Thank god for this video, answers so many of my questions. Everytime I watched your videos it makes me want to practice, this time it's no different. Just want to put the appreciation out there. Thank you Jeremy, I really appreciate what you are doing here.
Hello, thanks for this video! Can I ask what you are using to write this out? I've been looking for a good alternative to manuscript paper for sooo long but everything I have found people say is not really that great.
Quick question: for sude-stepping, do you recommend different fingers for the chromatic chords, or the same fingers that you use in the diatonic chords?
Hi Jeremy! In your lesson you took the 4 note voicing of a CMaj9 7 3 9 5 and converted into an Em7 first and then you created the normal 3 inversions of that Em7 to find the 3 other vocings which when the chord is arranged in 3rds I understand. This is what hangs me up.... If you had a 4 note F7 voicing like Eb A D G (b7 3 13 9) how would I find the other 3 vocings? I cannot think of a way to arrange those notes in thirds to invert it? Do you have a section in one of your books that teaches how to do that or am I missing something?
So the Cma voicing here is really a E minor 7 in drop 2. The dominant voicing that you mentioned for a F7 is also a drop 2 of the standard rootless type B voicing for a Dominant 13, that is A D Eb G. Drop the 2nd note from the top and you get your voicing of Eb A D G. You can think of the shape as a Ma7#11 a whole step below the root, that is Ebma7#11 (with the 5th omitted ) over F. You’ll find however, that inverting this chord only really works with the chord in its standard type A or B drop 2 positions. If for example we go to the next inversion from your starting chord (Eb A D G) we would get G D Eb A. That’s not a great voicing owing to the peculiar arrangement of intervals (5th, minor 2nd, tritone). If you want to play around with creating melodies on dominant chords with inversions of drop 2 voicings, you’re better off simplifying the dominant chord to a 9th, rather than a 13th. So take your voicing but replace the D (the 13th) with a C (the 5th). Now you have what is essentially a C-6 over F voicing (what Barry Harris called the “6th on the 5th”) and all 4 inversions of that work just fine. For a more altered dominant sound you can also use the minor 6th chord a half step above the root of the dominant, so in this case, (enharmonically) F#-6 over F. This will give you a F# (b9) A (3rd) C# (#5) and D# (b7). This also works fine in drop 2 and all 4 inversions.
FOLKS this is gold. OMG, this is a lesson that is very similar to what I do, FINGERING is crucial, and you are the only other person I've seen who addresses this - what seems to be big "secret".
Thank god for this video, answers so many of my questions. Everytime I watched your videos it makes me want to practice, this time it's no different. Just want to put the appreciation out there. Thank you Jeremy, I really appreciate what you are doing here.
Yay, I'm so glad you're feeling inspired! I'm honored it's inspiring you to practice!
Thanks Jeremy! Fingerings seem first like just a practical concern, but it also informs the voicings and how they move.
Totally! Good insight!
This is lovely, thank you. Very basic, yet useful to hear and to focus on instead of relying solely on intuition and hearing.
No joshing here…this is an awesome lesson! Deepest thanks Jeremy!
you make this sound a LOT easier than it is mate !!! well done
Josh is lucky to have you as a teacher!
My book arrived today
Great stuff, Josh!😊
You joshin' me bro? It's that simple!
Hello, thanks for this video! Can I ask what you are using to write this out? I've been looking for a good alternative to manuscript paper for sooo long but everything I have found people say is not really that great.
Sure! I'm just using the app Forscore - I upload my own manuscript paper.
😅thanks a lot
Quick question: for sude-stepping, do you recommend different fingers for the chromatic chords, or the same fingers that you use in the diatonic chords?
Hi Jeremy! In your lesson you took the 4 note voicing of a CMaj9 7 3 9 5 and converted into an Em7 first and then you created the normal 3 inversions of that Em7 to find the 3 other vocings which when the chord is arranged in 3rds I understand. This is what hangs me up.... If you had a 4 note F7 voicing like Eb A D G (b7 3 13 9) how would I find the other 3 vocings? I cannot think of a way to arrange those notes in thirds to invert it? Do you have a section in one of your books that teaches how to do that or am I missing something?
So the Cma voicing here is really a E minor 7 in drop 2. The dominant voicing that you mentioned for a F7 is also a drop 2 of the standard rootless type B voicing for a Dominant 13, that is A D Eb G. Drop the 2nd note from the top and you get your voicing of Eb A D G. You can think of the shape as a Ma7#11 a whole step below the root, that is Ebma7#11 (with the 5th omitted ) over F. You’ll find however, that inverting this chord only really works with the chord in its standard type A or B drop 2 positions. If for example we go to the next inversion from your starting chord (Eb A D G) we would get G D Eb A. That’s not a great voicing owing to the peculiar arrangement of intervals (5th, minor 2nd, tritone).
If you want to play around with creating melodies on dominant chords with inversions of drop 2 voicings, you’re better off simplifying the dominant chord to a 9th, rather than a 13th. So take your voicing but replace the D (the 13th) with a C (the 5th). Now you have what is essentially a C-6 over F voicing (what Barry Harris called the “6th on the 5th”) and all 4 inversions of that work just fine.
For a more altered dominant sound you can also use the minor 6th chord a half step above the root of the dominant, so in this case, (enharmonically) F#-6 over F. This will give you a F# (b9) A (3rd) C# (#5) and D# (b7). This also works fine in drop 2 and all 4 inversions.
@@cabijista1 Thank you so much my friend great info!!
@@AnotherMomentWithDave no worries :)
Yup. You lost me! But that's OK. I am at the beginning of book 1. It is all about the journey. Someday I will understand this lesson. 🙂
FOLKS this is gold.
OMG, this is a lesson that is very similar to what I do,
FINGERING is crucial, and you are the only other person I've seen who addresses this - what seems to be big "secret".