WEBVTT

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In this lesson we will explore

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some extended chord theory.

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All of this information is covered

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in detail in the chord extensions

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course but this will give you

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an understanding of how it can

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be applied.

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I'll also show you some tricks

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that we can use to add

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more interest to the melody.

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So starting with the first chord

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we have the C major 7.

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So here with the basic spread

00:00:34.546 --> 00:00:37.409 align:center
voicing we looked at adding the

00:00:37.509 --> 00:00:38.630 align:center
ninth of the chord

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and that just adds a little

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bit more richness, particularly if we

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add this left hand 10th interval.

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So let's talk about the extensions

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for a major chord.

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We have a C major triad,

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a C major seven, and then

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once we extend past the octave,

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so here's the octave, we then

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have the nine, that would be

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the natural 11, and then we

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have the 13.

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So after the 13, if we

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build another third on top,

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we get back to the root.

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So the three extensions are 9,

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11, and 13.

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Now, a very important point is

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that if it's a major chord,

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the 9 is always the second

00:01:24.608 --> 00:01:24.928 align:center
tone.

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The 11, instead of playing the

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natural 11, you can hear this

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creates a clash.

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And the dissonance is because there's

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only a half step between the

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third and the 11.

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So you can hear that doesn't

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sound very pleasing.

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But if we raise the 11

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by half a step, now we

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have a C major nine with

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a sharp 11.

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And if we build another third

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on top, we have the 13.

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So this would be C major

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13, sharp 11.

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Now let's not worry about the

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sharp 11 right now, but let's

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talk about the 13.

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So one important thing to understand

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is that when the seven is

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in the chords, this is the

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13.

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And we could also play it

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like this.

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So here I took the 13

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from this octave and I placed

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it underneath.

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So remember that the notes can

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be voiced anywhere.

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That's the meaning of the word

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voicing.

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So if I take that seven

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away, this now becomes a C6-9,

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because here's C6 and the nine,

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C6-9.

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So that would be C major

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nine, and that would be C6-9.

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But if we add the seven

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and the six,

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then the 6 is then referred

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to as the 13 so now

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this is a C major 13

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and we always name the chord

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by the highest extension so for

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example this is C major 9

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this is C major 13

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and

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if we take that 9 away

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and played this it would still

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be a C major 13 because

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the 13 is the highest extension

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and we wouldn't say for this

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chord

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C major 9 13 instead we

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just say C major 13 so

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we name the chord by the

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highest extension so now let's apply

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this in context of the song

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so as we've explored in the

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previous lessons we have our basic

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spread voicing which we can also

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play like this and we also

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added the ninth like this so

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if we add the 13 as

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well this can sound a little

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bit too rich

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particularly if we play in this

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configuration so there's a few ways

00:03:51.706 --> 00:03:52.767 align:center
we can get around this and

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one of the main things to

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do is to not play all

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of the notes at once so

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one thing I like to do

00:03:59.195 --> 00:04:02.700 align:center
is to play this configuration of

00:04:02.760 --> 00:04:04.322 align:center
the C major 9 and if

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we look here we have C

00:04:06.465 --> 00:04:08.447 align:center
major 9 also here and if

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we take those two notes and

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put them on the bottom we

00:04:12.813 --> 00:04:16.637 align:center
now have this inversion so these

00:04:16.677 --> 00:04:18.740 align:center
are two useful hand positions

00:04:19.090 --> 00:04:20.071 align:center
Now what I like to do

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is play the root and five

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and then come up and play

00:04:24.076 --> 00:04:25.939 align:center
the three and six so if

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you listen now it sounds less

00:04:30.184 --> 00:04:31.966 align:center
heavy and less dense than if

00:04:32.046 --> 00:04:34.630 align:center
I play so that can be

00:04:34.670 --> 00:04:35.651 align:center
a nice way also to add

00:04:35.691 --> 00:04:38.515 align:center
a bit of movement so the

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seven nine three and five of

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C major and then root five

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three and six and if you

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look at the notes we're playing

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here we're playing every note of

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the C major scale

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except the 11 or sharp 11

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so we could start there and

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then go up to this voicing

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so that's an option another option

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is to spread the notes out

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and also to move the melody

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up an octave so we could

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play something like this

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so notice

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there i'm playing 7 9 3

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and 5 and then i'm playing

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root 5 3 6 and 9

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and if you listen to the

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difference that playing playing it like

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this you know we can hear

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each of those tones ringing out

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and if you compare that to

00:05:37.715 --> 00:05:40.138 align:center
playing them all at once you

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know here it can just sound

00:05:41.479 --> 00:05:43.262 align:center
a little bit messy you know

00:05:43.302 --> 00:05:44.764 align:center
all of the tones

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there's an

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expression we use in jazz we

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say it can sound a bit

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muddy because there's so much going

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on in a short space but

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if we spread those notes out

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then we can hear each of

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those colors individually.

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So let's play that.

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And

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then up to A minor.

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This is the next thing I

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want to show you.

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So here I'm harmonizing the melody

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with third intervals.

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So if you think of the

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melody, I'm just playing a third

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interval.

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So the top note is the

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melody and then I build a

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third underneath.

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Now this is easy with this

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song because it's all white notes.

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We're in the key of C

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major.

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So it should be...

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easy to visualize and

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that can

00:06:39.503 --> 00:06:40.824 align:center
be a nice way to you

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know create a little bit of

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more spread so we're commanding a

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bigger range of the piano another

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nice thing to do is so

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there i i grace noted off

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this one and

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notice now there's

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a lot of distance between my

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hands again from the top and

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that's nice so when we get

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to this c major and we

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now have a lot of space

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in the middle and i'm visualizing

00:07:24.230 --> 00:07:24.590 align:center
this

00:07:24.890 --> 00:07:26.872 align:center
F chord coming next so I

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play I play this enclosure where

00:07:32.218 --> 00:07:36.624 align:center
I'm enclosing around around the third

00:07:36.664 --> 00:07:38.606 align:center
which is the most important tone

00:07:38.966 --> 00:07:40.849 align:center
in terms of F major so

00:07:40.889 --> 00:07:41.429 align:center
from the top

00:07:47.456 --> 00:07:47.917 align:center
we could also

00:07:47.997 --> 00:07:51.080 align:center
take this shape and if we

00:07:51.100 --> 00:07:52.222 align:center
look at the top and bottom

00:07:52.302 --> 00:07:53.423 align:center
here we now have a sixth

00:07:53.523 --> 00:07:55.526 align:center
interval so one two three four

00:07:55.586 --> 00:07:58.329 align:center
five six and because this melody

00:07:58.389 --> 00:07:59.410 align:center
is stepwise

00:08:03.350 --> 00:08:04.992 align:center
Stepwise means it either moves up

00:08:05.112 --> 00:08:06.793 align:center
or down the scale sequentially.

00:08:08.195 --> 00:08:09.476 align:center
So this would be stepwise.

00:08:11.077 --> 00:08:14.100 align:center
This would not be stepwise because

00:08:14.120 --> 00:08:15.401 align:center
we're not moving sequentially.

00:08:15.441 --> 00:08:18.905 align:center
But this melody is a stepwise

00:08:18.965 --> 00:08:19.385 align:center
melody.

00:08:19.425 --> 00:08:22.188 align:center
So we can play that sixth

00:08:22.228 --> 00:08:25.551 align:center
interval and just move that down.

00:08:25.571 --> 00:08:26.692 align:center
Or we could do with thirds.

00:08:27.272 --> 00:08:30.035 align:center
And

00:08:31.216 --> 00:08:32.057 align:center
that can get some getting

00:08:32.177 --> 00:08:32.557 align:center
used to.

00:08:32.617 --> 00:08:34.559 align:center
So it can take some getting

00:08:34.659 --> 00:08:35.500 align:center
used to to play...

00:08:36.940 --> 00:08:38.662 align:center
So there, I'm just moving in

00:08:38.742 --> 00:08:42.425 align:center
thirds and notice I do press

00:08:42.445 --> 00:08:43.406 align:center
the pedal down so

00:08:52.595 --> 00:08:52.835 align:center
you can

00:08:52.935 --> 00:08:54.016 align:center
alternate between them.

00:08:54.056 --> 00:08:55.318 align:center
So practice both of those.

00:08:55.338 --> 00:08:56.439 align:center
We've got our F major in

00:08:56.479 --> 00:09:02.084 align:center
the left hand and then, oops,

00:09:02.104 --> 00:09:03.706 align:center
so that's with thirds.

00:09:03.726 --> 00:09:05.167 align:center
If you play the pedal as

00:09:05.227 --> 00:09:05.467 align:center
well,

00:09:08.871 --> 00:09:10.672 align:center
try not to overdo the

00:09:10.732 --> 00:09:11.954 align:center
pedal because it can sound a

00:09:11.994 --> 00:09:12.935 align:center
little bit blurry.

00:09:12.995 --> 00:09:17.179 align:center
So we have thirds or

00:09:17.219 --> 00:09:17.279 align:center
we

00:09:17.319 --> 00:09:18.660 align:center
could have sixths.

00:09:22.190 --> 00:09:23.971 align:center
we could also stagger the notes

00:09:25.032 --> 00:09:28.034 align:center
and

00:09:28.074 --> 00:09:28.414 align:center
then

00:09:31.676 --> 00:09:32.277 align:center
we looked at this

00:09:32.457 --> 00:09:36.800 align:center
E7 b9 in

00:09:36.840 --> 00:09:37.640 align:center
the last lesson

00:09:38.981 --> 00:09:40.042 align:center
and we can take that shape

00:09:40.082 --> 00:09:40.823 align:center
in our right hand

00:09:45.746 --> 00:09:46.046 align:center
and run

00:09:46.086 --> 00:09:47.767 align:center
it up and then change octave

00:09:48.127 --> 00:09:49.128 align:center
so let's apply some of these

00:09:49.188 --> 00:09:50.589 align:center
principles i will play the A

00:09:50.629 --> 00:10:15.005 align:center
section all together so

00:10:15.046 --> 00:10:15.286 align:center
that's a

00:10:15.346 --> 00:10:16.667 align:center
nice way to add some interest

00:10:16.727 --> 00:10:19.669 align:center
remember that these these patterns do

00:10:19.729 --> 00:10:21.750 align:center
take time so isolate them

00:10:22.280 --> 00:10:23.662 align:center
and then you can get used

00:10:23.682 --> 00:10:25.764 align:center
to visualizing this C major scale

00:10:26.045 --> 00:10:28.768 align:center
not only as single notes but

00:10:28.828 --> 00:10:33.354 align:center
also triads and sixths.

00:10:35.456 --> 00:10:36.257 align:center
A final thing you can do

00:10:36.337 --> 00:10:37.279 align:center
is if you think of the

00:10:37.459 --> 00:10:38.600 align:center
voicing that we had so this

00:10:38.660 --> 00:10:43.206 align:center
is the F major or F6-9

00:10:44.187 --> 00:10:45.409 align:center
which ties into what we spoke

00:10:45.469 --> 00:10:46.410 align:center
about at the start of the

00:10:46.470 --> 00:10:49.253 align:center
lesson so F major 7, F

00:10:49.293 --> 00:10:54.640 align:center
major 6, F6-9 and then

00:10:54.650 --> 00:10:55.611 align:center
If we think of the F

00:10:55.651 --> 00:10:57.754 align:center
major scale, that would be the

00:11:01.017 --> 00:11:01.798 align:center
4 or the 11.

00:11:01.838 --> 00:11:02.459 align:center
So 1, 2, 3, 4, 1,

00:11:02.479 --> 00:11:04.541 align:center
2, 3, 4, 5, 6, 7,

00:11:04.561 --> 00:11:06.183 align:center
8, 9, 10, 11.

00:11:07.765 --> 00:11:09.287 align:center
But the melody is the sharp

00:11:09.307 --> 00:11:09.808 align:center
11.

00:11:10.929 --> 00:11:13.171 align:center
And so this voicing works really

00:11:13.252 --> 00:11:16.315 align:center
nicely because we have root 3,

00:11:16.335 --> 00:11:19.339 align:center
5, 6, 9, sharp 11 and

00:11:19.399 --> 00:11:19.539 align:center
13.

00:11:19.679 --> 00:11:23.143 align:center
That's a very rich chord.

00:11:23.183 --> 00:11:24.344 align:center
Remember, we have to play this

00:11:24.565 --> 00:11:26.647 align:center
G triad in its second inversion.

00:11:28.349 --> 00:11:29.170 align:center
And here we could...

00:11:29.140 --> 00:11:30.861 align:center
we have options we could play

00:11:34.503 --> 00:11:38.726 align:center
the thirds or we could play

00:11:38.806 --> 00:11:43.248 align:center
sixths so there i'm lifting the

00:11:43.288 --> 00:11:46.190 align:center
pedal each time pedal changes pedal

00:11:46.270 --> 00:11:48.091 align:center
up pedal up and then to

00:11:48.231 --> 00:11:49.372 align:center
the chord because if i play

00:11:50.012 --> 00:11:51.113 align:center
if i keep the pedal down

00:11:51.153 --> 00:11:53.854 align:center
you know it can sound a

00:11:53.894 --> 00:11:55.615 align:center
little messy but one final thing

00:11:55.655 --> 00:11:57.236 align:center
i wanted to show you is

00:11:57.256 --> 00:11:59.878 align:center
we can take this triad shape

00:12:00.398 --> 00:12:02.279 align:center
and move the whole triad down

00:12:20.089 --> 00:12:21.150 align:center
so that's really nice

00:12:21.580 --> 00:12:23.263 align:center
So I'd like you to experiment

00:12:23.303 --> 00:12:24.545 align:center
with those additions.

00:12:24.865 --> 00:12:26.027 align:center
In the next lesson we will

00:12:26.087 --> 00:12:28.631 align:center
explore some additional chords that we

00:12:28.691 --> 00:12:29.452 align:center
can add in.

00:12:29.553 --> 00:12:31.135 align:center
So often this is called chord

00:12:31.195 --> 00:12:34.400 align:center
substitution or chord reharmonization and we'll

00:12:34.420 --> 00:12:36.263 align:center
start with some simple examples and

00:12:36.283 --> 00:12:38.086 align:center
I will explain the theory and

00:12:38.146 --> 00:12:39.809 align:center
the reasoning behind this so that

00:12:39.849 --> 00:12:41.992 align:center
you understand how to add additional

00:12:42.052 --> 00:12:44.336 align:center
harmony to enhance your jazz piano

00:12:44.396 --> 00:12:44.977 align:center
arrangements.

00:12:45.498 --> 00:12:46.800 align:center
I'll see you in that lesson.