackadder). Thank you for uploading interesting progressions.
Interesting, never heard of that naming, or its popularity in J-pop. Can you maybe link to such a song? (With a time stamp?)
@@MangoldProject ua-cam.com/video/U5S_EG7Mzag/v-deo.html right near the beginning - can't miss it
@@MangoldProject Here is a video going over the Blackadder Chord: ua-cam.com/video/hUXWxWShCBQ/v-deo.html
Also in Brazilian music! First chord in Águas de Março (Waters of March). Brazilian music is loved by many Japanese jazz (and pop) composers. Japan’s pop is the only pop music regularly using the wonderful emotional resonance of Bossa Nova music! I love Japanese music because they *still write chords!* 💖
Thanks for this. This is out of my pay grade for now, and will go earn my chops and come back to this. Mangold has helped tremendously and it won't be long.
Looking forward to this!
In my lessons so far, this sounds like either the tritone substitution or Sub V7 with added tensions (#11 & 13) since these types of substitutes resolve a half step down. I never thought about it quite the way you explained it. 👍🏾
Smashing lesson mangold 👍 awesome. Thanks
Thank you! Cheers!
Tried to message you on telegram, but you were not online. Perhaps our time zones are wide apart. Will try later. Thanks
Mangold! Congrats on a new video :)
Very useful, thank you!
Thanks so much for this! Super helpful!
Any Secondary Dominant chords that are Tritone Substituted work well with a #11 or b5. The #11 (or b5) on Secondary Dominant chords will always be a note that's not related to the key. When they become Tritone Substitutes, the #11 (or b5) will be a note from the Major Key the chords are constructed from. Example: Db13#11 ---> Cmaj7, the #11 note is G which belongs to the key of C. Eb13#11 --> Dmin, the #11 note is A, which belongs to the key of C. F13#11 --> Emin, the #11 note is B. And so on for each Tritone sub resolving to a chord in the key of C. I believe that since the #11 (or b5) is so tense, it works out much more smoothly if the #11 note itself turns out to be a note that belongs to the key you're in. Conversely, all the Secondary Dominants that resolve to chords of the major key you're in work well with a b13 (#5.) Yin and Yang.
Sounds like what they use in Detective or Suspense type movies. Sweet Sound. Thanks Mangold for another great lesson.
Yeah. I meant for it to be used less as a resolution and more as a leading chord, but I guess you can use it for the tonic as well in some dissonant cases!
I thought the detective chord was the minor with a major 7th. Incidentally after watching that on a (probably guitar video) I used the Fsharp version interpreting the ac#f part as an A augmented and then moved into a minor add second arpegiation going to the same pattern in eflat, b, fsharp, and then f and then an eflat9.
thank you this is very interesting. you can also use Bb 13#11 as a substitution of the Fm6 when you are in C major. and play the F minor melodic scale. moreover you can finish a song in F minor with a Bb13#11 instead of Fm.
The C13#11 could also be seen as F#7(b5) which is a tritone substitution.
And F#7 wants to resolve to B major.
I'd say that's mostly true. There are no A and D in F#7b5.
this is also what I found out! Its a very cool way to go from the V to the IV and make it seem like a new home.
@@MangoldProject true, maybe it is like a F#7(b5)b6#9 hahaha
@@MangoldProject Hey I'm a real newbie but I thought a F chord was F A C? So is a F#7b5: F A B C F? I feel like I'm missing something
@@ryan-heath Yes. But you're correct in your general gut feeling: 13#11 chords do well as triton subs.
Excellent video! While watching the video it occurred to me that when playing C13#11 you voice it with a D on top and this reminds me of a D7/C, so you could also think of C13#11 as D9(b13)/C and resolve it to G
Hmmm, never thought about that. I'll play around with it later today. Thanks!
@@MangoldProject I try to look for the tritone in chords and use that make the cord act as a dominant. For example F minor 6 has Ab (or G#) and D, which is the same as E7. So it resolves quite nicely from Fm6 to Am.
C13#11 has two tritones: E - Bb and C - F#. By that logic you can try to make it work as C7, Gb7, D7 and Ab7. Doesn't always work, but it's a fun way to find new resolutions
You can start getting that sort of chromatic motion by flatting the five of a primary dominant 7th chord. For example, use gbdflatf and then interpret that as a dflat7also with a flatted fifth but with the g instead of the dflat as a flatted fifth and then move cromatically down with the dflat and f to a ce to get a Cmaj7.
That is certainly another way of doing it.
Nelward Strawman immediately comes to mind.
I think "The Girl from Impanena" uses this technique from a F#13#11 down to a F maj7. That's a good song to study as it's full of suprises..
Yes. Antônio Carlos Jobim was a very thoughtful harmonizer.
Examples fine. Just chaining it. Also fine. LD does I still think resolve to tonic directly if you want it to
It reminds me of the beginning of R. Sakamoto's "Merry Christmas Mr Lawrence" but the version with David Sylvian called "Forbidden Colours" :
ua-cam.com/video/qezTmpJpHXI/v-deo.html
From 21" to 30" seconds in the beginning there's this particular progression and at 26" it sounds like this chord.
It also sounds like the first chord of Depeche Mode's "Stripped".
it's kind of a substitute for the tritone substitute
It's precisely a tritone substitution. I just didn't call it that way because the excessive theory often drives people away from the message.
What is the connection between the 13#11 and the diminished scale? E.g. C13#11 appears to take all of its notes from the C HW diminished (the natural 13 being the characteristic sound which prevents it from being an altered dominant)
Does it? There are two diminished scales starting at C:
C D Eb F Gb Ab A B C
and:
C Db Eb E Gb G A Bb C
C13#11 has the notes C, E, G, Bb, D, F# (or Gb) and A, and none of these fit entirely into one of those scales. One of the things that gives the 13#11 its distinct sound is the major third interval between the D and F#. A C13b9#11 actually sounds very different and does resolve much more naturally to Fmaj7.
@@MangoldProject forgot about the 9th
Can the 13#11 possibly resolve to a minor which would be 1 tone above it?
That doesn't sound too good to me, but to each his or her own.
This sounds like what every pianist plays as he sits down at a restaurant or club as a short little intro before the actual music starts lol. Still beautiful though
hi sir, i think of it as all major chords have a #11
i dont use "13" becuase the major and its relative minor are 1 object so C maj and Amin are the same thing C6
then becuase its a major chord it has a #11
it is just C6 combined with D6 so 4 triads combined
C maj + Amin ( + ) Dmaj + Bmin = ( CMaj13#11)
becuase all maj chords have # 11 its the same for a dominant chord
G7 is really G13#11 ( coming from the lydian dominant)
* although many times ill convert a dominant to its primary form the Dim7
if i want the G7 with #11 i think Tritone substitution or G7 lydian dominant
I have to admit I didn't really follow that. But I appreciate you sharing. Perhaps some other viewer will come across this and learn from it.
@@MangoldProject
hi, all major chords have a #11th upper extention.
the way this works is that as you know the major scale creates the R 3 5 7 of 7 distinct chords inthe key.
the upper extensions of those same chords are derived differently, the quick way to add upper extensions to any chord is a wholetone above the R 3 5
example,
key of C major
the chord CMaj7
R...3...5...7...
C....E...G...B...
now to get the upper extensions add a wholetone above the R 3 and 5
so C is D
E is F#
G is A
C...E...G...B...D...F#...A...
R...3....5....7...9..#11..13
Im on the middle bit ?? Why. How doesnt it. Seems fine
1:00 pm US EST ?
In example 1 I see that F13#11 as a B13b5 so it functions like a 2 in a 2-5-1
@@trentonkipps I've been taught that the 2 in a (major) 2-5-1 is always a minor chord. Rather than the 2, you can just view it as the secondary dominant of the secondary dominant. Or tertiary dominant, if I may :) (that's not a real term).
There’s someone out here using your logo, pretending to be you. They’re trying to lure people in the comments to use the telegram app, claiming that you have a surprise giveaway. FYI
thanks Mark. I blocked the bugger. Let me know if you see a similar account.