 Hi everyone, this is Jason Zach from Nathaniel School of Music. Welcome to another one of our lessons. If you are a subscriber, if you are not, welcome to our channel and hopefully you do subscribe by the end or during the video or maybe now would be a nice time. Also, do consider hitting that bell for regular notifications because we release quite a few videos regularly, so I don't want you to miss anything. So in this lesson, it's a very, very simple statement which I'm making. I'm going to take a note G and we are going to figure out all the chords which go with G. And similarly, we'll have a chart ready for you on our Patreon where you can map this out in a proper sequential way and do it for pretty much all the chords or all the roots rather. So what we are trying to discuss today is there are 12 roots in music, C D E F G A B then the sharps of flat C sharp also known as D flat E flat also known as D sharp F sharp also known as G flat G sharp A flat A sharp B flat. So you have 12 roots. So the argument here is if there's a melody going on or if there's a landing note or an important note in a song which is G, we're going to take G for this video. What chords can be, what chords will go really well with it? And the truth is there are a lot of them and what I'm also going to show you in this lesson apart from the standard pop chords, we are going to go pop chords, then we are going to do all triads and then we are going to do all roots. So in other words, you could have a chord which starts on the note A flat which still has a G in it. You could start with an F which also has a G in it. It's just that the chord is going to now start being more and more sophisticated. So I will guide you on that front. Basically every single root on the piano will have a chord which has G in it. But let's go step by step in the lesson. I'd like to do it in three steps. First is diatonically from within a major scale, then we'll do all the triad options which go with the G and finally we'll go crazy. So do stay tuned till the very end and let's get cracking. So G, if you have to find a major chord or a minor chord, first of all, which works with it in a scale, you have to first ask yourself the question, what is the scale? What is the major scale I'm going to play on? So let's consider this note G to be part of which major scale? It can be part of so many. Now the truth is G could be the first note of something. It could be the second note of something. It could be the third note of something, the fourth note, the fifth note, the sixth note and the seventh note. It could be either of those. So in other words, there are seven scales, seven major scales which have this particular note G in them. So let's start with G major. So in the G major scale, you'll find that there are three chords. Actually in all the major scales, there will be three chords. First of all, a scale which has the note G in it. In all of them, there will be three triads, major, minor or diminished, which have the note G in them. So if you take the scale G major, play the note G, you have the G major chord as you can see. It has a G in there. What are the chord in the G major scale has a G? We have E minor, which also seems to have a G and then you have a C major, which also has a G in it. So like I said, there are always three chords which will be there in that scale, which have the target note, the note of your need of the R. That will be the G. So what's another scale which has G in it? Maybe E flat. E flat has G at the third degree, isn't it? E flat F G. So G has another role in the key of E flat major. So what are the chords which have G in them in the E flat major scale? Again, remember the clue is or the trick is there are three. So first off, you have E flat major, which has the G. Then you have the G minor, which has the G still. And then what else will have the G? You have the C minor, which also has a G. So E flat major, G minor, C minor. This itself is a nice piano practice right here. Keep your G at the very top and angle it so that all of the chords are inverted so that the G keeps getting represented. E flat with a G on top, C minor with a G on top, G minor with a G on top, E flat with a G, C minor with a G, G minor with a G. Trying to make it as obvious as possible. I hope you followed. So it becomes like a sidetracked in chord inversion exercise also on its own in this lesson. Fine. Let's do one more scale where G is there and I don't want to spend the time with all the seven scales. You'll find all of the answers in the notes. I've handwritten it as a PDF copy waiting for you. Check it out on Patreon and it'll be great if you can support us on the channel. So let's pick another scale. Our friend C major, not my friend, maybe your friend. But anyway. So G happens to be the fifth of the C major scale. So it's good to know all your available chords of the scale. C major, D minor, E minor, F major, G major, A minor, B diminished, C major. So again, which chords have G in them? C major, G major, and then E minor. There we have it. C, G, E minor. So G is there in, well, seven scales and there'll be three chords which have the G in them. So you may also find a few diminished chords in them which have the G in them, like C sharp diminished, E diminished, and G diminished, which are symmetric in nature, just inversions. So you may find some of the diminished triads major and minor. So that is the diatonic realm where you're in a major scale. There's someone whacking the note G or someone singing or howling the note G. And you need to find a chord and survive and play and also make them enjoy it and feel something. So you have the choices. You have three in every scale and some of them are major, some of them are minor. So depending on your requirement, you can use them. So moving forward, I'd like to expand this concept chromatically. So we are now trying to argue which are the major and the minor chords in life, which have the note G in them. So it's quite easy to figure this out. It will be G major, E minor, C major. A good way to understand this is there will be three major chords and three minor chords. So which are the major chords which have G in them, G major, C major, E flat major. Again to prove you, I'm playing G at the top end of each of these chords. G major, C major, E flat major, G major. These are the three major chords which have G in them. What about the minor chords? Again, there'll be three. G minor, C minor, E minor, E minor. Is there a way we can remember this? Yes, of course, there is intervals. First off, what are the namesake chords? Major and minor of the same name. So G major, G minor. So someone asks you which are the chords which have G in them. Obviously, G major, G minor. The other thing you can argue is which chord root has G as its fifth. C, C D E F G, C G, C major, C minor. So G exists as the one chord, G major, G minor. G exists as the fifth of the C, C major, C minor. And G exists inside a chord where whose root is a major third. So now you have to remember your intervals. G is the major third of E flat major. E flat F G. G is the major third of E flat major chord because a major chord has a major third. And then G is the minor third of which minor chord. E minor. There we go. So G is the minor third of E minor. G is the major third of E flat major. G is the namesake or the root of G major G minor. G is the fifth or the perfect fifth of C major C minor. There we have it. We have six triads which have G in them. And that's a great start. You can make music on G. And feel free to wander your melody as long as you give some emphasis to the note G. So you could play G a little longer. Then play some other notes linearly, I guess. And land back on the G with a new chord. Right. You can take songs like clearly Adele decided to use that concept in the song. So that's how you can use chromatic triads to embellish G. And one might think that we are done but we are not done. We have one more quick thing to finish off. So here's the argument. The third way of using G or harmonizing G if you want to call it that would be anything goes. So any chord goes. So we have covered a few things already. So if you take the namesake chords, the G major is there. The G minor is there. But then you can even expand it. You can be like G major seventh, G minor major seventh, G minor seventh, G dominant seventh. So you can do those extensions as well. But it's still like a G chord. The same story with a C. With a C minor and a C minor. C minor seventh which still has a G. C minor seventh flat five clearly has a G. C major seventh has a G. C dominant seventh has a G. So many chords have G and so on. Now G is the major third of the E flat chord. It could also be the major third of the E flat major seventh, E flat dominant seventh. So the position of G is still the major third. So it'll work for even the extended versions of those chords. Same thing E minor seventh, E minor extended, E minor seventh, E minor ninth still has a G and so on and so forth. You know, so let's now move a bit forward. So you can just argue, okay, I've covered the root. I've covered the fifth, G is the fifth. I've covered the major third. I've covered the minor third. There are more intervals, right? So we argue now, I'd like to argue from the way down. So what's the interval which is below the octave or below the root, the major seven. So we ask ourselves, G is the major seventh of who? The answer is A flat. So you could do an A flat root and hold it like this and build G as an upper extension creating a major seventh vibe. You could even do an A flat minor major seventh. Love that chord. So G is the major seventh of A flat major seventh and the A flat minor seventh, which is rather rare. Similarly, A flat major ninth and the extensions of the major seventh, which are nines and leavens and so on. Okay, so major seventh done and dusted, then we argue G is the minor seventh of what? G is the minor seventh of what again? G is the minor seventh of our A. So you immediately have an A dominant seventh. You have an A minor seventh. It still has that G as the minor seventh and you can even consider A A minor seventh flat five, which has our G on the top. So A dominant seventh, flat seven, A minor seventh, flat seven and then A minor seventh flat five, which has the G. There we go. So major seventh over, minor seventh over. Now we come to the sixth. G happens to be the sixth of who? Okay. So G, sometimes this is tricky. So it's good to see the keyboard or visualize in your mind that may also help. The answer would be B flat. So you could either thicken a major chord like B flat major with the thickening of the G. I really like the B flat minor with a G, which is also called as a minor sixth chord. Beautiful sound. B flat minor with a G. You could also look at this chord, which is a diminished seventh chord, but it's important to know or interesting to know that all diminished seventh chords are inversions of each other. So you have B flat diminished seventh, which has a G in it. What is the diminished seventh chord again? It's just stacks of minor thirds. So you can do B flat diminished seventh, you can do C sharp diminished seventh, you can do E diminished seventh, you could do G diminished seven, because they all have a G in them. Okay. So diminished seventh chords will be four in number, which have G in them. And the other stuff which I wanted to talk about just to revise was B flat major sixth, because B flat sixth is G major sixth interval. Major sixth is also called as diminished seventh for your information. That's how the diminished seventh got formed. And then the minor sixth, minor with a major sixth, we call it a minor sixth chord. Okay. So G is now the minor sixth. We finished major sixth. So G will be the minor sixth, which is also known as the augmented fifth, depending on the function. So G will be the minor sixth of who we need to see. I tend to first look at it as the augmented five or the sharp five of something. And that will be easier and more common. We find that the answer is B. B to the G. So if you take B augmented, works like a charm. So B augmented clearly has G, we call that an augmented fifth, not a flat sixth as some of us might get mistaken with. So B major will be B, D sharp, F sharp. When you add the go plus one from the five, you get the augmented chord. So B augmented has a G in it. Another nice chord I like from the B is you take a major seventh from B and then augmented. So it'll be like an augmented major seventh. Very interesting. You could even do like a flat seventh there, augmented seventh as we call it. Another nice way to do it is like this whole X files version or like any kind of alien movies, you take a minor chord and now add the G. You just do that and it just feels like aliens are about to invade us. So that's where you use it as a flat six or a minor six. So the G as a minor six or an augmented fifth of the B. So we've come down now, we've done octave, which is obvious, same as root, major seventh over, minor seventh over, major sixth, also known as diminished seventh over, then minor sixth also known as augmented fifth over. Now we come down to a perfect fifth, which is over. I told you that earlier. C's fifth is G, C minor, C major. Then we come down to the tritone. So G will be the tritone of what you may immediately argue some diminished chord out there. So you could take like a C sharp diminished, but remember all diminishes are inversions of each other. So you get C sharp diminished, diminished or even a diminished seventh E diminished chords and augmented chords are inversions of each other. So G is the tritone of C sharp, but another interesting thing I like to try is to play C sharp major seventh or the tritone major seventh and drop the five down by a step. You get this beautiful voicing, a beautiful chord. It's a major seventh flat five chord. That's what I call it by very beautiful chord, very thematic. So major seventh down one again G is represented as the flat five of something. So G is the flat five of the C sharp chord. Or you can even look at it, look at flat five as being a sharp four, which gives you a very Lydian vibe. You could even call this a sharp four. Anyway, so what happened after that? Now we come down. G is the perfect fourth of what? The argument is G is the four of something. So the answer will be D and a great chord which works is the sus four. You could even take a G sus two inverted. What I really also like to do is do a seven sus four. So you could do a D sus four with a seven flat. So G is very much the perfect fourth of our note D as a suspension sus four or seven sus four, depending whether you want to do three notes or four notes. So we finished sus, we finished perfect four major third is over, right? G is the major third of E flat. I talked about that earlier. G is the minor third of E minor. I've talked about that earlier. So that leaves us with two more intervals. G is the major second of what? It's really easy to see. You will find that G is the major second of F. So you could consider like an F sus two. You could consider an F add two, which is an F major with that G stacked in. You could also consider an F minor add two or an add nine, where G is just a passing note. Another thing you could do is when you do the jazz tensions, like nine, eleven and thirteen, you could say G is the nine of an F by playing an F dominant and then stacking up G at the top end. So G is the dominant, sorry, G is the ninth or the major ninth of F, F dominant seventh. There we go. So I like looking at G as the second or the ninth depending on the function. But F, F add two or F nine, then so on and so forth. You and I have minor ninths. That could work, dominant ninths and major ninths, so many kinds of ninths. Okay, last but not least, G is the flat two or sometimes we call it flat nine of what? Well, you can immediately look here, you'll have an F sharp. You may not want to play just F sharp and G, even though it's quite cool, very horror movie like psycho or something. Anyway, so one nice strategy is if G is used as the minor two of something, in this case F sharp. You could build some very interesting chords like this is a Phrygian chord which is one, two flat, four natural or perfect four and then the perfect five. It's a Phrygian chord because it brings out the Phrygian. It's a modal chord, you could say. Another nice way I like to use G as a flat two is add it beyond a dominant seventh and then we call it a flat nine there. There we have it. So this hopefully proves beyond reasonable doubt that G exists with every single root in music. It can be there with F sharp, it can be there with G, it can be there with D flat, all the 12 notes in music and then you have different variations as well. So wow, that was a lot. I hope you have digested it and thank you for watching it till the very end but to digest this even better it may be advisable to grab our Patreon notes where because this is a theory lesson, there's a lot which I've written down so do consider grabbing a copy of it and by being a Patreon member you also get the previous lessons and there's notation, there's backing tracks and so on. You could also consider joining us for our intermediate or advanced lessons. You could go to our website, fill up a form, drop us a WhatsApp or an email and one of us will reach out to you and so on and so forth. There's a lot of things you can learn from Nathaniel's School of Music, of course starting with this YouTube channel. Thanks again for watching the video and don't forget to give the video a like, a share if possible, leave us a comment and hit the sub button, subscribe button and the bell. It'll be awesome. Cheers, catch you in the next one.