Man i love your videos...99% of people doing videos are just telling you what notes to play...that doesn't help me apply it to other songs or my own..But you are fluent with your theory and i appreciate it brotha...keep'm coming
The best instructional material out there has this kind of focus on practical usage of the subject matter. Thanks so much for this video! Definitely gave me the information I was looking for.
Thanks for the video, very good explanation. I personally find it easy to think of the RH as being the relative major of whatever key you're in. Eg in the key of Am, the Altered V7 chord will be Ealt which = G#, D in left hand and a C chord in the right.
Thank you Joel for opening my eyes (ears!) to all the combinations you've put together here. The chart in Dropbox is great to have. Just playing all 6 combinations, based on 1 key alone, really opened up all kinds of new ideas and options for me. Great video, thanks again.
Very informative video. I did not quite get your last example with the B chord in the right hand as an example of the voicing on a III chord going to a VI using a 7chord with a #9 and #5. I will continue to look at this. Thank you.
Wow I've never seen that explained that way. Gives me another perspective looking at it as a major triad and the root that it's the third of voicing its 3 - b7 tritone. I think we're on to something here.
For C7 (alt) Or any altered 7 chord it's important to understand the tensions available - which is pretty much anything on an alt7. The alt7 is really thinking in two keys. The V7 of the diatonic key ant the subV7 - these chords share the same tri-tone ( the all- mighty interval that needs a freakin intervention and a bottle of Valium to resolve) I would analyze the #5 as a b13. I think that is a little more common.
Good stuff Kate. In jazz it more common to few altered dominants as 7th chords with altered 5ths and or 9ths. Yes, I love the tension of the tritones. :) hope all is well with you.
Enjoyed it and enjoyed your logic behind the relationship between the 3 and the 6. I'd like to know what your chords were at the very end of the video, though!
Hey, Glenn, thanks for watching. At the end of the video I was playing 3 - 6 patterns. In Eb I played G7(#9#5) (iii) to Cm11 (vi). Then I played in B, D#7(#9#5) (iii) to G#m11 (vi).
Thanks for this video I am a guitarist trying to learn some piano. The fingerings for scales and chords are high on my list to learn and the theory. Some terminology things come into mind. I could be wrong but. When you talk about an altered dominate chord you are talking about the 9 and 13 you can sharp or flat the 9 and flat the 13. (13 same as the 6th octave above 9 same as the 2 octave above) So when you say sharp 5 that is a b13 on a dominate chord. Same thing as a #5 but a #5 usually means augmented I get into grey area here for me as you can have an augmented 7th flatted or 7th natural chord Maybe worthless knowledge as the sound is the important thing and you have the working skills to make music and teach. Again thanks again for taking the time to share this lesson.
This is a very good question. When I talk about altered dominant chords, I am talking about altering the 9 the 5 or 11. Usually when you say 13,11 or 9th, it indicates that there is a 7th in the Chord. Thus a C2 is C D E G a C6 is C E G A A Cmaj9 is C E G B D. A Cmaj13 is C E G A (B) D A C9 Is C E G Bb D A C13 is C E G Bb D A Thanks for listening!
Hi, I very enjoyed your videos and would like a copy of your chord chart using altered dominants in all twelve keys. Can you deeper into using these chords, especially in gospel music. Thanks
Hello, Peronica, if you visit my website at joelmccray.com, the link to my UA-cam resources (Dropbox) is at the bottoms of the home page. Thx for watching.
Suggestion: It might be easier for some (it is for me) to think of the right hand as going up an augmented 5th from the implied root, and building the major triad from there (vs going down a Maj 3rd).
Great point. Here’s my thought process. Your average player is very well-versed with minor and major chords. Therefore, I’m using minor and major chords in combinations with tri tones. On the fly, it is much easier for someone to play a major chord over tritone than it is for someone on the fly to think of a 13th or 11th etc. I love the theory behind the extensions; however, I’m just trying to make the sounds easier to interpret for the masses. Of course when I’m playing with jazz bands and other pro players, we don’t have to break down the meaning of such chords. However, on a typical Sunday, in some settings, many players have never heard of these chords. Therefore, in those settings, it’s much quicker for me to talk about the chords that they already know and how to use them in conjunction with other roots to create some cool sounds without violating the theory behind it.
Hello Joel, thanks for the video. Pls, I'll like to know where you are taking the 1,2,3,4 etc chord on your left hand. Is it from Key C or Key Ab? And the chords your left hand is holding. Thanks and God bless.
Thanks for watching, my Friend! I was actually putting these tips out to see if anyone would be interested in the info. Before I started making more vids. Vids are in the works :)
Thank you for making this great video Joel. I understand almost everything except what you are playing in the Anita Baker exampleYou said you are playing C7#9#5 & said you gotta go to the 3. Actually, i think the penny has dropped as I'm writing this. Would i be correct in saying that you are playing AbMaj7 moving to C7#9#5 & back to the AbMaj7?
Have you ever tried thinking of it not as a sharp 5 but as a flat 13? I find it feels like it makes more sense when I think of it that way because the triad is not altered, you are just extending it.
edmx Great question sir. Altered Dominants usually indicate in most jazz studies that we are altering the nine or the five. Also in these chords that I'm looking at I don't have a six or 13 that's being manipulated. I'm manipulating the 5th° of the scale. Again, I think your question is excellent. I'm just using typical jazz voicing names in this particular discussion. Have an awesome day.
Thanks for the reply. I suppose it's because it sounds fine to play a regular 5 over these chords that I feel like we are not really changing the 5, we are adding something else.... but yes it's not a standard way for most musicians to think about it. I just thought you might find it interesting.... and I'm glad you did! Gonna watch more of your lessons now :)
doodleedledoo hey, my brother. If you are hearing music in your head. You already ARE a genius. The next phase is applying knowledge to your ear. I only study this stuff to make me more efficient/effective at what I hear. I share it with you and others that we all can continue to grow together. Keep pressing. We in this thang together! :) I started this journey in 2000 because someone kicked me off the stage for jacking up a song. LOL I vowed to never experience that again.
Thank you so much for your kind response. I am getting it.....I've been playing by ear for 40 plus years and so this is just an intimidating part of my continued journey.
Hey Eric, try this link! Thx for watching! www.dropbox.com/sh/a4km1t09mk2wryo/AABAiDTt4p6BQh_Di8uSctwsa?dl=0 If that doesn't work, try the link on the bottom of my web home page at: www.joelmccray.com
I will try to, I can navigate around on guitar because I am a theory nerd, not necessarily because it's my primary instrument. I just know what I am looking for because of piano theory. :)
Yes,maybe if you could do a split screen thing where you do the same chords or runs on both instruments or have some body else do it on guitar while you play piano.
Here's a link to the file. Let me know if you have any problems. Thanks for watching. www.dropbox.com/s/xq8ryn2k1mp7hv5/Altered%20Dominant%20Chart.pdf?dl=0
nice vid! please help. I am working up a small tune and it goes... Bbmaj7 - AbDOM7Flat5 - Gm7 - CDOM7Flat5. Can you think of other cool chord that will work with this to extend my melodies?
The behringer amp is light, has good sound range, Watts and punch. However, the hard is not the best. My did not last with the wear and tear of gigging. My Roland KC 550 is more expensive, sounds amazing, it’s still going, has lasted much longer than Behringer did.
I use a of rootless and two hand voicing. For example on my minor chords I will resolve to a 1 5 b3 in my left hand and a major triad a whole step down from the root of the chord. It would like this. Fm11 - left hand F C Ab in that order from low to high. right hand: Eb major chord Or on the left, I would play a G, Ab, C in thAt order with an Eb chord in the right hand. In the Fm11 the G is a 9th, the Ab is a b3, the C is a 5th relative to F. In the right hand, the Eb is the b7, the G is the 9th, and the Bb is the 11 relative to the F. I would resolve to this chord from a C7(#9#5) to Fm11.
So I have a question. since the dominant 7th is the 5th scale tone chord of the major scale...Is the #5#9 chord actually a tritone substitution for the 3rd???
Up all Night Beats Yes, the altered dominant chord can be used as a substitution for the 3 AND the 7. Often times on the seven, a typical altered voicing would be a dominant (#9 b5) which sets up nicely to a 3 - Dominant (#5 #9 then to a 6 minor chord. (7-3-6). By practicing 7-3-6 progressions in all 12 Keys, it will become a very nice passing TONE set up to any minor Chord regardless of the key. Therefore, if you are in the key of C and your destination is Dm7, you could play an E7(#9#5) - A7(#9#5) - Dm7, which is a 7 -3-6 passing tone in F. If your destination in Em7, you can play F#7(#9#5) - B7(#9#5) - Em7, which is 7 -3-6 passing tone in G. Mind you, we are still in C.
Wow Thank you for replying first of all. I will definitely use this information. I'm working toward becoming better at jazz and neo soul. and one more question. So having different destinations in a phrase or progression, does that make the music polytonal or modal?
Up all Night Beats it will make it polytonal. It will open up your sound beyond modal and diatonic sounds. Imagine using 251 changes to every major chord, and 736 changes to every minor chord regardless of key center. Will expand your sound tremendously. Also imagine your sound expanding as you substitute chords around the melody. For example, if your melody is C, then C could be the One of C Major, the 2 of B-flat major, the three of A flat major, the raised fourth of G flat major, the fifth of F major, the six of E flat major, the major seven of D-flat major. As you substitute your major chord destinations, you can set them each up with the appropriate 251 progression. The ideas are endless. You can do the same thing with the 736 progression if you substitute minor chords around to C Melody. I just added a Dorian soloing idea to my store my website. Feel free to check that out at joelmccray.com/store. I will be adding a 736 and 251 progression chart shortly.
Great question. Your ear is correct. The 10 is already represented as the third. However the 2 or 9 is not represented. The reason the two is called a 9 is because it lets one know that there is a 7 in the chord. Chords names are typically built from the 1 by stacking 3rds or every other note from the 1 hence, 1-3-5-7-9-11-13. You will rarely or may never see an 8-10 or 12 in typical chord names. One thing to note is that the name of chord does not necessarily mean the order in which notes are played. It just means which notes are in the chord. Thus a C9 doesn't have to be voiced 1-3-5-b7-9. It can be played as 3-b7-9-5-1 or E Bb D G C. So inversions or re-voicing doesn't change the name of the chord, just the sound.
THIS DUDE IS A FREAKING GENIUS!!!!!
Man i love your videos...99% of people doing videos are just telling you what notes to play...that doesn't help me apply it to other songs or my own..But you are fluent with your theory and i appreciate it brotha...keep'm coming
Thx, Man! Thx for watching!
THIS IS ONE OF THE CLEAREST EXPLANATIONS OF #5#9 !!! Plus it also inadvertently talks about tritone substitutions too!! Thank you!!
Terrific instruction, man. Thanks so much. And killer voice. I hear soul.
Finally! Someone talking about how to substitute some chords, beyond the tritone sub. Would love more of this.
The best instructional material out there has this kind of focus on practical usage of the subject matter. Thanks so much for this video! Definitely gave me the information I was looking for.
Wow...I just found this...you are a talented man indeed! Excellent video, excellent information and excellent musicianship!
Larry Marseglia bless you, Sir. Thank you for watching.
Thanks for the video, very good explanation. I personally find it easy to think of the RH as being the relative major of whatever key you're in. Eg in the key of Am, the Altered V7 chord will be Ealt which = G#, D in left hand and a C chord in the right.
Thank you Joel for opening my eyes (ears!) to all the combinations you've put together here. The chart in Dropbox is great to have. Just playing all 6 combinations, based on 1 key alone, really opened up all kinds of new ideas and options for me. Great video, thanks again.
Dang that's a lot of handy music theory presented very quickly and yet also very practically. Thanks!
Been searching for this kind of sound for so long.. Thank you Joel this is really helpful!
Thank you for the tutorials. Love your voice!
Still helpful in 2022, many thanks!
My brain! 🤯 definitely re-watching this multiple times and practicing until its easy to remember
Brotha can sing!
I have to rewatch this like 50 times to understand it well! haha but surely worth the time! thank you!
ill just press random keys
Hey my friend, I learned a ton a good chords pushing random stuff. LOL have a great weekend.
:D
+Joel McCray Shoot me too
hahahahahahahaha
Thank you so much for the clear and concise explanation! This helps me a lot.
Thank you so much Joel, you are brillant. Greetings from Holland!
Needed this information in my life for the longest time. Thank you !!
Very informative video. I did not quite get your last example with the B chord in the right hand as an example of the voicing on a III chord going to a VI using a 7chord with a #9 and #5. I will continue to look at this. Thank you.
Not at the level where I can use this yet but saved for later and subbed just to be safe.
Cheers.
Thanks again Joel! This got me out of a pickle during a jam last nite
Thank you. You have a wonderful gift for teaching.
Exceptional teaching - really clear and love those phat chords - great job, man!
Thank you, Sir! Thx for watching :)
Awesome lesson! Thanks for sharing!
Joel...real eye opener for me (epiphany), thanks my friend!
Great instruction Joel... thanks so much!
I love to watch your videos even though I'm really into John Lennon and The Beatles Music.Thanks for Sharing.
Bravo Joel persone come te esaltano la musica, very professionalììììì tank's
You are so crazy talented. Thank you for a great video.
Super explanation, loved the lesson. Thanks a ton.
Wow I've never seen that explained that way. Gives me another perspective looking at it as a major triad and the root that it's the third of voicing its 3 - b7 tritone. I think we're on to something here.
For C7 (alt) Or any altered 7 chord it's important to understand the tensions available - which is pretty much anything on an alt7.
The alt7 is really thinking in two keys. The V7 of the diatonic key ant the subV7 - these chords share the same tri-tone ( the all- mighty interval that needs a freakin intervention and a bottle of Valium to resolve)
I would analyze the #5 as a b13. I think that is a little more common.
Good stuff Kate. In jazz it more common to few altered dominants as 7th chords with altered 5ths and or 9ths. Yes, I love the tension of the tritones. :) hope all is well with you.
Kate Hanley , great interpretation of tritone interval! I laughed myself silly!
Enjoyed it and enjoyed your logic behind the relationship between the 3 and the 6. I'd like to know what your chords were at the very end of the video, though!
Hey, Glenn, thanks for watching. At the end of the video I was playing 3 - 6 patterns. In Eb I played G7(#9#5) (iii) to Cm11 (vi). Then I played in B, D#7(#9#5) (iii) to G#m11 (vi).
Really good good piano
Thanks for this video I am a guitarist trying to learn some piano.
The fingerings for scales and chords are high on my list to learn and the theory.
Some terminology things come into mind.
I could be wrong but.
When you talk about an altered dominate chord you are talking about the 9 and 13
you can sharp or flat the 9 and flat the 13. (13 same as the 6th octave above 9 same as the 2 octave above)
So when you say sharp 5 that is a b13 on a dominate chord.
Same thing as a #5 but a #5 usually means augmented
I get into grey area here for me as you can have an augmented 7th flatted or 7th natural chord
Maybe worthless knowledge as the sound is the important thing and you have the working skills to make music and teach.
Again thanks again for taking the time to share this lesson.
This is a very good question. When I talk about altered dominant chords, I am talking about altering the 9 the 5 or 11. Usually when you say 13,11 or 9th, it indicates that there is a 7th in the Chord.
Thus a C2 is C D E G
a C6 is C E G A
A Cmaj9 is C E G B D.
A Cmaj13 is C E G A (B) D
A C9 Is C E G Bb D
A C13 is C E G Bb D A
Thanks for listening!
Wish I could get your table. Thanks Joel Great tutorial!
Wow great application by giving theory and how it sounds in a song.
Talented guy!
Hi, I very enjoyed your videos and would like a copy of your chord chart using altered dominants in all twelve keys. Can you deeper into using these chords, especially in gospel music. Thanks
Hello, Peronica, if you visit my website at joelmccray.com, the link to my UA-cam resources (Dropbox) is at the bottoms of the home page. Thx for watching.
Thank you Joel!!
thank you for taking your time to explain in details. back to My question. are both hands playing those diminished 7 chords.
Yes sir. If I play the diminished chords as passing chords to another chord, I often play diminished chords in both hands.
Suggestion: It might be easier for some (it is for me) to think of the right hand as going up an augmented 5th from the implied root, and building the major triad from there (vs going down a Maj 3rd).
hmm good idea
Great point. Here’s my thought process. Your average player is very well-versed with minor and major chords. Therefore, I’m using minor and major chords in combinations with tri tones.
On the fly, it is much easier for someone to play a major chord over tritone than it is for someone on the fly to think of a 13th or 11th etc. I love the theory behind the extensions; however, I’m just trying to make the sounds easier to interpret for the masses.
Of course when I’m playing with jazz bands and other pro players, we don’t have to break down the meaning of such chords. However, on a typical Sunday, in some settings, many players have never heard of these chords. Therefore, in those settings, it’s much quicker for me to talk about the chords that they already know and how to use them in conjunction with other roots to create some cool sounds without violating the theory behind it.
I really enjoy your teaching style. May I study under your leadership? Thanks
Thanks. Helpful for guitarists as well!
Think Marcus Roberts did #5#9 on II and V when resolving to the chorus towards the end of the Wynton Marsalis tune, J Mood.
Great help man! I was wondering if your chard includes other altered chords, like ones with flat 5's and 9's?
Hello Joel, thanks for the video. Pls, I'll like to know where you are taking the 1,2,3,4 etc chord on your left hand. Is it from Key C or Key Ab? And the chords your left hand is holding. Thanks and God bless.
makes a lot of sense !
This is a great lesson! Thanks a lot.
Best wishes from Waco.
Best wishes to you too!!
Dude .. do you have any DVD's out? I need something from you ASAP!!!
Thanks for watching, my Friend! I was actually putting these tips out to see if anyone would be interested in the info. Before I started making more vids. Vids are in the works :)
@@JoelMcCray736251 I AM! PLEASE IF YOU HAVE THE TIME DO A LIVE STREAM OF THESE LESSONS
Excellent lesson. I gotta go woodshed now! 🐢
Thanks for your lessons man
Thank you for making this great video Joel. I understand almost everything except what you are playing in the Anita Baker exampleYou said you are playing C7#9#5 & said you gotta go to the 3. Actually, i think the penny has dropped as I'm writing this. Would i be correct in saying that you are playing AbMaj7 moving to C7#9#5 & back to the AbMaj7?
Really good piano intro
This has been super helpful! Thank you. Subscribed. :)
Have you ever tried thinking of it not as a sharp 5 but as a flat 13? I find it feels like it makes more sense when I think of it that way because the triad is not altered, you are just extending it.
edmx Great question sir. Altered Dominants usually indicate in most jazz studies that we are altering the nine or the five. Also in these chords that I'm looking at I don't have a six or 13 that's being manipulated. I'm manipulating the 5th° of the scale. Again, I think your question is excellent. I'm just using typical jazz voicing names in this particular discussion. Have an awesome day.
Thanks for the reply. I suppose it's because it sounds fine to play a regular 5 over these chords that I feel like we are not really changing the 5, we are adding something else.... but yes it's not a standard way for most musicians to think about it. I just thought you might find it interesting.... and I'm glad you did! Gonna watch more of your lessons now :)
This is also know as the super locrian. Its the 7th mode of the melodic minor scale.
u r great. thanks
Thanks! Very helpful!
nice concept can you add more about subv7 chords
This is awesome man
More like altered suspended chords.......THANK YOU SOO MUCH! :)
Thanks for the super ideas; I need to take it I too would love to have your chart.
Hello, if visit my webpage at joelmccray.com, the link to the UA-cam Dropbox is at the bottom of the home page. Thx so much for watching!
You're so schooled on this stuff, I feel like a complete idiot. Thanks!
doodleedledoo hey, my brother. If you are hearing music in your head. You already ARE a genius. The next phase is applying knowledge to your ear. I only study this stuff to make me more efficient/effective at what I hear. I share it with you and others that we all can continue to grow together. Keep pressing. We in this thang together! :) I started this journey in 2000 because someone kicked me off the stage for jacking up a song. LOL I vowed to never experience that again.
Thank you so much for your kind response. I am getting it.....I've been playing by ear for 40 plus years and so this is just an intimidating part of my continued journey.
So good. thank you
Great vid! You mentioned that you have a chart with the data in all 12 keys; how do I get it?
Try this link:
www.dropbox.com/sh/a4km1t09mk2wryo/AABAiDTt4p6BQh_Di8uSctwsa?dl=0
Or connect to link on bottom my web home page.
www.joelmccray.com
Thx for watching!
***** Thanks!
How do I get the chart? Great vid! Great tutorial! Please please please send the chart. How do I get it?
Hey Eric, try this link! Thx for watching!
www.dropbox.com/sh/a4km1t09mk2wryo/AABAiDTt4p6BQh_Di8uSctwsa?dl=0
If that doesn't work, try the link on the bottom of my web home page at:
www.joelmccray.com
excellent!
Nice!!!
Inspiring!
Thanks so much !
I see you've got guitars in the background,can you show how do do some of this on those?Thanks!
I will try to, I can navigate around on guitar because I am a theory nerd, not necessarily because it's my primary instrument. I just know what I am looking for because of piano theory. :)
Yes,maybe if you could do a split screen thing where you do the same chords or runs on both instruments or have some body else do it on guitar while you play piano.
guitar is my Primary,then Piano ; )
Thanks!
4:11 Mhmmmmmmmmmm! We're not not ready for that church business yet :)
I would love that voicing in all 12 keys
Here's a link to the file. Let me know if you have any problems. Thanks for watching.
www.dropbox.com/s/xq8ryn2k1mp7hv5/Altered%20Dominant%20Chart.pdf?dl=0
If you are unable to access the link, send me an email at
jbmccray@joelmccray.com
and I will email you the link.
How about you stop being lazy an do it yourself
Demetrius Frank do you have these voucings in all 12 keys yet? If so could you send it to me please? @ harleyfrank864@gmail.com
nice vid! please help. I am working up a small tune and it goes... Bbmaj7 - AbDOM7Flat5 - Gm7 - CDOM7Flat5. Can you think of other cool chord that will work with this to extend my melodies?
Bflatest thank you, Sir! Check out ||:Bbmaj7 Ab7(b5) Gm7 C7(b5) F7sus F7#5#9 Bbmaj7 Ebm7 F7sus :||
Your Beautiful fingers ... truly amazing information Thanks
Phenomenal ass video.
how do you like that beringer amp? Any good for a keyboardist?
The behringer amp is light, has good sound range, Watts and punch. However, the hard is not the best. My did not last with the wear and tear of gigging. My Roland KC 550 is more expensive, sounds amazing, it’s still going, has lasted much longer than Behringer did.
Perfect. Sing more maaaaaan! Thanks for the lesson xx
thanks so much
Hie, could you please email me the chart you mentioned in this video. This video has been so helpful! Thank you.
THANK YOU!!!
Thank you sir!
Thnkzzzzz!!
Joel, can you send me the table please. I really like the way you teach
John Owusu-Ansah here you go, my brother! Thank you for watching! www.dropbox.com/s/xq8ryn2k1mp7hv5/Altered%20Dominant%20Chart.pdf?dl=0
What voicings are you using for the non-dominant chords?
I use a of rootless and two hand voicing. For example on my minor chords I will resolve to a 1 5 b3 in my left hand and a major triad a whole step down from the root of the chord. It would like this. Fm11 - left hand F C Ab in that order from low to high. right hand: Eb major chord
Or on the left, I would play a G, Ab, C in thAt order with an Eb chord in the right hand.
In the Fm11 the G is a 9th, the Ab is a b3, the C is a 5th relative to F. In the right hand, the Eb is the b7, the G is the 9th, and the Bb is the 11 relative to the F.
I would resolve to this chord from a C7(#9#5) to Fm11.
Cool thanks. What about the 1 chord?
So I have a question. since the dominant 7th is the 5th scale tone chord of the major scale...Is the #5#9 chord actually a tritone substitution for the 3rd???
Up all Night Beats Yes, the altered dominant chord can be used as a substitution for the 3 AND the 7. Often times on the seven, a typical altered voicing would be a dominant (#9 b5) which sets up nicely to a 3 - Dominant (#5 #9 then to a 6 minor chord. (7-3-6).
By practicing 7-3-6 progressions in all 12 Keys, it will become a very nice passing TONE set up to any minor Chord regardless of the key.
Therefore, if you are in the key of C and your destination is Dm7, you could play an E7(#9#5) - A7(#9#5) - Dm7, which is a 7 -3-6 passing tone in F. If your destination in Em7, you can play F#7(#9#5) - B7(#9#5) - Em7, which is 7 -3-6 passing tone in G. Mind you, we are still in C.
Wow Thank you for replying first of all. I will definitely use this information. I'm working toward becoming better at jazz and neo soul. and one more question. So having different destinations in a phrase or progression, does that make the music polytonal or modal?
Up all Night Beats it will make it polytonal. It will open up your sound beyond modal and diatonic sounds. Imagine using 251 changes to every major chord, and 736 changes to every minor chord regardless of key center. Will expand your sound tremendously. Also imagine your sound expanding as you substitute chords around the melody. For example, if your melody is C, then C could be the One of C Major, the 2 of B-flat major, the three of A flat major, the raised fourth of G flat major, the fifth of F major, the six of E flat major, the major seven of D-flat major. As you substitute your major chord destinations, you can set them each up with the appropriate 251 progression. The ideas are endless. You can do the same thing with the 736 progression if you substitute minor chords around to C Melody. I just added a Dorian soloing idea to my store my website. Feel free to check that out at joelmccray.com/store. I will be adding a 736 and 251 progression chart shortly.
what notes are you hitting when u say a flat major voicecing
Just found this video, was wondering if you could send me a copy of the sheet in all 12 keys thanx
Zeph James, hello Sir, hope you are well. Hit me at jbmccray@joelmccray.com. I will send you a link. Thanks for watching. Merry Christmas!
jeovani foster hit me your email address at jbmccray@joelmccray.com. Have a blessed eve!
this would have been better explained in c. fantastic ideas a little hard to follow in this key . thank you for your ideas E Lee
I see it’s 8 years old…. Do you still have charts pdf, for all 12 keys? I’ve been looking for rootless chord progressions
Hey my friend. Send me you email at joelbmccray@gmail.com
Please send me a copy of your charts. I liked your demonstration! Gayle
What happens at 3:19??? What chords are all those?
I often wonder why the term #9.but to my ear it is a bluenote a b10
Great question. Your ear is correct. The 10 is already represented as the third. However the 2 or 9 is not represented. The reason the two is called a 9 is because it lets one know that there is a 7 in the chord. Chords names are typically built from the 1 by stacking 3rds or every other note from the 1 hence, 1-3-5-7-9-11-13. You will rarely or may never see an 8-10 or 12 in typical chord names. One thing to note is that the name of chord does not necessarily mean the order in which notes are played. It just means which notes are in the chord. Thus a C9 doesn't have to be voiced 1-3-5-b7-9. It can be played as 3-b7-9-5-1 or E Bb D G C. So inversions or re-voicing doesn't change the name of the chord, just the sound.
Sir, could you please email me the table of voicings for every key that you were talking about in this video. I'd really appreciate it.
Larry mcswain good morning, Sir! Here's a link to the voicings chart.
www.dropbox.com/s/xq8ryn2k1mp7hv5/Altered%20Dominant%20Chart.pdf?dl=0
Would like the chart emailed. how do I get that?
Rick Rogers here’s the link. :) thanks for watching!
www.dropbox.com/s/xq8ryn2k1mp7hv5/Altered%20Dominant%20Chart.pdf?dl=0