My life used to be a mess. I was a failure. Then I found the Open Studio Podcast with Peter Martin & Adam Maness and now I'm a smashing success, and you can be a success too!
Excellent podcast. Had not known until now that altered 7 chord must use ALL possible altered notes (b9, #9, #11, and b13). So really it boils down to NOT playing an unaltered 13 and NOT playing an unaltered 9 and NOT playing an unaltered 4th.
As a classically trained pianist with 40 years experience, I take my hat off to you guys and all jazz players. I don't think you know how gifted you all are.
Sus 7 chords explanation so helpful for dolphin dance solos. And chords in general. I think of as as root note. Then do a maj 7 chord from the note a tone below. E.g F13sus4, il play Ebmaj7/ F
This was helpful. Thanks. On the slash chords, I think it should be noted that it sometimes indicates a chord inversion (if the note is part of the usual chord tones). The C maj 6/9 part was somewhat new to me.
The "3rd on the dominant 7 sus 4 chord is properly understood as the 17th. It is only really played above the 4 (if below it generates a minor 9th), so this is an extension going into another octave, past the 13th, which is also a nice extension of this chord. You could spell the chord and its extensions as 1-4-5-7-9-13-17. Sorry to get so academic, but a proper understanding yields more insights.
@@DonyaLane If that line of thinking interests you, next think about the 15th, 19th, 21st and 23rd of a chord. You can have extensions through all 12 notes.
I first heard about the altered scale from the Aebersold books, which calls it the "diminished whole-tone scale," and doesn't try to relate it to melodic minor.
Coker and Baker used to call the altered scale:"diminished wholetone". Also for G7alt quick-mercury thinking:"Db9#11/G". Most people can think of lydian dominant more quickly than alt. Bass player has the root. Thanks, Gentlemen ⭐🌹⭐🌹⭐
I was taught the altered scale, all the ways… Ultimately, chord-wise, I didn’t get it until it was simplified to core components R b9/#9 3 b5/#5 b7, with the R 3 b7 dominant sound not lost in the meta analysis. I mean, we can spell the corresponding scale as R b2 b3 b4 b5 b6 b7, call it melodic-minor starting on the seventh, diminished whole-tone, super-locrian, and/or mention #11 b13 (no 5), but… Cheers all, Daniel
And on a less burning note… ;-) Thanks for covering tonic major 6 chords-the same holds true of tonic minor 6 sounds, sometimes more so, I’ve found. And on the 7sus sounds, I think of them as ii-V’s squashed into a single dominant chord.
On Toon's other than Green dolphin Street I like to just play a three note 6 9 chord rootless, it gives me that McCoy! Ie e a d Would this be wrong to play over green dolphin?
So I apologize if I missed this but can you confirm that in a 6/9 chord the 6 is “substituting” the 7 which is why it’s not a major 7 chord right? Otherwise if those tensions were together the chord would be viewed as a 13 right? The 9 is an “add 9” for the 6/9 chord isn’t it.
Thanks guys -really love your podcasts! Probably not the question for this particular podcast but I was working on Peters topics of Quartet Voicings ,melodic ideas and playing outside. My question is what quartal Voicings to use against altered dominants ? I have used quartal Voicings Of The Tritone ie playing F#7 quartal over C7 +9,+5 . I also worked out quartal Voicings based off the ie. C harmonic minor to fit a C alt . What do the pros do? Thanks -Mike (from Chicago)
Hey guys. Really great episode! Thanks. You touched on slash chords. My question is: how are composers generally writing the chord symbol for two superimposed triads (or 7th chords or polychords)? And you did allude to this. I understand the simplest notation would be the best. But in the case of triads especially, could a slash be used? Thanks for any insights
My life used to be a mess. I was a failure. Then I found the Open Studio Podcast with Peter Martin & Adam Maness and now I'm a smashing success, and you can be a success too!
Idk why I think this comment is so funny but I do. XD
Excellent podcast. Had not known until now that altered 7 chord must use ALL possible altered notes (b9, #9, #11, and b13). So really it boils down to NOT playing an unaltered 13 and NOT playing an unaltered 9 and NOT playing an unaltered 4th.
As a classically trained pianist with 40 years experience, I take my hat off to you guys and all jazz players. I don't think you know how gifted you all are.
After only a month or so of discovering Open Studio my playing level has gone way up!
I'm glad you guys brought up the major 7 under the melody root note, drives me nuts how many charts write that!
Framing the altered scale as half of "half-whole" and half "whole" is nice; I like it. Thanks for that jazz nugget.
This is great! I have always wondered why an Ebmaj7 chord sounds "off" when playing On Green Dolphin Street!
This topic should be discussed so much more often. Thanks
Sus 7 chords explanation so helpful for dolphin dance solos. And chords in general. I think of as as root note. Then do a maj 7 chord from the note a tone below. E.g F13sus4, il play Ebmaj7/ F
This was helpful. Thanks. On the slash chords, I think it should be noted that it sometimes indicates a chord inversion (if the note is part of the usual chord tones). The C maj 6/9 part was somewhat new to me.
The "3rd on the dominant 7 sus 4 chord is properly understood as the 17th. It is only really played above the 4 (if below it generates a minor 9th), so this is an extension going into another octave, past the 13th, which is also a nice extension of this chord. You could spell the chord and its extensions as 1-4-5-7-9-13-17. Sorry to get so academic, but a proper understanding yields more insights.
That's very interesting! Who would ever consider the 3rd of a chord an extension? But I kinda like the way you're thinking of it!
@@DonyaLane If that line of thinking interests you, next think about the 15th, 19th, 21st and 23rd of a chord. You can have extensions through all 12 notes.
@@johnchapman5037 , ummm... OK, now my brain hurts! That's like thinking of infinity in space. LOL
@@johnchapman5037 That is very interesting, thank you for sharing!
i can only count to 13 sorry
I first heard about the altered scale from the Aebersold books, which calls it the "diminished whole-tone scale," and doesn't try to relate it to melodic minor.
Coker and Baker used to call the altered scale:"diminished wholetone". Also for G7alt quick-mercury thinking:"Db9#11/G". Most people can think of lydian dominant more quickly than alt. Bass player has the root. Thanks, Gentlemen ⭐🌹⭐🌹⭐
If you're the bass player, just look at the second part, if you're the drummer, don't switch to the flat ride in the middle of the measure.
Important lesson 4 me !! Thx 😎
I was taught the altered scale, all the ways… Ultimately, chord-wise, I didn’t get it until it was simplified to core components R b9/#9 3 b5/#5 b7, with the R 3 b7 dominant sound not lost in the meta analysis. I mean, we can spell the corresponding scale as R b2 b3 b4 b5 b6 b7, call it melodic-minor starting on the seventh, diminished whole-tone, super-locrian, and/or mention #11 b13 (no 5), but… Cheers all, Daniel
And on a less burning note… ;-) Thanks for covering tonic major 6 chords-the same holds true of tonic minor 6 sounds, sometimes more so, I’ve found. And on the 7sus sounds, I think of them as ii-V’s squashed into a single dominant chord.
The eighties-tough time to be exposed to jazz pedagogy. Lol.
A/C7 is another way to write a C13b9 chord and Ab/C7 is another way to write a C7alt (C7#9#5) chord. Some people use these. The can be handy.
On Toon's other than Green dolphin Street I like to just play a three note 6 9 chord rootless, it gives me that McCoy!
Ie e a d
Would this be wrong to play over green dolphin?
I’m new to your channel, but that I God for those MIDI controllers you are now using in 2020.
agreed!
#ABL
So I apologize if I missed this but can you confirm that in a 6/9 chord the 6 is “substituting” the 7 which is why it’s not a major 7 chord right? Otherwise if those tensions were together the chord would be viewed as a 13 right? The 9 is an “add 9” for the 6/9 chord isn’t it.
Michael Daugherty He said 6/9 chord is ONLY used when Melody note is the root note: "C, E, A, B, G, C".
He said 6/9 chord has a DISTINCTIVE sound.
As a trombone player, I’m sorry that you were told that a maj6/9 and maj7 are the same. It’s truly tragic how poorly I’ve been represented.
Same scale, but very different chord!
Thanks guys -really love your podcasts! Probably not the question for this particular podcast but I was working on Peters topics of Quartet Voicings ,melodic ideas and playing outside. My question is what quartal Voicings to use against altered dominants ? I have used quartal Voicings Of The Tritone ie playing F#7 quartal over C7 +9,+5 . I also worked out quartal Voicings based off the ie. C harmonic minor to fit a C alt . What do the pros do?
Thanks -Mike (from Chicago)
Thanks for this question, Mike. We might have to do a whole episode on this topic. Stay tuned...
That would be awesome ! Thanks , I'll eagerly stay tuned .
Hey guys. Really great episode! Thanks. You touched on slash chords. My question is: how are composers generally writing the chord symbol for two superimposed triads (or 7th chords or polychords)? And you did allude to this. I understand the simplest notation would be the best. But in the case of triads especially, could a slash be used? Thanks for any insights
Two years later . . . Polychords are indicated with a horizontal line.
@@garygimmestad4272 haha. Better late than never. Thanks man. I kinda figured that was the common way to notate poly chords but wasn’t sure :)
2
You need a camera for when you’re playing the piano! Can’t see shit
Ouch, get off the stage for playing a major 7 on a song ? Jazz is rough
Erique Johnson dude said PLEASE get off the stage 😂
I’d say take Peter with a grain of salt. He just likes to clown around.