The Maj7(#5) - A Bill Evans sub for the V chord (Jazz Guitar Lesson)
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- Опубліковано 1 жов 2024
- The Maj7(#5) - A Bill Evans sub for the V chord
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A look at the Maj7(#5) and how it can be used in a ii-V-I as a substitute for the V chord.
Great video! Love this concept, one of my favorites. I think it's important to note that this sound works particularly well because the ma7#5 on the V of any progression will contain a major triad a HALF step below the tonic. For instance, Dma7#5 is just an F# triad over D. F# major (F# A# C#) voice leads very naturally to Gma7 or whatever tonic variant. You can also use this Dma7#5 ON the one chord (over G as the root), as a delayed resolution, which again is a very common and idiomatic sound (also can be thought of as the i diminished major 7 resolving to I) .
Like: Am7 | D7alt | Dma7#5 Gma7 |
The Dma7#5 also exists in B harmonic minor, and D melodic major, which could be other sources of linear/harmonic notes to choose from.
Love your videos and playing! Always excellent
Yes, great supplemental info Zakk. Thanks my friend!
Thanks for the great explanation Zakk. A nice idiomatic example is Fats Waller's Sin To Tell a Lie. The second chord in the tune is Gma9#5, which sounds like a B7 except there's that G in the bass! ua-cam.com/video/Lw9462hZGBc/v-deo.html
I agree with you. Just add the fact that, a major triad an half step below the tonic can be seen as the 4th degree (lydian) from the key center of tritone tonality. For example, D-7 G7 Cmaj7, tritone is Db7, instead of G7, then substitute Db7 with chords from F# major scale (tritone key center). So the fourth degree in this case is Bmaj7#11 that can substitute the G7 and contains B major triad. Usually major seventh chords that substitute the V are, like here, from a step below the resolution, or an half step above the resolution (Dbmaj7#11, that can be seen as fourth degree of Abmaj7 scale, that is valid because G locrian works well on G7alt). An other interesting substitution in terms of major7 instead of dominant is the major7#4#5 chord a step below the resolution chord, derived from melodic minor Ab (so you think superlocrian over G7, third degree gives you a Bmaj7#4#5 that resolves to Cmaj7). Actually I've never thought the major seventh #4#5 on the V degree, so a G7maj7#4#5 instead of G7, as a substitution..
Hey chris,
A student of yours.
Tgank you
Took 2 months of lessons from you
In middle school
Im 25 and play full time
Listened to your jazz cd non stop through a stressfull ballet career
Now knowledge from your taylored and pointed lessons in technique and professionalism are my livly hood
Peace love and soul
Jomathan brown
Hi Jonathan! Yes, I remember you my friend. Thanks for the kind words. Connect with me on facebook or instagram
So then you have to practice soloing over that.
To get B Melodic Minor to resolve to G Major is tricky, it's awkward. I guess the obvious thing would be to resolve the G flat major triad up to the G Major triad, but that kind of sucks. Im going to loop this progression and practice it, I have never heard of this subscription before, thanks.
Thank you Chris, just wish that I lived in the US and so could come and listen to you and your band. What a wonderful sound - I've heard it in Bill's playing, especially with cluster voicings, but never really understood what he was doing.
Thanks Rick!
very nice....and also...nice tone! I have to ask since you are the only person I have seen used both....what are your thoughts on the Gibson vs Epiphone Byrdland? I have considered both but I never have access....I currently play a Guild/Benedetto Johnny Smith...love if but sometimes scale length a little long.....I would love to hear from you on these two guitars....
I also play a Guild Artist Award and the size and scale length make it difficult for me. I still play it, but can't play it for many hours without developing some pain in my left hand. The Byrdland size is great for me. very easy to play. I sold the epi and still have the Gibson. Definitely feel like the Gibson is better quality, but the Epi was a great guitar too
It's also in harmonic major, I and VI, and III of harmonic minor
Awesome video! So envious of that Byrdland, haha! Ever checked out James Blood Ulmer?
I Have! Thank you!
Chris, do you have any of those Gibson's you would like to give away? Tee Hee, nice guitars .
😁😁😁
Love this video, I’m waiting for a byrdland in the mail! Do you love playing it?
Thank you Jetty. Yes, I love it!
This was beautiful! I thought I knew everything about the Modes of the Melodic minor in Dominant Function but this was new. The DMaj7#5 can be thought of as Gb/D, with the Gb being a chomatic approach to Gmaj7. So Dom funtion but not Perfect cadence, so nice! Was there a specific plav
ce Bill used this? sounds familiar.
Thanks Chris ! Very nice sub , love Bill Evans piano work. It’s funny when people ask me who’s my favourite guitar player I’ll sometimes answer with a sax or piano player.
Merry Christmas and a Happy New Year.
Thank you Adam!!!!
Is it possible Bill was thinking tritone sub. If you have Dmaj7#5 in root position and think of it as the V chord and you want to use the tritone sub the new root would be Ab. Considering Ab is the root the chord arpeggiated is 1 b5 dom7 9 11 or Ab D Gb Bb Db. Which fits your scale, using the scale you find the third is minor so I think of this as a Abm7b5#2. Some people might call the #2 a natural 2 but since it's a whole step above the root not a half step as in the locrian scale I call it #2. Thus the progression then goes from Am7 to D7 to Gmaj7, which is the original to Am7 Abm7b5#2 Gmaj7. Simple chromatic bass movement.
Possibly, but the way I am organizing it in my head is different than a traditional tritone sub
No that's cool it's variation on the theme. Seems like you have an insightful listener group. I love your tone what is your thoughts on the amp you are using.
Wow. Really incredible. Great demo thank you!
Thank you 🙏🏻
Thx Chris! I didn't know about this application of the Maj7#5 chord) This chord can also be attributed to the Harmonic Major scale! In this case D harmonic major. Harmonic major is a major scale with a flat 6 instead of a natural 6. In India it is called "Nat Bhairav" The V mode of harmonic major is like Mixo with a flat 2 (Ahir Bhairav). I learned from guitarist Davis Ramey from Sebastopol, Ca in 1980-'81. He thought of jazz as having 4 parent scales: Major, Mel Minor. Harmonic Minor and Harmonic Major))
Thanks Antar!
Theoretically, how do you explain the tension/relief relationship between a maj7#5 chord and the tonic?
I just find your channel, the best explanations and examples on a real context, i appreciate this information, is priceless!! I’ll visit your patreon for sure!
Thanks bro!
Thank you!
Great idea. thanks. I often use the diminished 1 chord to resolve to the one chord but never thought of this before. Same kind of idea with the triad a semitone below but this is a little more exotic. A nice new flavor to add to my playing.
That was beautiful, Chris.
Gives me something to interrupt my dull repetitive 2 5 1 loop that's driving me nuts. Now I will almost sound like I know what I'm doing! Ha ha. 🤣🤣🤣🤣
Glad you enjoyed it!
What a wonderful lesson. 👌🏻Thank you for all that you do 🌹
Glad you enjoyed it Steve!!!!
Delicious! I hope that you will publish a collection book of all these short chord melody examples in near future,,,
I hope so too!
Just "discovered" you and am enjoying your teaching and videos. I've not used the maj7#5 in this context, I've used it over the Bb7alt chord coming from the B Mel minor as you said. But that sound is very different and i like the way you're using it. Thanks .
thanks William! I thought is was a clever use of harmonic tension by Bill Evans.
Beautiful chords I always see the melodic minor in that chord ... Great lesson thanks very much 👍🎸🎶
You're very welcome!
I can see the application. I always thought I had to use a dominant 7 for some reason.Sounds great as sub.Appreciate the teaching.
Yes, it is unusual to replace a dominant 7th chord with a major 7, but since the dominant 7th is the chord that gets altered in a 2-5-1 we are replacing it with a different quality chord , but it still has tension because of the sharp. Just don't do it if you are playing with another harmonic instrument becasue it will clash against a dominant 7th. Works great for solo playing.
@@ChrisWhitemanGuitar Got it! Thanks
Chad Evans teaches weird chords
Wonderful! When I finished watching this tutorial I subscribed to your Patreon. This is gonna be fun ...
Thanks Michael, I am glad you enjoyed it. And, thanks for your support on Patreon!
Nice one cheers 🇦🇺
Thank you
There's Chris, always making my brain a little bigger and happier.
Gary!!!! Good to hear from you my friend🙂
Very cool vid I am learning a lot, I honestly don't know how I could have those info without this vid
Glad I could help
You sir are a true genius and philanthropist. Nomoshkar neben sir! (From kolkata)
Thank you my friend!
Nice guitar playing Demo Chris. Well done ✨!
All the best / Bernard 🇫🇷.
Many thanks!!
Gorgeous as always. Sorry to say, some of the stretches are impossible for me, but I can revoice and or use the top three notes in some cases, such as the first example of Dmaj7#5.
The advantage of playing a Byrdland with a 23 1/2 scale :)
Wonderful sound.
Thank you!
muchas gracias
I need lessons. I'll be long dead before I figure this out! Still, good to see you, Man lol.
Ha! I thought health coaches lived for ever!
Excellent thanks for sharing 🎼🎶🇲🇽
Thank you 🙏🏻
Very helpful video! Im gonna be using these all the time now
Glad it was helpful!
Thank you for sharing this Chris!!!
My pleasure Robson!!
Such a beautiful soul and always wonderful videos! Thank you!!
Thank you Jon
Very, very cool. Thanks for sharing!
Thank you
Sounds amazing! Thanks for sharing!
Glad you like it!
Nice - but why does it actually work ? (aside from what Zakk added below)
The V is where the tension is in a ii-V-I and we are replacing the V (dominant) with another flavor of tension (Maj7#5) to create something less common. Would not use this sub if I was playing with other people without discussing it first.
@@ChrisWhitemanGuitar Yes, the piano player already hates me
This is good.
Thank you
@@ChrisWhitemanGuitar Try the "Evans" type changes on When You Wish Upon a Star.
Very cool! Thanks, Chris.
Glad you liked it!
Just purchased the PDF I enjoyed playing it thanks - and now I know Maj#5 is a substitute for Dominant 7 haha great stuff love it absolutely
Awesome! Thank you!
Thanks Chris!
I wrote a piece some time ago that goes: Amaj7-F#m7-Bm9 and Ab/E , which is a Emaj7(5#) and sounds beautiful (in my mind) as substitution for E dominant.
In Luis Alberto Spinetta´s and Toninho Horta´s music we can find other beautiful applications of this more advanced harmony
Thank you Andres. I love Horta's music
Very useful and refreshing!
Thanks Ralph
WOOW super sound
Thank you!
Very cool, thanks
Glad you liked it!
Great stuff. Thanks
Thank you
Great stuff Chris!
Thanks!
Great stuff!
Thanks Kurt!
I’ve never heard of this sub before. Thanks so much, Chris.
Glad it was helpful!