How to play 9, 11 and 13 chords
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- Опубліковано 20 чер 2024
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Playing upper chord extensions like 9ths, 11ths and 13ths can be a little intimidating, so today I'm sharing with you a great tip for pianists and guitarists alike that will make it much easier to play and remember 9th, 11th and 13th chords!
And, an extra special 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
SUPPORT ME ON PATREON: www.patreon.com/davidbennettpiano 🎹
David i’m a guitarist but you’ve 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 can’t thank you enough.
Same. Music theory is so helpful on any instrument. I just got my first digital piano yesterday too so I’m excited to keep learning!
Same here. Opened a whole new world to learn of different chord progressions and how modals change the chords of the key.
Yeah, but if you learn too much theory, you start to suck. Sometimes you just have to play the same scale over everything, just up and down the scale playing each note . Some people say they don't like it, but I think they are just jealous.
a good way to start experimenting with the "slash chord trick": If you want a 9 chord, play a seventh chord built on the 3rd of the original chord. If you want an 11, play a seventh chord on the fifth, and if you want a 13, play a seventh chord on the seventh.
Even if this is not bulletproof for all kinds of chords, it's closer to what I expected to be in this video, thanks!
When you say a ‘seventh’ do you mean a minor seventh? Otherwise a C9 would be a E7/C, which includes a G#, which doesn’t belong.
This is the kind of information that would make this video actually useful.
@@keithklassen5320 I don't get it, that is the whole point of the video, isnt it?
This is actually very useful. Love these 'hacks'. Thanks - will b trying this out.
David is the best music teacher! I wish he was around when I was young. I learn something from his videos all the time!
I wish UA-cam (and David) was around when I was young. Where I grew up there wasn’t a lot of musical knowledge. You had to go to big cities to learn everything we have easy access to now. I barely learned any music theory other than the basics until UA-cam came around. I was a music major at a state university for three semesters and they only taught the basics. I gave up on it because I got bored.
When I play the same things on my keyboard, it just never sounds as good as you. We often say in the guitar world that it’s all in the hands. I think it must be true in the keys world as well. I love that dreamy jazz piece you played at the end! I could’ve listened to that for hours
I doubt it's your technique. Piano has very little variation in sound as a result of technique. It could either be the sound you are using for the piano, or literally just the way you use the chords in context. The jazz piece at the end used a lot of harmonic patterns not explained in this video.
Thank you, thank you, thank you! In one short video video you have unlocked what was, for me, the utter mystery of jazz piano chords. I have played blues guitar nearly all my life, but this has always eluded me when I started playing a keyboard; and when I hit on one of these chords accidentally when "mucking about" I can never work out how I did it or how to replicate it. Now I know!
This Video is awesome! It gave me a wealth of information to understand better Upper chord Extensions! Well done David!
This was a nice intro to the concept, but I would LOVE a more detailed sequel where you sketch out the actual scale-degree rules and why they work. Like how putting a major chord on the 2nd degree makes a 13(#11) chord etc etc
Wow this was enlightening. I really like the examples of when to slot these chords in as that's what I struggle with the most.
JUST BRILLIANT! This is the best way to teach harmony without having to mess with sheet music. Straight to the point, David...!!! Many thanks also for speacking so nicely for the non natives... 5⭐ !!
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.
😊😊😊
@@DavidBennettPianoI have gone to using the 2nd minor chord as my guide to 9, 11, n 13. I've never had a "walking bass" left hand.
Great instruction.
Love your work with Beatles n Radiohead examples.
This is so helpful!! Thank you David!
Thank you for simplifying this. God bless you
Thank you for the info, david!
This is what I’ve been trying to figure out for some time now. Thanks!
I was just on my way to discovering the slash chord trick on my own--talk about a lesson being perfectly timed. Thanks!
Love your videos David! you make learning music theory really fun and are an inspiration to us all
This is a very useful lesson for guitar players as well. Especially when one discovers prog rock.
Invaluable content on this channel. Thanks for all the hard work.
I love how this video was targeted to exactly my skill level and answered the questions ive been trying to figure out for a while. thank you!
That Fmaj7/G chord is the fourth chord of the main sequence of Joni Mitchell's "Coyote" from her "Hejira" album.The sequence is Cmaj9 then,F/G then E flat then Fmaj7/G .Beautiful!
Brilliant,David,this is excellent,thank you.Peter.
Iron sharpens iron. Ive heard thpughts like this before, but you've made this much clearer. Thanks.
I thought this was going to be about how Slash uses chords lmaaaaaooo
Great stuff as always regardless.
You might be onto another video idea there lol. The sweet child o’ mine riff immediately comes to mind, where it’s based on a D chord shape
Thank you, I love that. Would be great to have of these posts about layered chords
Finally it makes sense. Just subscribed to your channel. I can feel my musicality improving already.
Thank you David. I’m a guitarist just picking up piano. I just finished a theory course and understand chords. I can see the application of this to improvising on the piano just like I do on guitar, but this looks easier because I can see the intervals on the keyboard.
Priceless - thank you.
This is amazing, I understand so much more about slash chords and when to use them. or how to use them! thank you!!
This is so well explained!
Thanks for the slash chord chart. Very useful! Time stamp appox. 12:50
Excellent video. I’m primarily a guitarist but I’ve been practicing piano for a while and this is extremely helpful.
Excellent videos, thanks. I'm not a jazzer but you've really helped my understanding. Thanks.
Great video again. Keeps my love of music and writing alive.
Hey David...Thank you Thank You Thank You! I'm a guitar player, and play piano as well with limited skills. Though I have a pretty good understanding of Chords generally, voicing them on piano has been challenging. I tried to look for a rule of thumb, something like 'When playing a 9th chord drop the 5th include the flat 7th". Your explanation on building these voicings really helps!
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.
Very well presented
If you want to start jazz accordion, this system of substitute upper extensions with different "basic" chords is extremely helpful with the base side of the instrument.
i was so happy when i figured this out. it all comes back around to the simple stuff
This is a great lesson! Thank you for explaining the association between extended chords and slash chords! It was really valuable for me when you explained dropping the third and the fifth. Dropping the fifth is almost obvious but it never occurred to me to drop the third
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)
Holy shit. This genuinely helped me put it into practice. Especially as I was watching the video and guessing what would make up the chords over time.
Thank you!!!!
Leaving another comment for the algorithm!!!!!!!!
Well done. Thank you.Best wishes.
Great tutorial video David !! I'm experimenting writing songs with a couple of these upper chord extensions.
Thanks david
Thank you
Lovely ending piece. Something to aspire to :)
Good lesson 👍
You are a great teacher!
Tony Banks brought me into this world of chords - thank you!
Using slash chords is essential on guitar since we're physically limited by which notes we can play, or how many. Also, on the rare occasions I use major 11 chords, I always swap the 4th and the 3rd. Just in general, I always swap the notes in a minor 9th to make it a major 7th, unless I'm specifically playing a dominant b9 chord.
I love this channel!
That’s a game changer. Thx
Thanks, ive always wanted to play jazz piano
I can't adequately describe how right up my street this stuff is. Thanks, David.
Good stuff keep it up
Brilliant as ever
Thanks!
Great video as always. Dropping the 5th and 3rd is what I teach my students when I show them how to "fake" chords by drpoping the 5th for 9th and 11th chords, and maybe drop the 3rd as well for 13th chords... but Tertiary Harmony, I think keeping the 3rd is important because it does define the quality of the "intended" chord - maj/min/dim/aug/sus/dom and such.
I like to use 13ths as a substitute for 7ths or 9ths on the dominant chord in a blues. Using 9ths instead of 7ths in a blues is a classic. Thanks for teaching all this.
i love jazz harmony!!
Really needed that comma
I love your content too much David
End on a tune on VII/I. Well jazz!
Goddamn this helps so much. I had no idea musicians would often times take out the 3rd and 5th of these chords to make it a bit more digestible. Thank you so much!
Thx so much, guitar player here too…excellent insight on extensions..!
This is so cool
(Second edit - aw man I’m a victim of a title change lol. Was originally titled “how to play jazz chords” and my comment made more sense then)
Wow! I don’t even care about jazz lol (sorry, it’s 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 😁 and now I’m pretty prepared to do so - thanks David!!
EDIT - please don’t waste your breath recommending jazz for me 😂 I’m 40 years old, been obsessed with music for 30 years, I’ve given jazz plenty of chances and I don’t like jazz. It’s okay. It’s okay that some people’s ears just don’t like certain genres. I promise you it’s fine and no one needs to try to “fix” something. There’s nothing broken :)
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
I’ll always love rock because that’s where I started, but I can’t understand how somebody says they don’t care about jazz, or they can’t find anything appealing about it. It would really be worth spending some time getting acquainted with it. It’s a gorgeous and hugely diverse genre
Listen to Genevieve by Andrew Gold. Kind of a soft rock mixed with jazz
you see these chords in ALOT of other genres not just jazz
@@bobthegreat297 i feel like this kind of harmonic vocabulary and perspective is one of the biggest impacts that jazz has had on the musical world as a whole. That's why learning it opens you up to many related styles like funk, blues, rock. Even genres like metal or bluegrass have had some influence here and there
Fmaj7/G is a G13sus4.
I dont think its that common to omit the 3rd in a 13 chord, atleast in my experience. I would omit the 11 first, then the 9th. If you really want to have the 11 in there i would write it as 13(omit 3) or 13(11) or 13sus4. Since the 13 chord acts as a dominant, omiting the 3rd i.e., the leading tone seems counter intuitive, unless you are going for a suspended sound.
Fully Agreed! The 3rd should always be included in a chord to determine major or minor, unless it is a suspended chord (sus2 or sus4) or a "power 5th" chord. I agree that the 11th should be first omitted in the 13th along with the 5th. A 13th chord can be played with just four notes, 1, 3, 7, 13(6) to get the intended "color"
I was puzzled by this. I’ve always understood that a chord without a 3rd can’t function as a dominant.
Wow!!!! Thank you.
Thanks 😊
I mentioned this in the comment section of the video on the 2-5-1 chord progression, but didn’t 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 Gm9, C13(b9)(b11), Fmaj9.
But with the slash chord trick in mind, you could think of it as going Bbmaj7/G followed by Bbdim(maj7)/C, then ending on Am7/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)
C13b9bb11? Isn't the bb11 just the 10 or rather the 3rd? So C7b9add13? OK, maybe not neater but at least you avoid the bb, I suppose. :) But yeah, cool chord progression either way.
Correction: the 11 isn’t a bb11. It’s just a b11.
@@panosmosproductions3230 Ah, OK. That makes sense now. But no, wait, hang on... that's still enharmonious with 3? I don't know where my head was earlier but bb11 would be b3? 11 = 4, so in C that is F, so b11 is Fb or E and bb11 would be Fbb or Eb? Yeah, I know I'm "mincing notes" a bit here.
I mentioned the slash chord approach In the main comment. The upper chord extension here gives you a Bbdim(maj7)/C, which is the slash chord approach to C13(b9)(b11). The fully stacked chord contains C E G Bb Db Fb-(E) A. The Bb Db and E make a Bbdim chord. That’s why both the 9 and 11 are flat. Since the diminished chord in the right hand is on the b7 in this C chord, the b9 is a minor 3rd above it, with the b11 a minor 3rd above that, as opposed to the regular 9 and 11, which themselves are a minor 3rd appart, while the 9 is a major 3rd above the b7.
An easy way to turn a 7th chord into a 9th chord is to just move your thumb on the root note in the right hand up a whole step to the next note and keep playing the root in the left hand. May not be an "upper" chord extension but it still has the same function.
4:32 this frame will be my poster. Thanks
er.... I can see why omitting the D is okay - but, why isn't there a B note in the dominant G 13 chord? I just sort of thought you have to play the root, 3rd, 7th, 11th, and 13th when you see something like G13
I agree that feels wrong. I have heard though that usually when you’re playing with a full band, you try to have as little notes in common with everyone else, like have the bassline walk up the main triad and the piano does the upper extensions. But that should’ve been said in the video
You're right to ask this question. The chord he's calling G13 here is correctly called a G7sus. The 11th is omitted from major and dominant chords in most cases because it clashes with the 3rd and you can play the Fmaj7 triad over the G to get this effect.
To play the G13 correctly, one way you could do it is like this:
G - root
B - 3rd
D - 5th
F - 7th
A - 9th
E - 13th
yeah, I've understood upper chord extensions for the longest time, however, the biggest problem for me was learning to play it in all 12 keys with altered and normal extensions just seemed like way too much learning, but if I think about it as IV major/minor over the V root note, it makes it so much easier, but that only works for dominant chords - then we have to do major 9 and 13s and minor 9 (ive never heard minor 11th or 13th). If anybody has any song suggestions that use minor 11ths or 13ths please let me know.
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List of topics to cover (ignore if covered some):
1)Chords
Chord Tones
Guide Tones
Available Tensions
Avoid Notes
Chord Ambiguity
Chord Substitution
Polychords
Slash Chords
Suspended Chords
Voice Leading
ii)Chord Voicings
Block [Close]
Spread [Open]
Shell
Three Note
Drop 2
Rootless
Quartal/So What
Tone Clusters
Powell
Monk
Upper Structures
iii)Left Hand Techniques
Strumming
‘Comping
Walking Bassline
Tenths & Tenth Triads
Stride
Vamping
Side-slipping
Passing Chords
Three Handed Technique
Locked Hands
iv)Progressions
Diatonicism
Circle of Fifths
ii-V7-I
Modulation
Functionality
Chromaticism
Disguised Chords
Passing Chords
Borrowed Chords
Secondary Chords
Harmonic Rhythm
V)Improvisation
Tension & Resolution
Inside vs Outside
Horizontal vs Vertical
Target vs Passing Notes
Guide Tone Lines
Phrasing
Chord Mapping
Common Base Scale
Mistake Recovery
Licks
I‘m sorry but F maj 7 / G is not G13 but it is a Gsus 13 or Dm9 / G. A G13 does not contain a 11, but a 3, or a #11. It is a dominant chord that has a 3 and a 7 plus some extensions.
I kept being reminded of different Billy Joel songs while watching this video! I'm not a good musician and I know very little about theory (mostly from watching David Bennett Piano videos), but I'm guessing Billy Joel must use a lot of upper extensions in his music.
charles cornell actually talked about this a few weeks ago! much useful tho for people who watch you, but not him
For blues I tend to drop the 5th but leave the 3rd. So a C9 I would play E, Bb, D in the right hand and a C in the left hand. Or leave the root out (leave it to the bass player) and play melody with the right hand. The root can be implied in blues/jazz on piano and guitar. The 5th isn’t as important as the 3rd in my opinion.
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.
Yes. The chord technically has all of the lower third notes that came before it, it just stacks a new one on top.
For example, start with a c major chord. Then a C7 adds the (dominant) 7th on top of the triad. Next is a C9 which keeps all the notes in a C7 then adds the 9. The 11 keeps all those notes from the C9 and adds the 11 note.
Then the 13 chord is basically including every note in the scale, because it has the notes 1 3 5 (flat)7 9 11 13. It’s just stacking another note on the C11 (which itself was stacking on the C9). That’s why it’s conventional to drop some notes out like the third and fifth in a 13 chord, or else it just sounds like a mess.
Gg face to you too. On guitar these upper extensions are confusing. Not because they're difficult. Vice versa, just recently I was learning a song by ear and wondered about two really simple chords and found out they were I recall Bb11, Eb9/F and Eb7/F or so. They were almost like just barre with index and add 1-2 fingers and move them half step to change the chord. Maybe the slash chords could've been pronounced in a more straightforward way somehow, but the way they were fingered made me think they were like that, the shape was so similar to a full barre chord that had the shape broken. Anyway, the point was I've noticed many times chords whose names are rather complicated, on guitar are extremely simple. Sometimes just holding index finger barre on one fret for four strings, and due to the tuning they get their odd names. They require more thinking and altering from your default chord template on guitar, but playing them can be very simple. And you almost certainly miss a lot of notes like 3 and 5 when you start forming those upper extensions on guitar. And it doesn't necessarily help that default chords on guitar already are inversions.
These make so much sense seeing them on piano. Just move to the next "position" of stacking the notes of the scale.
A seven-note chord on a six-string guitar with five usable digits and strings tuned in fourths (and one third) is kinda tricky.
Except that Fmaj7/G is really Gsus, not G13. G13 includes B.
Hi David,
I enjoyed your video and I understand the Technique that you're explaining. However, I think there is a slight miss here... I think the problem is most guys/gals will not look at a G13 chord on a sheet of music and say... Oh, No problem, that's an FMaj7/G. They most likely will still have to figure out the chord first from stacking 3rds to get to the G13 and then removing the 3rd & 5th as you say. Then if you look at what's left, just maybe you might realize that it's an FMaj7/G, but some still may not see or realize what's left is a Slash Chord = FMaj7/G. I don't think most people will be able to say, Oh a G13 chord, No Problem, that's an FMaj7/G right off the bat. So it may be a bit misleading for someone when they are watching you say to just use a Slash Chord to get a G9, G11, or G13 chord. They could be looking at it and say, how did he get FMaj7/G from a G13 Chord, especially if they are not familiar with chord extensions? Also, some of the other chords may be even more intimidating like a G9 from a Bm7(b5)/G... LOL... Just a point of reference that it may not be quite as easy as it looks. Otherwise Great video..
Thx
ElectricEddie
David, you made my Dreams come true whith this vidéo, thanks !!!🎉
Ps: what about Gmin13, if someone could answer please ? 🙏
I want some jazz brownie points please!
David can you make another video on songs that are inspired by the Beatles?
You sounded like the chord progression of Neil Young’s harvest moon in Cmaj9 to an Fmaj9
So now that we know how these chords are played, it would be great to have guidelines for when to use them in compositions?! Let's say I have a basic chord structure, but I want to spice it up. Of course, I can just try. Or some things come from intuition. But are there "mechanisms" that help you find the "right" extensions better?
It would be nice to publish the image of the slash chord conversions (from upper extensions) that was used in the video.
So I've probably been playing extended chords without even knowing it. Because I picked up the idea of playing an entirely different bass note from the chord my right hand was playing early on.
3:01 I don’t like dropping the 3rd. I prefer to keep the 1, 3 and 7 and drop any or all of the 5, 9 and 11 extensions... For me, the 3rd is too important in its role of indicating the quality of the chord; although I guess that if the intention is to keep the chord sound ambiguous, then this is the way to go...
I thought Slash Chords would teach me awesome Slash guitar riffs, but this isnt even Guns n Roses... Enjoyed it none the less!
Can you do a video on the music of Vsauce please? Jake Chudnow and Vsauce released all of their music on vinyl earlier this year, but there is a real lack of videos covering Jake Chudnow's music, despite being extremely influential on UA-cam.
Very informative. Can the G13 or Fmaj7/G also function as an inverted Fmaj9 with the 9 at the bottom? Same notes, but different functions?
For me it's better to understand slash cords than to read "13". If someone wants me to play a Cmaj7 over F I know what he or she wants from me.
12:24 ah yes, the famous "dafuq" chord DFAC
G13 or Fmaj7/G 🎹olha que coisa mais linda 🎶
outro br aqui?