Gospel Piano Tutorial - #9#5 Dominant Chords

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[@hearandplay]

Please LEAVE A COMMENT And HIT THE LIKE👍BUTTON If you LIKED or LEARNED SOMETHING 😇🙏😇🙏
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[@natemickens88]

Fully commit to these tutorials then you’ll never run out of time. Love to go further with this

[@joannefehr5862]

Very nice

[@beni_10_]

Thx Jonathan.. now it's so clear for me... waiting for more complex chords... Be. Blessed!!

[@s0nald327]

This guy can truly speak with his hands 🤯

[@hearandplay]

Man... and those chords haha!

[@utube0803]

Thank you so much! This is a great video! I am a female musician and I am determined to keep sharpening my craft. This kind of great material speaks to those of us who came out of the music game due to life (having kids, etc) but are still musicians to the core of our hearts. God bless you for sharing.

[@hearandplay]

God bless you too Cee Dee!

[@joannefehr5862]

Very good

[@mrbrickmore]

Well Church " The West Coast Musicians are the baddest "

[@rachelle_banks]

I think for my mind I would say that the individual notes of the first chord... I would look for somebody to write Db2 with F&A in the bass. But I understand that that would not show me the concept of what tone to make necessarily in whatever key. But my brain does not think about chords that way for some reason. I will practice it.

[@richardtemple9292]

I like how i can see the notes and your hands

[@hearandplay]

Awesome! I'm glad it is helpful to you. - www.GospelMusicTraining.com

[@patriciajones915]

Can I buy a book for starting out

[@Russlld]

2:06
2:40

[@karakatazeneat8981]

Hi I just subscribed to your channel because I love the content. Pls have shared my email with you in your link. Kindly share with me with all the things I need to take my playing to the next level. Thanks and God bless

[@marcobattigelli]

Why the hell do you call it dominant #9 #5? This is a dominant #9 b13! That note is truly a Db and not a C#. And NO, IT'S NOT THE SAME. The spelling of the dominant chord often suggests the voice leading. In the case you mentioned, which is very typical for gospel, R&B, etc, the Db resolves into a C, which would be the 9th of your vi chord, your Bb-9. You would call it dominant #5 if you had a C# that resolved onto a D in the next chord, but it's very unlikely to have BOTH the b9 and the #5 because of the voice leading. It would sound very weird.

[@hearandplay]

FOR YOUR VOICE-LEADING CONCERN
As long as the integrity of the F dominant chord (which is determined by it's skeleton [A and Eb]) is NOT compromised, every other tone can be resolved to the closest possible alternative.
Here's how the voice-leading concern works:
A which is the third of the F altered chord resolves to Ab which is the seventh of the Bbmin9 chord.
Eb which is the seventh of the F altered chord resolves to Db which is the third of the Bbmin9 chord.
Having resolved the skeleton of the chord, every other tone can be resolved to any nearest option.
FOR YOUR SPELLING CONCERN...
Let's forget about the Bbmin9 chord and resolve to the Emaj9 chord...
Can the F altered chord resolve to the Emaj9 chord?
Yes!!!
Why? The F altered chord can resolve to the Emaj9 chord because it's a tritone substitute of the Bbdom7 chord (or any chord in the Bb dominant family).
Although Eb is NOT the seventh tone of the E major scale, that does not contradict the application of the F altered chord as a dominant chord that resolves to the Emaj9 chord. Or does it?

[@BurgessBoyExperiencePublishing]

Got eem lol shout out to hearandplay.com

[@AwesomeMan2696]

@@hearandplay woooo JP coming in with the theory on em, my dude 😎

[@hearandplay]

@@AwesomeMan2696 😉