Dominant 13(#11) // Chord Of The Month #6

[@Piano_Pig]

What chords do you guys want to see in future episodes of Chord Of The Month?

[@javierf55]

The last six chords of Time (Pink Floyd) and why ending like that is so genius

[@user-gi3ro9rm9k]

Mink Warner Isnt that a Major bVI in first inversion?

[@user-gi3ro9rm9k]

V7 (#5 b9) please!

[@b00i00d]

I know it's a bit old hat and perhaps cliché, but what about diminished 7th chords, particularly in terms of typical chord schemes they are used in?

[@clayjohnson2618]

@@b00i00d Diminshed sevenths are usually flat nine chords disguised. For example, in the first bar of Have You met Miss Jones the progression looks like: F6 - F#dim - Gm7 - C7. In this progression the F# diminished is really functioning as a D7 b9. So the implied progression is: F6 - D7b9 - Gm7 - C7.

[@b00i00d]

the chords themselves are fairly simple but getting interesting voicings is a whole art form that can be a little intimidating to newbs like me (and I suppose even for more experienced players) so your videos are lovely introductions and greatly enjoyed!

[@Ngarukiyedaniel]

Oh! keep teaching us in this way .

[@DavidBadilloMusic]

What a chord! Crunchy, delicious! It evokes fantasy and delirium!

[@paulcrooks4467]

You're an absolute genius. I'm for real. The way you separate it . Now it's easier to even inverted the triad

[@9monava]

Great series and concept -- excellent explanation! Thanks!

[@johndecicco]

Here's a chord for our times: Covi/D

[@arcioko2142]

poly chord time Cº/vi/D vi is just a minor

[@EarthpianoMusic]

Great video! A funny, yet brilliant, idea for a series! Thank you for sharing this and making your videos really entertaining and informative.

[@Piano_Pig]

Thanks bro - I appreciate it! Good to hear you're enjoying the series :)

[@stevehenry325]

Vary well explained and made that 13 # 11 easy to understand. Nicely done!

[@Piano_Pig]

Thanks bro! Glad you enjoyed it :)

[@Saxyworld]

Christmas time is here. Vince Guaraldi. Good example!

[@MrMusicgenius]

Barry Harris Family of 4 dominants. All dominants come from a diminished 7 chord. A diminished 7 (A C Eb Gb). Lower any of the notes by a half step and makes a dominant chord. Ab C Eb Gb= Ab 7 A B Eb Gb = B7 A C D Gb = D7 A C Eb F = F7 So in the key of C. G7, Bb7, Db7, E7 all works because it comes from G#/Ab diminished 7. If you notice the notes G,Bb,Db,E spells out a G diminished chord. So if you combine the G diminished and the G#/Ab diminished it creates the half whole diminished scale. Notes: G - Ab - A# - B - C# - D - E - F Left hand plays G7 ; right hand plays Ab diminished 7 = G7b9 G7 + Bb7 G7+ Db7 G7 +E7 All you need to do now is experiment with voicings to come up with some interesting sounds. Example: Db#9/ G = G13 . I hope this helps.

[@MotoCrazy66]

That's my all time favourite chord, there!

[@PianoNotion]

Great tutorial thanks!

[@Piano_Pig]

My pleasure! Hope you found it useful 😀

[@findus8269]

Very useful, thank you! Perfectly explained.

[@Piano_Pig]

My pleasure bro!

[@andermurillo2868]

THE MOST underrated channel on youtube

[@Piano_Pig]

Thanks man, much appreciated :)

[@billybelmonte]

Hello, that's so lovely. Can you send me the sheet music for that little piece you play at 2:27?

[@larsuk9578]

Love this chord. Can it be used in the same fashion than the Alt Dominant chord (Maj triad build from #5) you presented in another video? Since they are both dominant I would think so but they sound quite different.

[@Piano_Pig]

Yes it can! They are essentially just dominant chords and both of them can be used in place of a standard dominant 7 chord.

[@omwithme6277]

Thanks Man, you make this stuff fun!

[@Piano_Pig]

That's the goal :)

[@evanyoon1230]

What chords were you using in the context bit, since I want to see how this chord fits in with other chords.

[@benjaminmorris811]

Great thanks!

[@Συναισθησις]

Prometheus gang

[@helvecioguimaraes]

Hey, Simon, this is great, thanks. I've been working on two-handed chords and I find myself building those chords using formulae, just as the one you showed (R-3-7 + major triad for the 9th). This seems to be a shortcut to knowing the actual intervals. What do you think about that? Is it ok to use the shortcut or must I force myself from the beginning to learn the intervals? Thanks.

[@Piano_Pig]

I think shortcuts are great, but they should only be used when you understand the theory behind what you're actually playing. If you just remember a load of shortcuts and formulas, but don't actually understand the reasons why you're playing what you're playing - then you need to chill with the shortcuts, take a step back, and learn the theory behind the concepts!

[@Polyhat_]

Beautiful chord and beautiful hair. Lovely.

[@shirmusan2589]

Thats a great tutorial! Thank you so much! I have a question, what software do you use to create the virtual piano with the note label? Is it cubase? And if so what plugin do you use? Thanks again!

[@Piano_Pig]

It's called Midiculous :)

[@shirmusan2589]

@@Piano_Pig Thanks for your quick response! I am now having a problem with the latency, I tried to setup the samples rate, Audio buffer size and I am still having a delay. How can I fix the it?

[@deejay5633]

What other uses aside from substituting for a dom7 chord?

[@junglemann1]

Great chord man! And i love the way you make it simple and fast to learn It! (Btw, that was misty you were playing right?)

[@Piano_Pig]

It wasn't meant to be, but the melody turned out to resemble Misty quite a lot haha! Glad you enjoyed the lesson :)

[@user-gi3ro9rm9k]

Hey! just a quick question about chord extensions. Why don't we usually use a natural 11 on major 13 chord built on the tonic? I understand it creates a b9 interval with the third, but I feel like the #11 sounds too jarring, since really it's a lydian chord and not an ionian one. If I play a major 13 #11 chord for the IV chord, it sounds completely natural, however, because all the notes are diatonic. This also goes for the iii chord. I don't really ever see a iii7(b9) chord. Why is that? Since the chord is diatonic, even if there are bad intervals, it still "sounds" good. In the video, the chord is a V7 chord, so I can understand the dissonant altered tension.

[@Piano_Pig]

It's just personal choice really, I'm not a fan of the the natural 11 on a major 1 chord, melodically you can get away with it but harmonically it just clashes with the major 3rd so prominently. I don't think the #11 sounds jarring at all, it has a very 'floaty' sounding aspect to it. The phrygian mode has a b9 so it is definitely used melodically, but I think the clash between the E and F in a iii7(b) sounds pretty nasty! It's all very subjective and all comes down to personal preference, you more you play around with these chords the more you'll get to know their sound. Also, their normally only written as '7' chords leaving the extensions up to you, that's probably why you rarely see something such as a iii7(b9). Hope this helps!

[@Saxyworld]

Christmas time is here!. Made learn that chord and scale!

[@omwithme6277]

To the Wurlitzer I go.....

[@Piano_Pig]

Haha good choice my friend!

[@jackgalloway8314]

What is up?

[@ronniemack4831]

Oink 🐷 Oink. Nice lecture