My New Chord Obsession

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Jimi Hendrix rocked the world with his bold use of a dominant 7 chord with a sharp 9 on Purple Haze. Bring that kind of ROCK and boldness to your jazz and blues playing with this EXTRA bold variation on the same chord!
Much thanks to Aiden for the great job editing this video
Video recorded using:
Earthworks SV33
Earthworks PM40
Hallet Davis Baby Grand

[@Rmanpc2323]

Cap’n Crunch Chord… love the graphics of the note intervals above the keyboard!

[@eurodoc6343]

I recently discovered this channel, and even having it play in the background at work, I still learn something with every video. Your voice is also very soothing but encouraging at the same time. Well done, you have a new fan.

[@DougImmel-y2x]

This is SHOW-worthy stuff on the road, like the Bernstein Music for Kids back in the day. THANK you. 2 year old Rick Beato clip on Oscar Peterson sent me here. Glad to find you. Never apologize for taking us on a trip. We are watching LEARNING, ADVENTURE, EXPLORATION, GROWTH. Powerful 'secret' stuff. Wizardry.

[@EllisThings]

Nice. That final example is great - love it when something ends on an unexpected variation/not on the tonic

[@stratfanstl]

Besides the experimentation atop such a familiar sound in modern music, the on-screen superposition of of the notes as you are adding / removing notes from the mix directly above the key is a very useful / innovative way to map the notational to the physical realm on the instrument. Way cool.

[@AimeeNolte]

Thank my brand new editor, Aiden. Things are leveling up!

[@douglasbroccone3144]

Love to hear her take on Mr Rogers neighborhood theme

[@AimeeNolte]

I have a whole video on the music of Mr Rogers :)

[@insidejazzguitar8112]

Emily Remler used the dom#9 in bar 8 of the blues, going to the II V in bar 9. Sounds great

[@thomascordery7951]

I do love such innovative explorations. It may work better horizontally than vertically, to my ear at least. Playing all those notes at once can be wonderful in the right moment as a spice to be quickly resolved. Perhaps best if repeated three or for times to help less hip ears understand it's a deliberate and 'legitimate' harmonization. Maybe it could develop through a piece with one or two crunchy additions at a time leading up to a full reveal towards the end. Just my thinking, and perhaps I'm a bit too timid. Thank you for sharing this, together with your thought processes of how you're developing it. Looking forward to hearing where this goes!

[@Syncrosound8000]

on the Beatles song "Sun King," right before they start singing everybody plays G13. They are very underrated if that's possible because no one really knows they're incorporating This stuff.

[@taylorrobertsguitarist]

Awesome Aimee!! 🤘🏻🤘🏻🤘🏻

[@mksounds6326]

Some tasty chops. You're a heck of a player.

[@davegarski1548]

I have been studying more and more of these extended chords on guitar with my students for the past few years. Since I only have six strings, I risk finding more "cluster chords", where too many of the notes are too close together, creating an uneven balance of highs and lows in the chords. I find alt. chords mathematically fascinating in the blues - sort of like extra colors on your paint pallet. I can see doing extended chords in blues, as long as the melody/improvisation sits far enough away from them to create that more even balance of cool weirdness. Whenever I jam blues with my students, I'll sometimes play a m9 = I, 13 = IV and the 7b9#5 =V. Those kinds of chords allow so much space and forgiveness in improvisation.

[@chrishelbling3879]

The G7#9 on a piano is trying to replicate the note "in between the keys" of b3 and 3, as can be bent into by guitar, harmonica, clarinet, and voice. See the piano stabs at ends of phrases in the chorus of Maybe I'm Amazed.

[@matthewwillis4892]

Jazz is not dead it just smells funny.

[@dividedwords]

8:49 There's one at the end of each chorus of the head of "Midnight Blue" by Kenny Burrell. ... Swell vid, Ms. N.!

[@SurferJoe1]

I'm always surprised to hear the 'Hendrix' chord pop up on earlier Beatles stuff- is that it sneaking into little turnarounds in "I Don't Want To Spoil the Party", and "What Goes On"? (And what are they doing with their voices on "Drive My Car"?)

[@matthewgoldberg1461]

At 7:37 you ask how to voice a dominant 7b5#9 on guitar. I cannot find a general solution without the assist of an open string, which mean my solution works only in this single key. So, for Db7b5#9: Db on 9th fret of 6th (low E) string, 2nd finger Cb (=B) on 9th fret of 4th (D) string, 3rd finger F on 10th fret of 3rd (G) string, 4th finger G (flat 5th) on 8th fret of 2nd (B) string, 1st finger E (sharp 9th) open tone on 1st (high E) string. Aimee, I will privately email you a photo of how I do it.

[@ManWithoutThePants]

You could do a regular dom7#9 and with first finger do a barre that plays the major 3rd on D-string and b5 on high e-string.

[@matthewgoldberg1461]

@@ManWithoutThePants Yes that works and in any key

[@dessiplaer]

Thanks for the video. I like this type of content.

[@jaykavanaugh8975]

Cool jazz era chords.

[@vincognito]

I could be way off about this and I haven't ear-checked it this morning (because I'm just waking up), but I used to play E7#9 for the so-called 'Hendrix Chord,' yet it kept sounding not quite like what he was playing. Then one day I discovered the sound. It's built using the open low E string on guitar and playing a D and G on the B and E strings. In short, the voicing I kept hearing was E-D-G with no major third in the chord and the E being two octaves down from the high D and G. The chord, without the maj3rd interval, has a lot of raw bite to it compared to a standard guitarist's #9. Granted, you can call this chord Emin7(no 5), BUT...the maj 3rd may come out of the harmonic of the low E string especially when using a Marshall Amp full at max volume. Upon just now watching some live video of Purple Haze, you can see that he shifts between the 'open' chord on guitar that I'm describing and the standard #9 a guitarist would use, built as E-G#-D-G (close voicing.) Granted, there IS a doable #9 in the open position on guitar and there's the rub. I can't see whether he's grabbing the major 3rd off of the G string or not, so like I say, I could be off about this. That said, I've tested the sound on my own instrument and the E-D-G voicing does indeed sound authentic. (If you try the E-D-G voicing on piano, make sure the E is two octaves below the Perfect 4th D-G.)

[@Keith-zc2nn]

Love those horses 9:05 "The Call to Post"

[@kencory2476]

Love those crunchy chords...just can't use them in my own comping.

[@kassemir]

It's a cool sound, but to me, on piano, arpeggiating it and using it for licks sounds way better than having all of it sustain at once :)

[@bobbygadourymusic5476]

Sweet!

[@florianolebinski730]

I don't think that 5 chord in Man In The Mirror is a 7#9, there's definitely a sus4 in there and a 7th, but Michael sings the minor 3rd, so it sounds more like a minor v chord borrowed from mixolydian.

[@Kneith]

Reminds me of Scott Henderson, if anyone has done that on guitar in a blues context I would bet on him.

[@thomascordery7951]

Did Jimi Hendrix think of this as adding #9 or was he putting the minor third on top of the dominant chord?

[@UrbanGarden-rf5op]

I would suggest that thinking about the #9 as a minor 10 (the minor third one octave higher), would make it easier to understand the function of the note/chord. I hear the competing maj and minor thirds as THE blues-third, somewhere in-between major and minor. To me it sounds like a sus chord, wanting to resolve to the “proper” third. Please keep blowing my musical mind. Here and on Nebula both 𝄢

[@surprise3940]

That's the chord you don't hear often. 1:34 1:35

[@AlanBram]

Doesn't Purple Haze go to the IV and then the V on the "all in my brain" part?

[@TheRealSandleford]

I guess hendrix played it more but day tripper (to find out) ate that up

[@YellowJello57]

Pretty hard to voice a dom13b5#9 on guitar. Pretty quick you find you have to drop notes

[@billhasty5197]

Not sure how it became known as the "Hendrix Chord". The Beatles used it in the song "Taxman" long before, and you know Miles had to use it somewhere.

[@AimeeNolte]

It goes way back - I have traced it to Ravel! I may make a video about that at some point. Idk - it was heavily leaned on by JH and pretty iconic. Not sure why either but it doesn’t bug me

[@billhasty5197]

@@AimeeNolteDoesn't bug me either. Thanks for the info and look forward to a future video.

[@matthewgoldberg1461]

First chord on Kenny Burrell's album Blue Midnight, song Chitlins Con Carne -- 1963

[@VirtualModular]

I had exactly the same discussion with someone else recently. Hendrix obviously didn't invent that chord, but he was the first to play it on an upside-down strat through a screaming Marshall stack, followed by shagging the guitar, playing it with his teeth then setting fire to it. That's why he came to own it. It's all about the context.😉

[@tabor503]

I don't hear it in man in the mirror?

[@matthijshebly]

I always feel (and will always feel) that it's not a sharp 9, but a minor 10… That major 3 -> minor 10 is a diminished octave, not a 7th. It has no "9-ness" about it, it has the feel and function of a third / tenth. #9 is, in my not-so-humble opinion, a misnomer.

[@EobardFerguson]

I've always thought it is an ugly-sounding chord. Even when Hendrix used it. It sounds 'broken', and not in a good way.

[@StratsRUs]

You do you

[@EobardFerguson]

@@StratsRUs pretty sure I did

[@apparentlybrian]

Check out Larry Carlton's intro to Steely Dan's "Don't Take Me Alive" for a killer Dom7#9.

[@EobardFerguson]

@@apparentlybrian I listened to it several times, thanks for the suggestion! It sounds off balance and unsteady, which I assume is what they were going for. 70s guitar just isn’t my thing, I can admit that. My favorite chords are 6th chords. They sound angelic to me, like they’re reaching to something above- the Hendrix chord sounds like it’s thrown together, an accident. Totally get why it appeals to people, though.

[@apparentlybrian]

@EobardFerguson YW...That b3 on a dom7 platform is definitely crunchy. It's good for groove records like Blue Train, Green River, Shining Star, or it can resolve nicely like she showed on Walk Between Raindrops and Man in the Mirror. BTW I hear you on 6ths.. My ears hear the major triads in minor sevenths so A-C-E-G is Am7 but also is C6/A. 😎

[@theloniuspunk383]

"what if hendrix was european"

[@tabor503]

The michael jackson sounded way better than the purple haze one.

[@billgrabbe9992]

Beautiful women that do crazy stuff terrify me. 🙀