 Hi guys, this is Jason Zach from Nathaniel School of Music. Welcome back to part 2 of this lesson. If you haven't watched part 1, please head over and watch that. It's in the description because part 1 will be definitely the precursor to what we are doing now. It's going to be a lot more advanced in terms of chord naming and we are going to start this lecture off with kind of a chord naming quiz where I'll not know the answers you have compiled. We'll probably have one on our Patreon page for all the Patreon members. You can consider being a member there but here is just going to be you try and guess the chord name and based on all the topics or all the concepts naming conventions covered in part 1, we'll try and name a bunch of chords together. Okay, so before we get cracking, if you haven't already, please hit that subscribe button and there's a bell icon for regular notifications and all of my handwritten notes are available waiting for you on our Patreon page. Let's get cracking. So let's start this chord. What is this? So to triangulate this particular chord, start with what triad it is. Is it a major chord or is it a minor chord? As you can clearly see, there is a minor third in there. There's a perfect fifth in there. There's no diminished fifth so it's no longer a diminished chord because a diminished is minor with diminished. So you'd call this a C minor but with a major seventh. Now what do you name this? Not C minor add major seven. No, C minor major seventh, close. So that's the chord and get the intervallic relationship. A minor major seventh would be one, three, flat five major seven. So you can now build a bunch of other minor major seventh chords. That's D minor major seventh. That's E minor major seventh. That's F minor major seventh. You see, it has pretty much the same vibe. You can kind of use it in context. Maybe a bunch of minor major seventh chords would work in a movie score, I'm sure, right? Where there's absolute mystery and you don't know what's going on in that particular movie. So that's about that. Next chord. So a lot of people might look at this and think, hey, this is E flat major with a minor seventh on top. So shall we call this an E flat major minor seventh? Oh man, that sounded confusing. E flat major minor seventh. Maybe you can write the minor seventh in brackets but now I need to tell myself whenever naming a seventh chord along with a triad, it is not that tricky. So don't do all of that stuff. We just have a name for it. A major chord with a minor seventh is dominant seventh case closed over. So make sure you learn all your dominant seventh chords. They are very, very, very important. Okay. Each of these chords will have 12 to learn 12 to muscle down on the piano keyboard or any instrument which you play. Okay. What about this chord? Nice, beautiful, jazzy kind of chord. So first let's look at the quality. First of all, do you feel that the root should be D? I guess so because it's very triadic in nature. Now you might argue this feels like an F major with some kind of a D bass but there are names for this. If you look at it, it's a D minor. That's the D minor component. Then you have D. There's a minor seventh in there. So D minor plus a minor seventh would be D minor seventh, isn't it? So D minor, D minor seventh, then D minor seventh with the ninth. So you don't need to say D minor seventh add nine. You can just say D minor nine. That's the nine. D minor seventh with the nine. That's just simply called a D minor ninth case closed. Try to learn some of your minor ninth chords in other regions or in other registers of the piano. Very nice to arpeggiate this chord. Let's learn a C minor ninth. Let's learn an E minor ninth. You can also develop some tricks for yourself. What I used to do back in the day, a minor ninth, let's say E minor ninth. I just play E as my root and then I go up a minor third because it's a minor chord. So you need to know your minor third and from there, you can build a major chord. You can technically call that G major slash E or it's just a visual shape to recognize. And if you play a G major seventh up top, you get a very similar vibe. So that's E minor ninth kind of divided between treble and bass clef or left and right hand G major seventh slash E. But don't call it that. It's officially called E minor ninth. It just makes it more physically understandable on the piano. So that was about minor ninths. Okay, let's now look at this chord. Okay, again, it looks very triadic in nature. It feels like this is just in thirds. We've just incrementally moved from a triad and gone beyond. So maybe we're going to introduce all those jazz intervals. Let's see at its core is a minor third then becomes a minor chord. Then it becomes a minor seventh chord, not minor add seven. No need of that minor seventh. Now minor ninth. And when you add the nine and the 11, you can just happily say E flat minor seventh nine easy to say E flat minor 11th. That's the answer E flat minor 11th. You can even consider this as a kind of a poly chord. So a poly chord is where you imagine maybe a triad there with your right hand and another triad there in your left hand. There are some weird poly chords out there. But this is an easy one to remember anytime you want a minor 11th sound, you take any minor chord. Okay, so let's try and get a minor 11th using a simple poly chord kind of technique. We just formed E flat minor 11th. So let's equate it maybe to C. So C minor 11th would be C minor plus a major chord played at an interval which is a minor seventh apart. What is C's minor seventh B flat, right? There we go. You can even freely invert that B flat to kind of give you give yourself different flavors. I love that voicing where you don't have the five very nice when you're playing guitar as well because you don't need to play all the notes to form the chord. It's from another minor 11th sound. So F is my root. This is your minor chord. What is the minor seventh interval from F? Either you count, count, count, go to E flat that way, or a minor seventh would be the octave minus two steps. So that's E flat. But you want to play it as a kind of a poly voicing with E flat major on top F minor on the bottom. So that's how you can remember a minor 11th sound. If that helps you otherwise a minor 11th would be a minor seventh chord with a ninth and 11th. There we go. Let's journey forward. What about this chord? First of all, it sounds rather familiar, doesn't it? Sort of like what Jimi Hendrix would play in his Blues Rock song. So that's one way to recognize it. But now to name this, let's figure things out. Okay, by the looks of it, I have nominated E as my root. Now in the right hand, if you observe the notes which are played, there's G sharp, there's D, and there's G. That's weird because there's a major third in there and a minor third in there. So don't get confused. Let's take the major third as a start. So E major with the flat seven, we don't need a five in order to call it a dominant seventh chord, right? So I'm sure you'll agree that this is an E seventh with a G. So do you call that E seventh add flat three or something like that? Technically it is, but no. Remember what I discussed in part one? If you haven't already, again, please watch part one. Whenever there's a seventh chord, the extended interval or the upper intervals, this one, that's the G, would not be referred to with three, two, and six. It would be referred to as nine, eleven, and thirteen. So the G would now be visualized as A nine sharp or a sharp nine. It's also called as an augmented second. An augmented second is a minor third, right? So E G sharp D G. And that's your Jimmy chord, the Jimmy Hendrix chord. It's a nice way to voice it also on the piano. It's how guitar players voice it, I think. It's pretty easy to play with some of the open strings on the guitar. So a trick, if you want to play it on the keys, the way I like to look at it is you take any note, any of the twelve, you play C, for instance. You do C and you do its third, which is E. You go to its tritone and then a perfect fourth. So you just look at the intervillage relationship between each note. Major third tritone or augmented fourth and then perfect fourth from that tritone. So visually it kind of cascades pretty well for your eyes at least. Major third tritone, perfect fourth. So that's your C7 sharp nine or your C Jimmy chord, if you will. I've done a playlist. We've put a playlist on, we'll leave that in a description where it's called My Favorite Chords of All Time. You'll find quite a few of the chords which I use in my compositions. Sometimes I overuse them because I love them so much. So check out that playlist. We'll link that up in the description. Let's do a couple more. There we go. What's this up to? If you look at this pretty easy, if you look at this shape, it's C major minor seventh, what do you call that? C dominant seventh, simple. Or just say C7. So C7 with a C sharp, weird. Remember you have a seventh. So any extension will be called as some kind of nine. Now is this a nine normal or is it a nine flat? The answer would be nine flat. Beautiful chord. So a quick trick to form a seven flat nine chord. Let's take a root, let's say B flat. You go up a major third and form a diminished seventh chord. So what's a major third from B flat? D, right? And from D you build a diminished seventh. It's a very easy chord since it's a cluster of minor third intervals and it resolves beautifully. You almost don't know what's going to happen to this. It sounds weird. It's you don't know where to go next. It kind of wants to go to that E flat, doesn't it? So it's a dominant chord. So anything with a seventh function is called as a dominant chord. It tends to want to resolve. It's a, it'll tend to be, it is the five of some one and it wants to go to that one, right? So if you take, in this case, B flat wants to go to E flat major or E flat minor because of that dominant wanting to go to the major or the minor or the major, it has that pulling, that magnetic function, right? That's mother nature for you. So one more rather tricky one. What do we call this guy? So that's a G seventh. If you look, look at that. But I've played the third of this chord on top and I've added the 13 because there's a seven. Remember with the seven you need the 13 and I've pushed the 13 up top. So you could call this a G seven, 13, 13 in brackets if that works. Okay. One more with some of these tensions. A lot of chaos in the middle with this A, B, C, right? So what do we like to call this? A very Lydian sounding chord. So you would call this an F major seventh because it's not dominant. It's a major seven. F major seventh with the B that makes it a sharp 11, right? Because you already have the seven. So F major seven sharp 11 would be the name of this chord and played here and played here. And if you want a few ad examples just for just to kind of pack up this quiz, what would this be? So that would be a C minor ad flat six. Okay. What would be this particular chord? This would be a D minor ad major six. No need to say all that. This is just a D minor six case closed. D minor sixth. Okay. What's this? This is an E major ad six. No need to say all that. It's just a good old E major sixth simple. Okay. So ad chords can be used pretty much in with all our intervals. This is C major ad two C minor ad two C major ad flat two and so on and so forth. Right. So I hope naming cards is no longer an issue for you. If you watch part one and part two now with part two, I just like to cap off with a couple of things how to name all the dominant based extended chords. That I think is a common challenge faced by many and I'll also look at some different chords like six, nine and quarter chords. So let's kind of look at some more of the geeky stuff moving forward. We'll have C now as a base. So C dominant seventh. So let's look at all the variations of C dominant sevenths. You can do it with respect to D or anything after figuring it out on C. So this is C seventh. What would this be? I'd call this a C seven flat five because the five got flattened. What's that? That's C seven sharp five because the five became augmented or sharp five raised. Okay. That's flat five sharp five for you. Now that would be a C ninth. You don't have to say C seven ad nine. It's just C ninth. Now you could call this as a C seven flat nine. Flat nine in brackets would help. It would be a C seven sharp nine sharp nine brackets also known as the Jimmy chord as we discussed earlier. Then let's look at some leavens. So this would be a C leavened. So with respect to a leavened chord, you have a few naming technicalities. If you want to look into that, this is a C leavened, but there is a third. So you can say C ninth ad leaven. You're saying ad leaven because there is a three. What happens when you don't have the three? You can say C nine sus, sus what? Sus four because that's now the four. Okay. But in theory, these are all kind of leavened chords. Okay. Now let's look at some leavened variations. That's a sharp leaven for you. So you would call this as C nine sharp leaven. Right. So you have your normal leaven, which is a perfect fourth played up above. That's a sharp leaven. Then you could also look at some 13th sounds. So that would be C 13 or a C ninth or write the 13 in the brackets. I just like to call it a C 13. Then you could do a flat 13, but usually the flat 13, you'll not have a perfect fifth. And then I prefer to avoid that flat 13 altogether and just refer to it as a sharp five. It's a lot easier for my brain at least. So you can have some really exciting dominant chords out there, maybe like this one. Quite like this chord. So this could be referred to as a C seventh flat nine with a in brackets. You could perhaps write C seven flat nine sharp leaven if that works. Right. So I quite like that chord not used it that much might use it soon now. So this would be a C seventh, but, but a sharp nine as a nine got sharpened. C seven sharp nine and sharp leaven. A lot of sharps in there. So you could kind of name your dominant chords accordingly. Right. But it all starts with C E J P flat. So that's about naming our dominant chords. And just to conclude the lesson that there's this other kind of chord, which goes around where even I've learned this name pretty recently, it's called the six nine chord. So to build a six nine chord, you can go, you take any root, go up a major third, or even a minor third, it'll work even for minor six nine. So this would be called a C six nine. To read this, it'll be major third six and a nine. So we don't, it's a kind of a unique naming system because you don't have the, the seventh in there. So we say C six nine. And if you minor it, you could call this a minor six nine C minor six nine. So C major six nine or just C six nine C minor six nine. Okay. You also could consider poly chords or slash chords, a basic slash chord would be a triad there with a different base here. Now to do some interesting slash chords, like you could do a B flat here with a C here. So you could even call this as B flat forward slash C, but it reminds us of some kind of a 11th sound, right? Very nine sus four kind of sound. But it's easy to visualize. You can just write it down as a B flat slash C, at least us piano players like it sometimes like that. Okay. You would also have some interesting shapes. Like you can say you take a E flat minor with a D flat major up top. We discussed this earlier. So this is called as a poly chord where you have a D flat major slash E flat minor. So you can D flat slash E flat minor, you can write down chords like that, that'll be called as a poly. And last but not least, again, a chord type, which I've used strangely enough a few times in my career without knowing the name of it. You just think to yourself, why should all chords have these thirds annoying thirds, everything major third minor third, why can't they be built in fourths. So this is where we have what's called as quartal chords, which incidentally have names to them. So if you take C and you build perfect fourths from C, what's the perfect for fourth from C? It's F. What's the perfect fourth from F? It's B flat. This is what we call as a C quartal chord or C quartal. You can write C capital Q. That's the name for it. Okay. Now if you do this sort of a voicing, this sort of a shape you're doing perfect fourth meets augmented fourth, you would call this as CQ plus C quartal plus. The plus means you don't have a flat seven, you have a major seven. And then what else can we end up having in the quartal family? You'd call this as C sharp 4Q or C sharp 4Q. Yeah. Sharp 4Q, the quartal. Okay. So C, CQ or C quartal, CQ plus or C sharp 4Q. These are the quartal chords out there. So if you know of any weird chord name or any chord voicing, which we haven't covered in this two parts rather elaborate two parts series, perhaps you could leave them in the comments and let me check them out. I would love to learn a weird chord name or a shape which you've found from somewhere. Let's try and talk about that. Okay. So thanks a ton for watching this two part series. I will catch you in the next one before I sign off. It'll be great if you can hit the subscribe button if you haven't already. And if you want some detailed regular structured weekly theory, year training, piano, composing classes, you can always head over to Nathanielschool.com which is our music school and fill up a form and our course advisor will reach you at the very earliest. And our notes are waiting for you for this lesson and many more on our Patreon page. Thanks a ton for watching this two part series. I will catch you in the next one. Cheers.