You Hip To The Sharp Nine?

[@BMarPiano]

Yes, yes, yes! More color, more of this! Let's get hip to the sharp 11, the flat 9, the 13; this is great!! Bring it! Thanks, Aimee!

[@JariSatta]

Hendrix E7(#9) practically the first 'JazZ' chord guitarists learn.

[@argentstrat5471]

@@Syncrosound8000 No it is a sharp nine

[@derycktrahair8108]

Aimee, you did a great job of explaining. Understanding what we hear takes effort. Our eyes are trained from childhood (little kids can identify colors & shapes) but the poor old ears seem to miss out. Your lesson gives another piece to the puzzle. We will play through that with more confidence now that we know what's going on. Thank you.

[@luxagen3525]

I've been watching a few of your "licks" videos recently and one came into my head that I quickly realised worked best over a minor II-V-I. In A minor, the lick is D, E, F, A, G#,F, E, D, C. I couldn't get it out of my head for about a day. Eventually I realised it was from the intro to "The Goodbye Look" (bar 11) - except the final C.

[@webjammer1]

Aimee, great videos. I am 62 and started playing about ten years ago by learning the midi files to Steely Dan's album Aja. Your videos will be a great resource for the level I am at specifically the modal exercises. On the two chords in Walk Between The Raindrops key of C I hear E7b5b9 to A9 (EGBbDF) (AGBDbE).

[@AimeeNolte]

Webjammer1 yes!! 😍

[@jbruce3121]

Stevie wonder experimented a lot with this in the 70s and early 80s. Especially in the song "That girl". The sharp nine sounds great leading into a minor variation.

[@fgrande147]

I have a long history as a rock keyboardist and the #9 was an like an epiphany for me when I heard Keith Emerson use it back in the 70s

[@charlesmartel7502]

You provide a tremendously valuable connection between theory and practice. BTW, I once wrote a story bout Gerald Wilson and referred to "flat thirds" in his scores. I happened to see him in passing the next day in the busy lobby of a music school and he yelled to me over the crowd of people: "Hey, it's not the flat third, it's the sharp ninth!"

[@dashphaste]

Aimee, you're a freakin' genius. You're lighting candles in my brain. Please, keep doing that. Your musical egg-headedness, if you don't mind the term, is unleashing my mind, ever so slowly. You're doing things here that neither of us has any idea, yet, what's being done. But, there's a light at the end of the tunnel. It's an awakening. The sun's coming up. God bless your little heart.

[@AimeeNolte]

Mark Wilson i'm so glad that my videos are helpful, Mark! Thank you so much for your kind feedback, but if you call me an egg head again, I might have to lay the smack down! 😜

[@MomLAU]

Love "Walk Between Raindrops"; such a fun song! That album is one of my favorites.

[@vermithrax-pejorative]

My little trio has been trying to convince me to play "People Will Say We're In Love" which has way more altered dominants than I'm used to. Your video has given me courage! I'm going to keep at it until I get it! Thanks!

[@eobrandon]

7:11 The lick??

[@coupe-lee]

eobrandon yessssss!

[@schneidercorn2813]

THIS WILL BE INCLUDED IN THE NEXT LICK

[@kalebharris5068]

Leave

[@jeffcraven7376]

I can hear in my head Miles playing on top of those progressions. Beautiful!

[@evapettersson3933]

Thank you Amie! Always love the way you teach! I first heard of #9 on Coltrane's Blue Train...then also on other blues tunes. I will email you for the worksheet to use it when I play my tenor and I will try to remember to sing it like you suggested.

[@TacticsTechniquesandProcedures]

Jazz is melancholy but it fits my mood perfectly. Thanks for lesson, Ms. Aimee.

[@twinturbohenry]

Now I am hip to the #9. How could I have been so not hip??? Thank you so, so much!! This has changed my playing.

[@mdmellis]

Great stuff, as always, Amiee. I remember first hearing/learning Blue Bossa and I thought for sure the melody note in bar 6 was WRONG. So cool how our ears adapt and expand to new sounds.

[@AimeeNolte]

mdmellis so true

[@MaxTooney]

Guitarists know this as the Hendrix chord. The most common voicing for this chord on guitar omits the fifth degree of the scale. To me it often sounds better on piano when played that way. too. Your mileage may vary!

[@JariSatta]

Try E7 and A#7 (Bb7) at the same time for E7b9#11 (E - Romanian Major Scale: E, F, G#, A#, B, C#, D, E) Fretting 6th string 0 5th string 7 4th string 6 3rd string 7 2nd string 6 1st string 6

[@kevingallagher9309]

Jari Satta n

[@mbmillermo]

@@JariSatta - Try preceding that chord with this (♯5♯9): 6th string 0 5th string 7 4th string 6 3rd string 7 2nd string 8 1st string 8 Then to your chord (♭5♭9) and resolve that to Am. If we leave off the open string, we can play that anywhere.

[@craigkeller]

My ears really like this. Thanks Aimee!

[@AimeeNolte]

Craig Keller I'm so glad!! You're welcome! :)

[@arthurmee]

You've got another subscriber the moment you mentioned Donald Fagen. The hook though was your title "You Hip To The Sharp Nine?". As a guitarist who was around when Hendrix was playing, I fell in love with the #9, namely his E7#9. On guitar, if you play the voicing that Jimi used, you've got the low E open string to use as a bass note as well, very cool. Love your vids.

[@AimeeNolte]

+arthurmee that's awesome! Thanks Arthur!

[@arthurmee]

Yes indeed.

[@MichaelRossMurphy]

"Foxy Lady"?

[@arthurmee]

+Michael Ross Murphy . . . You bet!

[@pectenmaximus231]

You were around when Hendrix was playing?

[@n2space4u]

This is so nicely framed and well done, good for you!

[@stephenhall2799]

Luv my time with you ,learning sooooo much ! Thank you

[@ranielyfire]

"Boy you gotta get hip"

[@nopenope7700]

So glad this became cool again because the lingo is over 70 years old.

[@whydidyouresign]

Gonna start calling you "Chops" Nolte! Yes, Autumn Leaves. How bout Cannonball from the album Something Else...especially the ending vamp. My fave for 40+ yrs.

[@mbmillermo]

Fun fact: When McCartney first wrote "Michelle", he went from the initial F to B♭7♯9 -- that was "the jazz chord" that a Liverpool guitar shop jazz guitar dude had taught them. He later changed it to B♭m7, which is what we're used to. George Harrison used a D7♯9 in Taxman on their next album. Coincidentally, last night I was playing "The Christmas Song (Chestnuts Roasting...)" on my guitar and dealing with "Yuletide carols being sung" part which has Am7♭5, A♭7, Gm7, but the A♭7 melody notes are F and E♭ (13th and 5th). So it's really a minor ii-V7-I with a tritone substitution where the F and E♭ are the ♯9 and ♭9 of the D7 chord, respectively. So now I think of that A♭7 chord as a D7♭5♯9.

[@Oklatucky_Guitarman]

This is awesome. I can’t wait to give it a go.

[@reggiebellamy7112]

What a great teacher. Thanks for posting!

[@IAMSucc3ss]

Haha am loving these lessons Aimee. Thanks alot. Blessings

[@paxwallacejazz]

I took a theory class with Gary Peacock the year before he got the Jarrett gig .and man that fully altered +9 dominant sound was really talked about a lot.

[@leowright8016]

Love this application 🎶🎶🎷😎🎹✌🏽

[@elanfrenkel8058]

So good I was always confused by this extension..

[@joshruding]

Totally loving your videos. Thank you! xx

[@MarkFromHawaii]

Newbie fan here. Flat nines too... iim7b5 V7#9 V7b9 im7 with the #9 descending to the b9 to the 9th of the im. I recall Joe Pass saying in one of those old Hot Licks videos that the dominant flat ninth should only be used in a minor resolution. Anyway, love your videos Aimee!

[@AimeeNolte]

+MarkFromHawaii thx Mark from Hawaii! 🤙🏼

[@GeorgeZwierzchowskipianomusic]

Nice stuff Aimee.

[@newplanman9836]

Chillin' wit Aimes soloin over sharp9z 😱👍✌. Keep doin wha cha do Sis.

[@MrArtist1971]

Awesome lesson. Thanks!

[@wackenthaljef]

Thank you Aimée!...

[@xGshikamaru]

Makes me think of Yoko Kanno, I love this!

[@alanhirayama4592]

Thank you SO much for this video, Aimee! Your explanation of how to approach altered dominant chords was very easy to understand and very accessible. When a piano player sees a "V7(alt)" on a lead sheet, what is usually played by the piano player? #9, b9, #5, #13, or all of the above? I suppose if the melody note is one of the altered extensions, then that would guide the piano player on which alterations to play. Perhaps an idea for another video!

[@AimeeNolte]

Al the Pal I think I have covered this in a video a while ago, but any or any combination of those four things is right. You can do one of them or two of them or all of them and it means altered. I like the term altered because it gives you a choice. Sometimes the melody dictates which note receives the alteration and sometimes you just get to choose.

[@alanhirayama4592]

Thank you for the clarification, I'll see if I can find your previous video on the topic! Your videos are great, keep up the awesome work!

[@swcomer]

Interesting discussion about #9 vs b10. I've always thought of this note as a flat 3rd or flat 10th. It's an expression of the ambiguity of the third you have in blues. In blues melodies you're always sliding back and forth between major and minor and everywhere in between. In blues based rock, you have the singer or lead guitar singing or playing in the minor pentatonic scale while the other instruments chug along playing major triads. For instance, in the song Satisfaction the guitars basically go back and forth between E major and A major chords while Mick is singing g naturals all over the place. And I think it is both more correct and less confusing to call it a g natural rather than an F##, since he's singing in the e minor pentatonic scale for goodness sake. I always have to do mental gymnastics to understand #9 when I see it written that way.

[@pectenmaximus231]

Great video!

[@BenA718]

Excellent lesson, thanks.

[@Shockszzbyyous]

walking aimlessly through the streets it's poring rain. and no where to go. no reason for existing. everything lost. is the kind of fibe i get at 2:19 i like it :D

[@stevekellar1403]

REEELY NICE VIDEO LESSON ! THANKS SO MUCH !

[@14jemima]

To a classically trained ear, a #9 is really a b10-b9 suspension. When I discovered it, I was like Aimee, wondering how on earth the Major 3rd could co-exist with its minor equivalent.

[@William_sJazzLoft]

Hi Aimee your closed voicings sound hip, sophisticated. Is the trick, to use 2nd and 3rd inversions?

[@AimeeNolte]

Always put the 3rd or 7 on the bottom :)

[@christheother9088]

I keep hearing a jazzy version of Elton Johns "sorry seems to be the hardest word". That haunting minor thing. Maybe I will experiment with that. Also, that painting is fascinating. Did you say your mother in law did that? The guy on the left foreground...I love how the hand is there beneath his elbow. Artists frequently avoid painting hands, but there it is, and its great.

[@AimeeNolte]

+Chris Gonzales absolutely love that somg

[@thatwasprettyneat]

you have a great voice

[@AimeeNolte]

thatwasprettyneat you have a great profile picture! LOL thank you so much.

[@larsuk9578]

Great lesson thanks! Does it only work in minor 2-5-1 or can you apply it for example to a 6-2-5-1?

[@AimeeNolte]

You can use it even if the 251 is not minor...but be careful of what the melody notes are on the 5 chord. It can have a bad rub if you’re not careful.

[@larsuk9578]

Ha yes thanks. I’m no singer but singing variations of the lick over the chords helps to find what work and what doesn’t 😊

[@experimentalelectronica5016]

Bill Evans via Chopin and Listz

[@alanhowell3646]

I was confused thinking “ well a sharp nine is the same as a flat 3 but on the top and we hear flat 3 many places” then at 5.18 it all became clear 👍

[@TonyfromBham]

The 7b9 is a big part of my world, but I haven't found a place for the 7#9 in my playing. I hope this lesson changes that fact.

[@hnatyshyn]

Hi Aimee. I am just running through your channel, mostly to learn more about altered chords and fill some gap. I like your teaching. Here is my question. You talk a lot about dominant altered chords. But what about altered minor chords? We don't hear about them really much. In this video you play a lot with the minor major 7, a chord I use any time I can. Can you make a video (or maybe you already did, I am gonna find out soon) about those alterations on minor chords? Like talking about the use of minor 11. For example, I am thinking of a minor ii-v-i that would go like F#m7(b5)9, B7b913 and Em11 or EmM9. Thanks

[@AimeeNolte]

Good idea. I will try and do that. :)

[@hnatyshyn]

@@AimeeNolteCool, I am waiting.

[@keelanp53]

Great song!! Nightfly great album. Hammond B3 throughout the whole song.

[@AimeeNolte]

I have a cover of Maxine if you search for it. Such a great album

[@keelanp53]

IGY my favorite cut off the album.

[@keelanp53]

YES! "While the world is sleeping, we meet at Lincoln Mall, talk about life, the meaning of it all" Great song!!

[@ARichardP]

You have the best videos!

[@AimeeNolte]

Thank you, Richard

[@leapsplashafrog]

#9 is a b3 right? The blue note?

[@patrickcunningham618]

always thought of it as the flat 3, but only now I realize the sharp 2 makes more sense!!!!!!!!!

[@AimeeNolte]

Only if the 7 is already down!

[@ZincShed]

Spinning Wheel by Blood Sweat and Tears is full of #9ths I learnt a lot from that track but didn't put a name to the chord till many years later

[@AimeeNolte]

ZincShed for sure!! Good call.

[@paulallenMacca]

It sounds like a Bill Evans type song.

[@AimeeNolte]

John Lennon Fanatic The first bar of blue in green, as a matter of fact! Good ears.

[@paulallenMacca]

Aimee Nolte thanks for info Aimee

[@anthonycastellon5734]

John Lennon Fanatic Yes!! I thought the same thing!!!

[@William_sJazzLoft]

Aha!

[@thomaslatham9710]

Blue Bossa, there you go! It's also 13b9b5 on guitar, why I don't know!

[@nezkeys79]

im defo hip to the sharp 9 always have been always will be

[@bobbystrickland6693]

Would work over My Funny Valentine as well. Just curious about your painting over the piano, is that you in the painting playing piano in the corner of the bar?

[@AimeeNolte]

Bobby Strickland for sure. Any song that has these type of courts. My mother-in-law painted that for me several years ago from a sketch she drew when she came to one of my gigs. So yes, it is me. :-)

[@Uuur10]

Bobby Strickland the style reminds me of the painter Lanskoy. I like it. Most of all, thank you Aimee for your incredible videos.

[@SteveGouldinSpain]

You could make a career out of the Nightfly. Don't get me started on Morph the Cat!

[@mikeguitar9769]

Jazz is amazing. The 98% of people that don't like it don't know what they're missing!

[@realraven2000]

what's the difference between #9 and m3? isn't that the same note?

[@chris_outh]

Yes. Technically they are the same but the chord already contains the major 3rd and the #9 is usually up the octave. The chord quality is hence heard as a dominant chord with the #9 as an extension.

[@davidmiller3652]

Great stuff Aimee ! U B#n9's

[@Pleasure1964]

I so need you! To combine my PIANO, and VOICE, And jazz! No, Really! How????!!!!!

[@yifeizhou5704]

Is that my problem? I cannot access Aimee's website!!!

[@AimeeNolte]

Email me, marina. [e-mail]

[@waugsqueke]

Nightfly was a big deal album for me in the day (that one and Gaucho taught me at lot of things). Decades later I'm still trying to find my way through "Maxine".

[@AimeeNolte]

waugsqueke I have a video of me singing Maxine in six part harmony! Maybe my favorite track off the album. It's on my KZbin channel. Glad to find another fan!

[@EricWattree]

Aimee, you're adorable.

[@DalaiLaraLBOE]

yeah im hip!

[@DalaiLaraLBOE]

to the sharp nine.

[@fionnwilson2434]

what about the sharp ten?

[@timothyharley]

THAAAAAAANK YOUUUUUUUUUUUUUUUUUUUUUUU!!!!!!!!!!!!!!!!!!!!!!!!!!! :-)))))))))))))))

[@AimeeNolte]

+timothyharley You are welcome!!!!!!!!!!

[@monkeydooswingband831]

I love you! 🐒

[@eternalrainbow-cj3iu]

Am I?? " I am definately G E B G# to the E C# G# E# and some rimes Ab F C A to the F D.A.F# because I live the DB F# D# to the Cb Ab Eb C played on the X 7 S.F.Dominantts

[@bobhoffer5426]

I'd love it if I could see your hands and face both...would be much easier to learn this from you.

[@MusicTeacherGuyNorristown]

You know who was hip to the #9? Jimi Hendrix. Yep. Also, George Harrison in "Taxman." Speaking of which, I need to start preparing my taxes, so I gotta go. OK, guys, I'll see ya... bye!

[@marcopepe4046]

Hi Aimee! You're a really pretty woman and It's very nice to see you but... It would be easier to watch what you're playing on the piano for me and it's interesting to understand what voicings you are using. Thank you. Bye

[@alfredcollins2558]

Don't get it. I guess not hip yet.

[@xaipezaipe]

I am torn between love, lust and LEARNING.

[@stevekellar1403]

STEELY DAN RIKKI DON'T LOSE THAT NUMBER

[@AimeeNolte]

STEVE KELLAR 🙌🏼🙌🏼👌🏼👌🏼

[@tsvtsvtsv]

no thanks, i prefer the #15

[@frankfeldman6657]

Aimee, I've grown to like and respect you quite a bit. BUT this is a real pet peeve of mine. That note is F natural, not E#, you and I both know that. To call it b9 is absolutely wrong, I don't care how many decades of Jamie Aebersold and Berklee School of Music books inform students of the contrary. It is the upper neighbor of the b9, Eb, a legitimately functional note, and it comes from g minor. I figure it as b10, but that is not to imply it is a chord tone! Your teacher is and was wrong! What it's called, in legitimate music theory, is a cross-relation, it's a contrapuntal phenomenon, not a harmonic one. Sorry for being a pedantic nerd, but I believe this really really matters. Let me clarify-the F# is a harmonic phenomenon, the F natural a contrapuntal one, an upper neighbor of a functional chord-tone, which requires voice-leading. I've turned on a few of my students to you, btw. They're enjoying you. :-)

[@AimeeNolte]

Frank Feldman Frank, I haven't been held accountable for all the words I say in a really long time and I'm just trying to make one video a day. It's all too much for me to explain. I'm glad you did it for me right there. Feel free to keep doing that if I make mistakes. I'm glad you can look past it a little bit and enjoy. Thanks for the recommendations! I really appreciate it

[@frankfeldman6657]

Hey look, Ms. Nolte-when you PLAY what you're calling #9's, you ain't makin' no mistakes. :-) You're a very fine player, and you have a lovely vibe/teaching style. I'm just taking issue w the terminology. In my view (and I suppose it's somewhat of a classical nerd view), it's quite wrong.

[@AimeeNolte]

Frank Feldman you are right, and I will try to do better. I'm just a little lazy. ;)

[@frankfeldman6657]

Wish I were as lazy as you appear to be! Just say, you know, in that hip, friendly way of yours, you know how the b9 is so juicy? How it's dying to resolve to the fifth of the following chord? Well, it can be even JUICIER when it's ornamented with an upper neighbor taken right from the minor key you're in! Blah blah blah. Keep up the good work.

[@AimeeNolte]

Frank Feldman ok deal!! 😝

[@prolixsicklicks]

Great instruction, Aimee! You have an amazing channel!