As these lessons progress our harmony is
gonna get more and more sophisticated and
throughout the intermediate
lessons we are gonna make
it more sophisticated by continuing
to add extensions to our chords.
Right now we've been,
especially in our left hand we have been
working with the guide tones.
And what we're gonna do now is
start extending those guide
tones beyond the seventh.
And the further you go beyond the seventh,
the hipper it gets.
You start to get into things like this
those are upper structure triads which
are combinations of extensions.
Right now we're gonna add
our first extension though.
It's an easy one, it's the ninth.
All you do, you build your guide
tones with a third on the bottom.
Then the seventh.
And then you add degree two of the scale.
So a ninth chord on F7 would be A,
E flat, and G.
Again, we call it the nine because if
we go up one, two, three, four, five,
six, seven, eight, it would kind of be
the ninth degree of an extended scale.
We're gonna work
with that on B flat seven.
Build your guide tones, third and
seventh, we need third on the bottom for
this to work.
You can also voice it like this,
but that's a little,
it's not really the open sound we're
looking for so for now put your
guide tones third on the bottom,
seventh, and then add the nine on top.
If you were doing your ear training
exercises, you kinda might
remember that to me, this note,
I think of it a little bit in terms that
it wants to go down to the root.
But the cool thing about jazz is that we
try to leave some element of what we're
doing somewhat suspended.
There it is in B flat.
Here's the C9 chord.
Note that if it's a C major 9,
that uses the natural 7.
If we use the class 7 as we're doing here,
it's just called a C9 or a C7.
The one without the quality's
always the dominant one.
If it's a minor one,
the chord symbol will say C minor 7.
If it's the major one, [SOUND] C major 7.
If it just says C7, [SOUND] it's
got the [SOUND] major third flat 7,
and now, we're adding the 9.
[SOUND] In an ideal world I wouldn't
really use this up here all that often.
I would use another voicing that
we're gonna learn in a few lessons.
simplicity's sake I wanna get these under
your fingers to where you can use them.
The only real problem I have with this
one is that I'm often blowing in here and
often when I am taking a solo.
I do kinda cross over
in there sometimes.
For simplicity's sake though lets
play a little of F7 blues and
work on integrating these things in there.
The one for G minor 7 is the last of
the four chords and it's the same idea.
Build your guide tones with the third
on the bottom then the seven.
In this case it is a minor third B flat.
F and the nine is simply the A.
That's way high for this voicing so
I might kinda try to play it
a little bit more down there.
For now I wanna get these things
going in this position though.
[SOUND] Or let's play a little
bit on our F7 blues and
just work on our left hand.
One, two, three, four.
in a little
bit of our
down low like
doing to get
out of that
Add a little bit of variety
to what we're doing.
On principle is exactly the same for
our E seven blues.
Build your guide tones with the third on
the bottom, then the seven, then the nine.
That's a nice register for this voicing.
Third on the bottom, seven and
then the nine of course,
is just the second degree of our scale.
And then the other one is the minor chord.
Third, seven and nine.
Now, there's an interesting
little feature of this
voicing that kinda gives you
double your money on this.
And what is is, is that this voicing is
good for the F 7, natural sounding F7.
When we start discussing
alternate dominant chords,
if you just move the root up a tri tone,
this is the same exact voicing for
a B altered 7.
That's all for later.
Right now we're working with
kinda a natural, more or
less, a major unaltered scale for
our dominant sound.
Meaning that we're not adding any,
not adding any of those notes,
we're keeping it pretty pure,
so learn these voicings on
the eight chords that we've been working
with, integrated under your playing.
I recommend maybe start with
the very slow blues track and
just play your left hand for a while,
see how creative you can get.
As we talked about in a previous lesson,
little chromatic alterations
can go a very long way,
I think you probably
heard me going
You can make a lot of little melodies
like that sliding into things,
and in those cases,
it is a straight, parallel thing.
You're not using the diatonic.
Just take everything down a half step or
everything up a half step and
have fun with that.
I will see you for the next lesson.