What are 6/9 chords? | Q+A

hey everybody my name is Adam Neely and I'm here answering all of your questions about bass and music in general so let's get started one of martinez writes level-7 reminds me of the true level bit in rick and morty after listening to it equal tempered harmony sounds crooked yeah I think that analogy is pretty good and they're actually a couple other people who reference that Rick and Morty sketch so I think it's fairly apt twelve-tone equal temperament can sound fairly crooked but to be fair you have to have a very high IQ to understand jazz level seven the harmony is extremely subtle enough without a solid grasp on extended just intonation most of the music will go completely over a typical listeners head Shaun Burnett writes what are six nine chords okay let's finally come to this talking about six nine chords sixty-nine chords let's go so the most basic way of adding color to a basic three note triad like C major one that's built in thirds is to simply stack another third on top of the basic triad creating a seventh chord the C major seven chord and other seventh chords like it from the basic harmonic vocabulary of jazz music but there's a pretty big problem with them can you hear it yeah it's this guy it's that really intense rub between the B and the C which doesn't create a restful feeling when we end up on the C chord you see in the key of C we kind of want our C chord to feel restful it's home it's the tonic chord it's the point of resolution almost philosophically everything points to a C chord which wants to feel relaxed adding that seventh in there might create a nice and colorful chord but it won't feel as relaxed as the basic triad so what do we do well a lot of musicians have substituted that 7th for the sixth degree of this scale this sixth degree of the scale creates a major second sup against the G of the C major chord which is a lot less spicy than the minor second dissonance of the be up against the root of the scale for progressions which end on the C six word end up feeling really nice and relaxed doesn't feel like we need to go anywhere in particular which is exactly the point of a tonic chord now where can we go from here well the C six chord sounds relaxed but it might not feel as colorful as the C major seven so to get some more color in there a lot of musicians started adding the ninth degree up from the scale giving us the glorious the one and only six nine chord one of the nice things about the six nine chord is that you can employ this particular kind of voicing in the piano right hand we can start with the ninth degree of the scale stack down a perfect fourth to the sixth degree down another perfect fourth to the third degree to create this nice quartel voicing quartel voicings have this very particular quality to them if you actually just move fourths around and a given key like this just like this feeling of the chord being almost like resolved and unresolved at the same time it's a fun rainy day activity just to move this right hand shape around and C major in fact if you just like lightly Lily please Anna it's like you know raindrops rainy day fun stuff you can also have minor six nine chords so if you have a five seven chord in the key of C minor you could resolve that to AC minor six nine why would you want to resolve it there versus a C minor seven well you can hear they're very different in quality this feels fairly resolved it doesn't really want to go anywhere else besides where it is we know we are in C minor basically the point is here is that whether you're in a major key or a minor key that seventh of the chord creates color but it also feels unrest 'full by substituting the seventh of the chord with a sixth and also adding the ninth you've created a tonic chord that's both restful as well as colorful and that I think is pretty neat Emerson Chavez writes why did this appear in my feed I don't even like jazz you might not like jazz but YouTube's recommendation algorithm certainly does so research shows that our algorithms in jeweler production rates okay Adam are the colors you use to mark up different notes in the scale the colors you see for those pitches so yeah in recent videos I have been coordinating my synesthetic response to different examples so for me the letter A and therefore the idea of the musical note a is red B is black or blue C is yellow D is kind of a teal green blue situation is purple F is green G is brown now what I was finding is I wanted to add a little bit more color to my videos just to make them more exciting and fun for the kids the problem was the color couldn't be arbitrary like for me I put so many hours into editing my videos to make sure that they look right and this this looks so wrong to me this looks terrible oh this looks so much better so what that means is that for me to get my videos to look right I have to draw on my synesthetic responses and the problem is is that synesthetic responses defer quite wildly from individual to individual what this means is that if you have synesthesia I'm so sorry for this this looks and feels completely wrong to you probably but because that is my video and these are my reactions this is how I'm going to edit it so deal with it Luigi Vecchio rates could anyone name me any jazz pianist from our days that would be considered analog as far as influence on young students to mark Julianna Nate Smith or Arie Hoenig as drum players I found these three very inspiring yes oh of course one name that I definitely want to mention is Corey Henry an amazing keyboard player an organ player who's worked with snarky puppy and his own group the funk apostles and I think one of the reasons why he's so influential is of course his incredibly perhaps overrated but in some ways maybe not overrated solo on snarky puppies Lingus i think for a young generation of musicians seeing Corey Henry effortlessly blend all those chord substitutions from gospel traditions as well as jazz fusion traditions in that video is just incredibly influential I think that it is one of the most influential solos and jazz of the past 20 or 30 years part of the reason why that solo was so influential of course I think it's because of the visual nature of it in a YouTube video you can see him playing in the band's reactions to it you can see improvisation at a high level and I think for a lot of people that was their first introduction to what that kind of improvisation is and honestly it's pretty amazing beyond Cory Henry though I think Robert Glasper has had an enormous amount of influence on young jazz pianist monstrously good jazz pianists I loved his trio work with the bass player Derek Hodge and Kris Dave on drums but of course he's brought a lot of hip-hop elements into jazz music and also vice-versa he's brought jazz into hip-hop he's worked with people like Kendrick Lamar his particular approach to voicing and creating grooves is incredibly influential you hear it everywhere and honestly I think that you wouldn't even have the genres of like lo-fi hip-hop or low Phi J's without the playing of Robert Glasper beyond Robert Glasper I might say Tigre and Hamas e'en who's an amazing Armenian jazz pianist who has brought a lot of Armenian folk music into jazz but also has done it in a way that like his very shall we say Ghent medley he's influenced a lot of progressive metal musicians like Animals As Leaders especially his album mock roots that is a very did jazz album if there ever was one then you have keyboard players that take like the Robert Glasper thing to the next level and look people like anomaly it was a french-canadian producer who has like these crazy intricate arrangements with a lot of patch changes interesting ideas about how to take electronic music production and combine it with the Jazz vocabulary then you have people like the young French pianist domi domi de Gaulle who's really into this like grungy DIY fusion thing she's worked with Louis Cole and she has this great project with young drummer JD Beck anyway I just wanted to shout out some of these names who I feel like are especially influential on modern jazz piano playing or who I feel will be influential in a couple years Leslie co-writes at 2:19 the a7 sharp 9 chord has a B sharp as ninth and not a C natural because the ninth of an a chord is B natural and here ninth sharped so be natural becomes B sharp great video anyway so yeah in my last video I wrote an a7 sharp 9 like this a C sharp G C and yet technically you're right if you take the ninth degree of an a chord a B and you make it sharp it's not a C it's a B sharp a B sharp is n harmonic to see it sounds the same but C is the minor third and B sharp is the Augmented ninth however we would never write an a7 sharp 9 like this there's a good reason for that the interval between G and B sharp is the interval of an Augmented third it's a third because there are three letter names in between G and B G a B sharp this presents a problem because on the keyboard it looks like a perfect fourth and so most jazz pianists I know prefer reading it this way versus reading it this way this issue of the Augmented third interval and reading gets even weirder once you start adding more tensions to this court like for example if this was an a7 sharp 9 with a flat 13 this F on top technically speaking yeah you would write it like this with the B sharp the problem is the distance between B sharp and F is one of the weirdest intervals you can possibly think of it is a doubly diminished fifth which doesn't look right at all this is a perfect 4th on the keyboard and this is a perfect fourth down it's so much easier for a pianist to conceptualize perfect fourths rather than a doubly diminished fifth and an Augmented third and so we write it that way rather than writing it the way with the B sharp this is an example of the little knowledge being a dangerous thing yeah technically B sharp is the correct way of writing it but it's also the incorrect way of writing it because of all these extenuating circumstances surrounding that decision to write it that way sometimes the wrong answer actually ends up being the right one Metallica rocks 9-1-1 writes what is vibe to mean in the context that Neely had mentioned in the video okay to get vibed by another musician is to have that other musician give you negative energy whether through passive-aggressive comments or a look or anything really because they feel like you are not playing music well enough to their standard and weirdly in jazz culture there's kind of a tradition of vibing and the supposed justification is that it keeps musicians from being complacent keeps musicians from being lazy if they're constantly being driven to be the best musicians that they can be and uphold the craft that's the thinking behind vibing anyway but in my experience vibing is just a bunch of insecure musicians taking out their insecurities on others and it is an incredibly toxic and low activity and I don't have any room for vibing in my own personal life so if you see somebody getting vibe just say no just say no to vibing everybody let's make the jam session of vibe free zone let's say that's killin and ya man more often a little positivity goes a long way Youngblood rates how does one actually play a level seven live amazing new frontiers but kind of so up Cystic lonely composition in a way I mean it's definitely possible but it is extremely difficult the string quartet music of Ben Johnston relies very heavily on this extended just intonation approach to harmony and there is a reason why I called the seventh string quartet of Ben Johnston the most difficult piece of music it's because it's very hard to be able to manipulate pitch on that granular level requires many many years of practice but it is possible maybe not on a piano but on a fretless stringed instrument or with voices yeah but it is hard time the Avenger rates can you talk about overcoming stage fright I've never been able to rationalize away my feelings the feelings of anxiety when I'm on stage I've never been able to think my way out of stage fright instead these feelings and honestly think most feelings are embodied like it's a physiological reaction to the things that you're feeling and so the best way of approaching it is training your body to react differently not your brain with that in mind the miracle catch-all cure for stage fright has always been breathing focusing in on inhaling and exhaling and really making breath the center of all of your attention and trying to let everything else go I don't think the importance of that breathing cycle and overcoming stage fright can really be overstated it is very very important so if you're feeling terrified before you get on stage try breathing and actually a good exercise to try breathing with somebody else it might feel a little ridiculous to do collective breath with another person but it works you'll be a lot less anxious on stage obvious throat rights question for your next Q&A let's say you lost your fingers calluses for whatever reason being working on production started learning a different instrument got a job whatever and you have to play a string instrument in a week we're putting your fingertips on a hot griddle for a second help you get your calluses back quick okay so first of all please don't burn yourself that sounds horrible don't do that I've never heard of anybody doing that and probably for a good reason that doesn't sound like a good idea please don't do that that said there have been instances in the past of me playing upright bass and plucking hard with my fingers where I haven't had that time to build up the calluses in those instances I have used a little bit of superglue crazy glue and put them at the tips of my fingers let them dry so I had a little bit of a coating to survive and get my way through the gig not the best idea use that as a last case scenario if you desperately need it to survive a gig situation but otherwise just suck it up a little bit of pain in the fingers it's way better than just burning your fingertips that sounds horrible please don't do that that's their best herb rates wait I only just found out that you're half of sungazer I've been listening to this stuff for a little while already a handful of songs scattered into playlists I figure you just like the band whatever I heard it in your videos ah that's cool I'm glad that people are finding my band son gays are outside of my youtube channel it's kind of cool to hear that you know you're listening with sungazer because it's just cool music and not because it's YouTube or Adam Neely's band so that's cool if you happen to be a fan of sungazer my band and the band that provides the background music for a lot of my videos we're going on tour this fall I have the link in the description of where we're going it's gonna be a short tour they're gonna be longer tours next year I swear but if you want to come out and say hey we're gonna be playing we're gonna be touring with ships are on and it's gonna be a fun time so thank you so much for watching if you enjoyed this video if you enjoy my videos in general please think my patrons over at patreon and yeah here is a sungazer outro hope you enjoy [Music] [Applause] please

Channel: Adam Neely

Views: 785,953

Rating: 4.9723573 out of 5

Keywords: adam, neely, jazz, fusion, bass, guitar, lesson, theory, music

Id: 2IEN65JQW1E

Length: 15min 2sec (902 seconds)

Published: Mon Sep 16 2019

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