My music teachers currently consist of trevor wong, bernth, and Sean Paul. All different styles. All worth learning from. Keep this shit flowing trevor. You've taught me more than I ever would have known outside of going to school for this shit
Woooow! I'm considering buying a cheap guitar and start practising in just a few months. Today I found this video, I really like how are you explaining these crucial things... Thank you so much!
It’s perfectly fine in most circumstances to go “out of key” like that if it goes well contextually with the music you’re writing. It just depends on what key you’re borrowing the chord from. Also a lot of the time you’re saying to completely omit a chord because of dissonance but you can even hear when you’re changing the chord how its giving a strong resolution.
It is indeed fine to go out of key. But when I do, I also change the chord degree. If I'm playing in C and I play Bm9 nothing is wrong, but it would feel as a II of A (or a VI of E) rather than a VII of C. In the end I see what you're saying to be perfectly compatible to what is said in the video
I actually like using the m9 voicing on the third degree since it adds a bit of a Lydian tonality, which has a nice effect especially if you've been in natural major and suddenly introduce a sharp 4th! Great video as always!
@@cuteasxtreme It would be E Phrygian if you play a diatonic minor 9th (in C major that would be an Emb9), but if you play a major 9th (Em9) it would add the note F# which isn't in C major, but C Lydian.
I had to revisit that 3rd chord with the flat 2 cause it would be correct to leave it in and I love it but I think he’s trying to stick to the chords that don’t have a flat 2. I love dissonance also so whatevs
I haven't finished this video yet while I'm commenting, but please make other videos for 11th, 13th and even b13 chords too!!! Edit: In 3rd and 6th degree you can use the minor 9 intervals, which is still "legal" and beautiful in some way. Or major 9, if you want a dissonant and ugly sound for purpose. I also think about a chance that we can do the "key modulation" from those 3rd and 6th, but I haven't experimented it yet. Edit 2nd time: 1. The using of minor 9th in my first edit are correct, but ONLY in 3rd. If you use minor 9th in 6th degree...yeah I tried it, didn't work in diatonic.(it sounds...diminished) but otherwise, that's a nice way for key modulation. 2. If you use major 9 at 3rd, chances you;ll modulate to a next key on the right (I don't know how to explain this unless we have a Circle of Fifth here). So does the major 9 on 6th degree. Specially, if you try to add the major 9 in 7th degree you will move to a totally different key. That's interesting but I recommend you not to do that, or you can't go back to home anymore.
Wow bro, for once I actually learned something new, thanks, I'm a guitar teacher of 5 years under my belt and I didn't know the difference between major 9 and minor 9 intervals
super clear explanations, Trevor! some related things that might be worth highlighting if you ever choose to revisit 9th chord theory: a. re: dominant 9 chords - these chords are generally referred to as "9" chords both in traditional charts and in the spoken vernacular. And, while it would be an example of a chromatic tone, flattening the 9 in dominant 9 chords (represented on charts as a Gb9, for example) is commonplace when resolving it in 5-1 in "traditional" western harmony practices. b. it is super helpful to consider the relationship between 4 and 2 chords, and 1 and 6 chords - they are each other's relative minors and tend to have a lot of common chord extensions and, by proxy, hand movements when switching between the two pairs. And, when you apply a similar thought process to the relationship between 5 and 3, you can see how the difference in how 5 chords are constructed affects the diatonic extensions of 3. c. mu chords!! again definitely leaning more toward jazz than math, they still elicit a sense of tonal ambiguity that is definitely usable in math rock just some thoughts!! keep it up!
Wow thank you so much for this video! I've been using a lot of the Major 9 shapes for my 1 and 4 chords and superimposing it over my pentatonic and major scales for reference but this was invaluable! I didn't realize they were 9 chords that I was using!
hey trev my man, could you someday make a playlist with your riffs and tuning videos from your youtube? i'd like to listen to emo jamz while doing college
Also, Trevor - who would you recommend listening to, to get into this genre - what/who are the ‘classics’? And the underrated bands/artists in this style? Thanks
Incredible and useful instruction for me (a drummer learning guitar). Great stuff, I feel like I can bring song ideas to my band now. Did you go to music school?
For whatever reason everything you say makes sense to me on piano but on the guitar it's like you're speaking in a different language. Even if I'm looking at what you're doing I'm too dumb to get it. I'm at this impasse with my guitar learning where I can do scales and play basic songs but when I look at the next level stuff like this I feel braindead.
Hey trevor, love all your stuff im just confused about one thing and thats how ou go about finding the interval on another string in reference to the root. Is it a case of just knowing all the notes in the string or is there some kind of trick to it? I run by this problem a lot in alternate tunings
Knowing intervals and stacking up notes from the intervals. So you find the root note on the A string and then you stack intervals up on top of those to form chords. So finding the intervals between strings, and knowing what note is that interval distance away really helps, Like knowing what a major3rd is between two strings next to each other and where a fifth from the root is, And then you can build all kinds of chords based on stacked intervals
If you know power chords then you know where the fifth is which is a good reference. Just play a major scale and count the notes as you go and you got your intervals
Been watching your videos for a couple weeks now... I'm very picky about who I subscribe to, but your videos are just too helpful not to. These 7 and 9 charts you presented are so useful, I sat down and wrote a song with ease for the first time. Thanks so much for sharing all your knowledge.
Do you play all of the same 7th and 9th chords in its relative minor key? (A minor) with the first scale degree being A instead of C? I’m guessing this will apply to all major and relative minor keys?
In minor, you can think of it as just starting on the sixth degree of the relative major key. Lets say you wanted to find the chords for A minor, you can just start on the sixth degree of the C major scale because that it A minors relative major.
This is definitely for intermediate and advanced students in regards to theory, This was bite sized nice candy for an introduction to 9's I like inversions that start on the root as the bass, it makes so much more sense as a bassist
![[Music Theory #22] 11 types of 9th chord and how to use them](http://i.ytimg.com/vi/iaBMB2t2O8E/mqdefault.jpg)
My music teachers currently consist of trevor wong, bernth, and Sean Paul. All different styles. All worth learning from.
Keep this shit flowing trevor. You've taught me more than I ever would have known outside of going to school for this shit
I got the right temperature fi shelter you from the storm
Same for me ! Wong, bernth, paul davis & many others!
Reminds me of Japanese math rock bands like a picture of her!
Wow I looked up and this band is so freaking awesome! Thank you so much.
Totally agree love that band
Woooow! I'm considering buying a cheap guitar and start practising in just a few months. Today I found this video, I really like how are you explaining these crucial things... Thank you so much!
It’s perfectly fine in most circumstances to go “out of key” like that if it goes well contextually with the music you’re writing. It just depends on what key you’re borrowing the chord from.
Also a lot of the time you’re saying to completely omit a chord because of dissonance but you can even hear when you’re changing the chord how its giving a strong resolution.
It is indeed fine to go out of key. But when I do, I also change the chord degree.
If I'm playing in C and I play Bm9 nothing is wrong, but it would feel as a II of A (or a VI of E) rather than a VII of C.
In the end I see what you're saying to be perfectly compatible to what is said in the video
I actually like using the m9 voicing on the third degree since it adds a bit of a Lydian tonality, which has a nice effect especially if you've been in natural major and suddenly introduce a sharp 4th!
Great video as always!
Wouldn’t it be Phrygian? I love it too btw.
Going from the 3m9 to 4 Major to 4 Lydian is fun
@@cuteasxtreme It would be E Phrygian if you play a diatonic minor 9th (in C major that would be an Emb9), but if you play a major 9th (Em9) it would add the note F# which isn't in C major, but C Lydian.
@@robi481 Yep I actually like that mb9 sound
I was gonna point that out he discounts that sound heavily I think it can certainly be utilized
I had to revisit that 3rd chord with the flat 2 cause it would be correct to leave it in and I love it but I think he’s trying to stick to the chords that don’t have a flat 2. I love dissonance also so whatevs
This was super helpful for my understanding on how to use 9ths. Requesting similar lessons on 11ths and 13ths. Thanks !
I haven't finished this video yet while I'm commenting, but please make other videos for 11th, 13th and even b13 chords too!!!
Edit: In 3rd and 6th degree you can use the minor 9 intervals, which is still "legal" and beautiful in some way.
Or major 9, if you want a dissonant and ugly sound for purpose. I also think about a chance that we can do the "key modulation" from those 3rd and 6th, but I haven't experimented it yet.
Edit 2nd time:
1. The using of minor 9th in my first edit are correct, but ONLY in 3rd. If you use minor 9th in 6th degree...yeah I tried it, didn't work in diatonic.(it sounds...diminished) but otherwise, that's a nice way for key modulation.
2. If you use major 9 at 3rd, chances you;ll modulate to a next key on the right (I don't know how to explain this unless we have a Circle of Fifth here). So does the major 9 on 6th degree. Specially, if you try to add the major 9 in 7th degree you will move to a totally different key. That's interesting but I recommend you not to do that, or you can't go back to home anymore.
I noticed the a minor 9 you played was the first chord from tadow by fkj 👀 first time I picked up on that sorta stuff you help so much
Trevor this is fantastic information, simple and immediately applicable
Wow bro, for once I actually learned something new, thanks, I'm a guitar teacher of 5 years under my belt and I didn't know the difference between major 9 and minor 9 intervals
Yo glad I was able to help ya!!
Great Lesson T, the way you delivered it makes it totally understandable. Thanks for sharing 🙏
super clear explanations, Trevor!
some related things that might be worth highlighting if you ever choose to revisit 9th chord theory:
a. re: dominant 9 chords - these chords are generally referred to as "9" chords both in traditional charts and in the spoken vernacular. And, while it would be an example of a chromatic tone, flattening the 9 in dominant 9 chords (represented on charts as a Gb9, for example) is commonplace when resolving it in 5-1 in "traditional" western harmony practices.
b. it is super helpful to consider the relationship between 4 and 2 chords, and 1 and 6 chords - they are each other's relative minors and tend to have a lot of common chord extensions and, by proxy, hand movements when switching between the two pairs. And, when you apply a similar thought process to the relationship between 5 and 3, you can see how the difference in how 5 chords are constructed affects the diatonic extensions of 3.
c. mu chords!! again definitely leaning more toward jazz than math, they still elicit a sense of tonal ambiguity that is definitely usable in math rock
just some thoughts!! keep it up!
absolutely great video trevor! love the annotations to guide us along while you’re explaining
Thanks Trevor
Great lesson, I was looking for an explanation for 9th chords and found it! Thanks
Essentially a chord cannot be 9thed when there is a semitone. Got it!! Thank you. Makes great sense.
Excellent video man, cleared up a lot of confusion around these voicing a for me.
Just found this channel. Thank you. Subscribed
Wow thank you so much for this video! I've been using a lot of the Major 9 shapes for my 1 and 4 chords and superimposing it over my pentatonic and major scales for reference but this was invaluable! I didn't realize they were 9 chords that I was using!
Great lesson and great teacher. Thanks!
This channel is great!
perfect lesson big thanks
thank you sensei trevor
Thank you! This was super helpful
Great explanation!
This video is awesome!!!
Love this style of presenting theory and explanation!
Thanks so much 🥰
Thanks
thanks for the lesson :)
hey trev my man, could you someday make a playlist with your riffs and tuning videos from your youtube? i'd like to listen to emo jamz while doing college
Also, Trevor - who would you recommend listening to, to get into this genre - what/who are the ‘classics’? And the underrated bands/artists in this style? Thanks
Incredible and useful instruction for me (a drummer learning guitar). Great stuff, I feel like I can bring song ideas to my band now. Did you go to music school?
great, thank you
For whatever reason everything you say makes sense to me on piano but on the guitar it's like you're speaking in a different language. Even if I'm looking at what you're doing I'm too dumb to get it. I'm at this impasse with my guitar learning where I can do scales and play basic songs but when I look at the next level stuff like this I feel braindead.
Hey trevor, love all your stuff
im just confused about one thing and thats how ou go about finding the interval on another string in reference to the root. Is it a case of just knowing all the notes in the string or is there some kind of trick to it? I run by this problem a lot in alternate tunings
Knowing intervals and stacking up notes from the intervals.
So you find the root note on the A string and then you stack intervals up on top of those to form chords.
So finding the intervals between strings, and knowing what note is that interval distance away really helps,
Like knowing what a major3rd is between two strings next to each other and where a fifth from the root is,
And then you can build all kinds of chords based on stacked intervals
If you know power chords then you know where the fifth is which is a good reference. Just play a major scale and count the notes as you go and you got your intervals
Thanks Trevor, that explains a lot! Next 11th? :)
Been watching your videos for a couple weeks now... I'm very picky about who I subscribe to, but your videos are just too helpful not to. These 7 and 9 charts you presented are so useful, I sat down and wrote a song with ease for the first time. Thanks so much for sharing all your knowledge.
Do you play all of the same 7th and 9th chords in its relative minor key? (A minor) with the first scale degree being A instead of C? I’m guessing this will apply to all major and relative minor keys?
damn this is hard because the shape of chords
I would love this if it holds true for 11th an 13ths
Could you use the minor 3rd chord with F# as “minor secondary dominant” to get to Gmajor from C major
The E minor 9 interval sounded cool though...
How would minor look like? What if I wanna write in minor
In minor, you can think of it as just starting on the sixth degree of the relative major key. Lets say you wanted to find the chords for A minor, you can just start on the sixth degree of the C major scale because that it A minors relative major.
Way to disrespect the 3m9 chord. It rips
What a missed opportunity to talk about borrowed chords. There's nothing wrong with diatonicism but there's so many more colors out there.
This is definitely for intermediate and advanced students in regards to theory,
This was bite sized nice candy for an introduction to 9's
I like inversions that start on the root as the bass, it makes so much more sense as a bassist
lol