Quick and easy way to remember this chord or without having to learn an entirely new voicing is if u look closely you would see that the voicing being played in the right hand is a Bb13 from the basic A and B voicings. So by playing a 13th chord a minor 3rd away you end up with that Phrygian voicing. if you have G root, minor 3rd away is Bb so play Bb13. E root, minor third away is G play G13. Remember A and B voicings!!
I think of those as dorian b2 chords. They're like lydian augmented chords with the 7th in the bass. Dave Liebman, Richie Beirach, and the Brecker Brothers use those a lot.
I have a question regarding these chords? I'm trying to learn re-harmonisation. The book I'm studying doesn't give any alternative voicings for this chord. Do you tend do only play a Phrygian chord with the root on top as show here? Because I'm wondering how you may voice this if the melody wasn't the upper note - in this case G.
you could think of it as playing a G7 in the left hand and Fminor or D half-diminished in the right hand, you can do more with it then
you could play it as an vii upper structure, with a f and b tritone in the left hand, and some inversion of a f minor or d half-diminshed in the right hand
It's always been my understanding that by calling the C a suspension, it must resolve to a chord tone in the same chord it exists. If I saw that chord out of context, I would call it a 4-3 suspension, and resolve the C immediately downward to Bb to make a G minor, flat 9 chord. Perhaps calling the C an "anticipation" would be more correct.
However, this is a classical theory student analyzing jazz theory. I wouldn't be surprised if the terminology is different.
Quick and easy way to remember this chord or without having to learn an entirely new voicing is if u look closely you would see that the voicing being played in the right hand is a Bb13 from the basic A and B voicings. So by playing a 13th chord a minor 3rd away you end up with that Phrygian voicing. if you have G root, minor 3rd away is Bb so play Bb13. E root, minor third away is G play G13. Remember A and B voicings!!
taxikband 7 months ago
I think of those as dorian b2 chords. They're like lydian augmented chords with the 7th in the bass. Dave Liebman, Richie Beirach, and the Brecker Brothers use those a lot.
Modes9 8 months ago
great video. could you post a video discussing some different voicings of the phygian chord with a pedal?
jseanson 10 months ago
I have a question regarding these chords? I'm trying to learn re-harmonisation. The book I'm studying doesn't give any alternative voicings for this chord. Do you tend do only play a Phrygian chord with the root on top as show here? Because I'm wondering how you may voice this if the melody wasn't the upper note - in this case G.
gogetayo 1 year ago
@gogetayo
you could think of it as playing a G7 in the left hand and Fminor or D half-diminished in the right hand, you can do more with it then
you could play it as an vii upper structure, with a f and b tritone in the left hand, and some inversion of a f minor or d half-diminshed in the right hand
keyboardplaying1 1 year ago
It's always been my understanding that by calling the C a suspension, it must resolve to a chord tone in the same chord it exists. If I saw that chord out of context, I would call it a 4-3 suspension, and resolve the C immediately downward to Bb to make a G minor, flat 9 chord. Perhaps calling the C an "anticipation" would be more correct.
However, this is a classical theory student analyzing jazz theory. I wouldn't be surprised if the terminology is different.
slyglen 1 year ago
if G is the third position for the phrygian scale, then why does it sound minor? Is it supposed to?
jkman10 2 years ago
yup! remember, a hamonized (or chord scale) is major, minor,minor,major,major 7th,minor,diminished (and octave)
Luisrox123 2 years ago
Thanks for the clear explanation!
hutteldorfh 2 years ago
flamenco
dhfjal 2 years ago