How Does That Work? Altered Extensions - Adam Maness | You'll Hear It S5E1

[@anthonyjrtummino3819]

thank you for bringing clarity to practice. also for having a teaching voice// character that isnt annoying (rare for youtube)

[@paolocavalcoli9148]

Thanks a lot Adam, I get to your videos 2 years late, but I really appreciate yours and Peter's work! Your way of teaching is definitely motivating

[@brianmwamba9206]

Awesome teaching Sir❤ we are learning

[@stein0niets]

I like you pick C7 (of F) to explain it on, couldn't be more clear. Perfect!

[@eugenestockstill7162]

Thank you, Adam Maness!

[@jackmeginniss6327]

Excellent job, Adam. I am very curious. What is the music scene in St. Louis like? Are there a lot of jazz clubs and good jazz players there gigging?

[@winstonmacmahon9735]

These are Great Adam, been going through the New Jazz Piano Technique course so I hadn't seen these. Both are Terrific. I Highly recommend everyone get the "New Jazz Piano Technique course". Exactly the kind of thing an aspiring play should have or even season player should have to fill in the gaps in the playing. Great job please keep it going

[@hahabass]

Dude, you're a genius. So skillfully explained. Great share. Thank you.

[@GeometryDashAcamar]

Thanks for the refresh. Great videos, as always.

[@birdlives829]

Very helpful, even in 2023, thanks!

[@Livengoodproject]

This was truly awesome. Should do ur own breakdowns

[@Studentojazzkeys]

Great Demo ...thanks!

[@espr7564]

Good stuff 😎👍

[@ArgoBeats]

Beautiful, Adam, thanks. More of these, please!

[@DromNoms]

Why are 11ths usually sharped? I keep hearing natural 11ths in songs (ie Isn't She Lovely, Mercy Mercy Me....) but I'm still learning so maybe I'm missing something here?

[@HeartofthePiano]

Just to be a little picky, I think you can have a 7#9 voicing without a natural 3 if the context of the chord very strongly implies a dominant function...

[@AntKneeLeafEllipse]

LOVE this as a primer! Been looking for something cohesive, brief and systematic like this on alterations. Would love one on common substitutions that aren't the tritone....

[@thearno2885]

The Beato Book has a ton of substitutions in it

[@thearno2885]

www.thejazzpianosite.com/jazz-piano-lessons/jazz-chords/chord-substitution/

[@joshuamarks1129]

This series is tremendous, Adam! I was wondering if you would also consider C9(#5) or C7sus(b9), with or without the 13th, to be called "altered dominant" chords?

[@Samuelee97]

C7 susb9 doesnt exist. If it s c7, is it not sus and if it hasnt the third is not a dominant chord therefore the b9 would be weaker, you would.miss the pull of the M3 going half step whole step half step even though the P4 would resolve to a M7 or 9, the b9 to a P5 and the m7 to a M3 of I maj chord. Probably it would sound awful to go Xsusb9 to Iminor, would sound good to go to a major I. C9#5 is still an altered chord, can be seen as augmented scales or mixolydian b6 and probably morr

[@joshuamarks1129]

Samuele Pisa 😊That's a bold and interesting assertion, but might I suggest that "you'll hear it?" While Gm7(b5)/C or Bbm6/C are 2 options of writing that symbol, it is certainly possible play a C Root with a sus 4th, a perfect 5, a flatted 7th, and a flatted 9th

[@Samuelee97]

@@joshuamarks1129 I dont like slash chords. I have to stop and relate all the intervals to the bass to understand what chord and function it is. Yes you can but it wont be a C7, but a CsusAddb9 or Csusb9? as stated before. It is not bold, a dominant without a major 3rd is not a dominant.. would it be bold to say that C E G B without E is not a major chord? Ps. Of course, it exists, it was just a bold statement... Ahahahah

[@elianmusic7452]

Stumbling across this channel has been surreal. How the fuck this content is just incredible. Thank you❤️

[@thearno2885]

The point should be made that because the dominant chord is already slightly dissonant , then the alterations can be made as it doesn’t upset the consonance of the chord that much.

[@WhistlebirdInfinity]

You are so helpful. Thank you so much for elucidating us.

[@upside_you_mop]

C13#11b9(half diminished scale)--->f

[@Ndo01]

Gold

[@jeffreyjdesir]

Sooo... I7 + IIMaj(+ b2Min6) = Ialt?

[@greglocke9914]

Curious why the fifth is left out of these?

[@GabeSkyMusic]

The fifth does not affect whether the chord is major, minor or dominant. Because there's a lot of notes in an altered dominant chord, the fifth is typically omitted in the left hand to reduce clashing of noise to get a more open noise that lets the melody ring out more. Occasionally th fifth will be played in the right hand above the extensions to space out the tones more

[@cornerbandit]

point taken. Enharmonically, only the #5 was omitted. I'm looking at it from a guitar players' view. (m7-5 must be in another lesson?)

[@PedroSilva-er1qi]

Hello everybody from Brazil.⛪🎤🎧🎼🎵🎶🎺🎻🎹

[@LowKeyTired-q7d]

Good

[@Notmehimorthem]

Yes, but why use altered chords? How to choose altered chords? I can play them all but I never use them as I don’t know how to select altered chord X over altered chord Y . No one ever explains this.

[@billgrabbe9992]

Aimee Nolte has a good video on selecting altered dominants.

[@MomLAU]

Another St. Louisan heard from!

[@Jazzhead1970]

I prefer b13 to #5.

[@Tabu11211]

That sharp 11 reminds me of Erik Satie for some reason

[@TonyWinston]

must disagree - all extentions (tensions) must be altered. CEGBbDF# not altered because of the D.

[@adammaness]

I don't think we're on the same page nomenclature-wise. I agree that the chord you spelled isn't a C7alt. and shouldn't be used as one. I'm simply referring to any dominant chord with an altered extension (including the x7atl. but also any dominant chord with any altered extension). I might change this title to clear up the confusion.