something to make it a little more interesting yet still very simple is make the 9 and 11 harmonized with a block shaped diminished chord. Wes just about always does that when running up a minor scale... ABCDE: Am7, Bdim, Amin7(C on top), Ddim, Amin7(Eontop). Diminished is a very useful chord. To learn the block voices of dominant chords, take any diminished and drop a note, that is now the root of a dominant. With the four diminished chords you can now find all four dominant shapes.
The second chord would more likely be named a Cmajor7/G, its the 2nd inversion of the 7th chord of Cmajor. You can have chords that do not contain the root of their name, in this case, You have named a chord an Aminor9 chord, when there is no A in the chord. However it is often unnecesary and typically frowned upon.
The notes of the chord in order from low to high are: GCEB. It is far simpler to consider it a CMajor7, as it contains all 4 notes of CMajor7
@lickmyballs First timne I listened I did not hear the open A string being played. I thought he was simply playing the 4 notes: GCEB. I didn't hear the AGCEB. My mistake
yeah cool i get that. There is a basic formula. however, if you wake up tomorrow and everyone starts calling an orange (the fruit) a "blue", you can tell people theyre wrong and its called an "orange" all you want, but what good is that gonna do really? eventuallty if u wanna communicate youre gonna have to start calling it a "blue" too. so when it comes to "add9" vs "add2" or "sus4" vs "sus" or "Cmi" vs "Cm" or whatever the case may be, there is no universal standard.
Beautiful sound! One potential misunderstanding: I'm assuming that you're using the term 'closed voicing' to indicate the absence of open strings. This shouldn't be confused with 'close voicing'. Drop 2's are not close voicings, they are open voicings. Many close voicings are difficult/impossible to play on guitar.
dude thx for the post, but those are not block chords. theyre just different voicings of the same chord [in this case A-7]. Block chords have a dimished chord alternating with the root chord as you go up the scale to give a more dynamic harmony.
The diminished chord is essentially the E7b9 (the fifth) "disguised" as an Fdim cuz its played without the root (E). Cheers!
Thanks for this excellent lesson and insight into Wes Montgomery's technique, Jamessir100. I'm lefthanded and yet could see all the chord positions clearly - usually I get lost because things are happening way too fast! Just starting out on the jazz playing road and love Wes Montgomery. Can't wait to check out your other lessons!
@guitarfan00000000 partly true. The bass IS the way to identifying the root, if you play a C-major, and the bass plays D = it's a Dsus4add9 (with ommited fifth, but who needs them anyways?) i.e.
Then you just build upon the intervals. Only rule is that if you i.e. add a 13'th to a D without the 7th, it would be a Dadd13 and so on. Only the minor diffrences of each nations ifsn't agreed, like in Denmark the simply write H instead of B, and B instad of Bb.
@Syllerud chords may be named however you wish to name them. Thats part of the creative aspect of music.
However you're basically implying that there's no such things as inversions. If you played a C maj with a D in the bass, it would more likely be considered a C major chord with D as a pedal tone. You're Dsus4add9 is unnecessarily complicated, but thats all up to you.
@TheHauntOfEriatarka ofcourse. When simplistic chords its far more usual to build the chord up in triads, and conclude if it's the 5'th, 3'rd, 7'th and so on in the bass. But moving further into jazz and into quartal harmony and big rootless voicings, i think the standard rule has to be the bass provides the root.
@guitarfan00000000 what do you mean a minor 9 is always the same notes no matter what key your in or where you are in the world they could be inverted [in a differant order] or voiced in open position or close position but always the same notes acegb
Do you use a plectrum?
robingahan1234 1 month ago
great vid. and lovely sounding chords and guitar! thanks!
andersonlesta 2 months ago
Normaly i HATE ALL lessons on youtube, but this is really usefull for your own creativity
horbergus 4 months ago
i don't get it
smashingpoop 5 months ago
LOVE IT thank you I am using my wife's account to post because i am too lazy to log in with mine.
GigglingGirI 7 months ago
something to make it a little more interesting yet still very simple is make the 9 and 11 harmonized with a block shaped diminished chord. Wes just about always does that when running up a minor scale... ABCDE: Am7, Bdim, Amin7(C on top), Ddim, Amin7(Eontop). Diminished is a very useful chord. To learn the block voices of dominant chords, take any diminished and drop a note, that is now the root of a dominant. With the four diminished chords you can now find all four dominant shapes.
Matt24ishere 8 months ago
good lesson! thanx
nico1haupt 8 months ago
it's seems more a joe pass progression than wes...imho
forzainter02 9 months ago
Nice lesson. Very meditative and intuitive. Musical. Sweet.
OldSchoolSkill 9 months ago
Nice! Thanks.
1crimson7 10 months ago
Fantastic
societyforrealmusic 10 months ago
cool stuff
donttouchmycar 11 months ago
so pretty thanks !
donttouchmycar 11 months ago
Thank you so much,very helpful!
gamvidys 11 months ago
nice description! thanks maybe you could put a few dots on neck so we can see which fret u r using..? ie on 5 7 9th small sticker
jrichardson6 1 year ago
@jrichardson6 lol:)
maxmoves64 11 months ago
Naming chords requires a context, i.e.understanding how they function (particularly in a progression)....not just what notes are combined.
seth1studio 1 year ago
i dont understand theory just harmony
mont717 1 year ago
@mont717 music theory is tonal harmony
PrestonGerard 11 months ago
@PrestonGerard , Except for music theory of atonal harmony.
guitarslim56 11 months ago
@guitarslim56 so.......my farting is a harmony
mantatnam 11 months ago
*By "the second chord," I meant the second chord in the video.
TheHauntOfEriatarka 1 year ago
The second chord would more likely be named a Cmajor7/G, its the 2nd inversion of the 7th chord of Cmajor. You can have chords that do not contain the root of their name, in this case, You have named a chord an Aminor9 chord, when there is no A in the chord. However it is often unnecesary and typically frowned upon.
The notes of the chord in order from low to high are: GCEB. It is far simpler to consider it a CMajor7, as it contains all 4 notes of CMajor7
TheHauntOfEriatarka 1 year ago
@TheHauntOfEriatarka Listen. There's an A in the bass. It's definitely an Am9.
lickmyballs 1 year ago
@lickmyballs First timne I listened I did not hear the open A string being played. I thought he was simply playing the 4 notes: GCEB. I didn't hear the AGCEB. My mistake
TheHauntOfEriatarka 1 year ago
Thanks for posting this! You make it sound so easy...
mightyluv 1 year ago
yeah cool i get that. There is a basic formula. however, if you wake up tomorrow and everyone starts calling an orange (the fruit) a "blue", you can tell people theyre wrong and its called an "orange" all you want, but what good is that gonna do really? eventuallty if u wanna communicate youre gonna have to start calling it a "blue" too. so when it comes to "add9" vs "add2" or "sus4" vs "sus" or "Cmi" vs "Cm" or whatever the case may be, there is no universal standard.
guitarfan00000000 1 year ago
Very instructive! Great lesson, thanks :)
michaelteter 1 year ago
Great stuff jamessir. The chords here were used alot for the slow intro to Wes Montgomery's beautiful ballad "Serene" (named after his wife)
taildragger53 1 year ago
1:15
I've never been able to do this one with only 3 fingers... my fingers are just too short.
gentilguy 1 year ago
you need to tune that damn guitar son
maciejgrebowicz 1 year ago
Desafinada?
01234567898229 1 year ago
Wes was a genius!! Thank you.
blackvitruvianman 1 year ago
stairway!
Hawkeye126 1 year ago
good lesson thanks
timmy47 1 year ago
A very useful lesson, I would like to buy your book!
dealer205 1 year ago
Doesn't sound like wes' chords to me.
lwoods95757 2 years ago
I agree
alansaraiva 2 years ago
Beautiful sound! One potential misunderstanding: I'm assuming that you're using the term 'closed voicing' to indicate the absence of open strings. This shouldn't be confused with 'close voicing'. Drop 2's are not close voicings, they are open voicings. Many close voicings are difficult/impossible to play on guitar.
byzantine15 2 years ago
It is incredible to see how with a knowledge of chord structure and voicings a simple ascending and descending scale run becomes an intricate melody.
hmorganman 2 years ago 7
dude thx for the post, but those are not block chords. theyre just different voicings of the same chord [in this case A-7]. Block chords have a dimished chord alternating with the root chord as you go up the scale to give a more dynamic harmony.
The diminished chord is essentially the E7b9 (the fifth) "disguised" as an Fdim cuz its played without the root (E). Cheers!
ashdr007 2 years ago
Thanks for this excellent lesson and insight into Wes Montgomery's technique, Jamessir100. I'm lefthanded and yet could see all the chord positions clearly - usually I get lost because things are happening way too fast! Just starting out on the jazz playing road and love Wes Montgomery. Can't wait to check out your other lessons!
marcintime 2 years ago
there is actually no universally agreed upon way of naming chords...
guitarfan00000000 2 years ago 7
@guitarfan00000000 partly true. The bass IS the way to identifying the root, if you play a C-major, and the bass plays D = it's a Dsus4add9 (with ommited fifth, but who needs them anyways?) i.e.
Then you just build upon the intervals. Only rule is that if you i.e. add a 13'th to a D without the 7th, it would be a Dadd13 and so on. Only the minor diffrences of each nations ifsn't agreed, like in Denmark the simply write H instead of B, and B instad of Bb.
Syllerud 1 year ago
@Syllerud chords may be named however you wish to name them. Thats part of the creative aspect of music.
However you're basically implying that there's no such things as inversions. If you played a C maj with a D in the bass, it would more likely be considered a C major chord with D as a pedal tone. You're Dsus4add9 is unnecessarily complicated, but thats all up to you.
TheHauntOfEriatarka 1 year ago
@TheHauntOfEriatarka ofcourse. When simplistic chords its far more usual to build the chord up in triads, and conclude if it's the 5'th, 3'rd, 7'th and so on in the bass. But moving further into jazz and into quartal harmony and big rootless voicings, i think the standard rule has to be the bass provides the root.
Syllerud 1 year ago
and it's "unnecessarily complicated" not to name the chords after the standard.
Syllerud 1 year ago
@guitarfan00000000 , My way is the only correct way. Everybody else is wrong.
guitarslim56 11 months ago
@guitarfan00000000 what do you mean a minor 9 is always the same notes no matter what key your in or where you are in the world they could be inverted [in a differant order] or voiced in open position or close position but always the same notes acegb
spacepatrolman 8 months ago
would you agree that when you say A11 you actually mean A7sus4 as there's no 9th?
noisyneil 2 years ago
Comment removed
joepius 2 years ago
Indeed, that would be "A11".
In order for it to be spelled "A11", there has to be a b7th (G) degree present. It does not necessarily mean or require omitting the 9th.
Without the b7th degree, the chord would be named "A7sus" which basically means omitting the 3rd degree, replacing it with the 4th degree.
Since chords are stapled thirds, there is no such thing as naming a chord "sus4";
hence the suspended 4th degree is simply written as "sus".
joepius 2 years ago
what about sus2?
noisyneil 2 years ago
Sus chords are labeled sus4 or 2, and have been since the common practice rules were created.
oregonskateok 2 years ago
what common practice rules? if someone says Gsus to me in a jazz context first thing i think is F/G
rillloudmother 2 years ago
If you don't know what common practice is, then you haven't studied music theory.
oregonskateok 2 years ago
not recently, but i know what the symbols mean when i see them. sus4 is pretty rare on jazz lead sheets and sus2 is very rare.
rillloudmother 2 years ago
@oregonskateok I'm guessing that Wes didn't study music theory.
NurseDischord 1 year ago
Although there is no agreed way on naming chords 11 implies that it's the fourth an octave up, from where it would be considered a fourth.
franzjoseph88 2 years ago
Christ! Why didn't they have Youtube in 1973 when I was 16!!!!!!!
priapus56 2 years ago
Wassa matter pri, dincha get Bert Weedon's 'Play in a day' he he. (I also 16 in 73)
bobgreen623 2 years ago
"Bobby Shaftoe's gone to seeeea, Silver buckles on his kneeee!" Of course I did. There was nothing else that anyone knew about.
priapus56 2 years ago
hi and thanks for some realy nice lessons..is it porsible that you can show us how to use it in a 251 progression...
thanks again..glenn
thedingalingz 3 years ago
How strange. Wes montgomery has white hands
simonbigballs 3 years ago
Lol
zachNewYork 2 years ago
arf arf arf!!!
bobgreen623 2 years ago
Wow! Great job! Thanks so much for sharing your knowledged.
Cheers from America.
timwarneka 3 years ago
nice lesson and sounds good
guitaress1 3 years ago
what guitar is that?sounds nice
fakesoundsjazz1983 3 years ago 3
It´s a guitar from Finland. Landola ACCTE 5000
jamessir100 3 years ago 4