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Posted: Wed Feb 24, 2010 1:07 pm
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MELODIC MINOR SCALE(S)


You see, we have arrived to something that makes rock musicians (generally guitar players) afraid! Even though, of course, they would never admit that! I guess, the lack of situation to use it in rock/blues music is the reason. It’s just my opinion.
Yes, I am talking about melodic minor scales, also known as “jazz” scales. So, I hear! Mostly because they are used in jazz music, and by jazz players. But, as we all know it, they are actually, and to us, only the third mode of minor scales: melodic minor scales!

I am afraid this is going to be another short post, because it’s very simple, and because I’ll leave you to practice scales a bit more. We’ll need them for what we have coming next. But, I promise great fun!

Here it goes:

Melodic minor scales:

C minor melodic scale

C whole note space D half a note space D# whole note space F whole note space G whole note space A whole note space B half a note space C

On guitar:

Third fret A string (C note), fifth fret A string (D note), sixth fret A string (D#), third fret D string (F note), fifth fret D string (G note), second fret G string (A note), fourth fret G string (B note), fifth fret G string (C note).

You see, nothing to be afraid of! It’s just a myth! That “jazz scale” thing. It all actually comes from classical music, so… No need to waste time talking about it. We need to play it!

Of course, as with everything previously learned here, move it along the neck and try and play it in different keys. You can explore the ways and chances or situations where you could use this kind of minor scales. There are no rules really. And if there are any, they are meant to be broken! Nothing must limit you, your talent and music. That’s how I understand all this theory. It can help you a great deal, but don’t consider everything a dogma. I like to think about it as a guide and a very powerful weapon if used the right way.

There is this rule/ suggestion in classical music that if you play melodic minor upwards, you play backwards, not the melodic minor, but the natural minor. Stupid, isn’t it?! I’ll play whatever I want to play and the way I want to. (But, I am not the first one and not the only rebel here, I think Jochan Sebastian Bach started it. He played it upwards and backwards. Would you know his name now, if he did as he was told?). Of course, using what we have learned here. Maybe you remember I talked about mixing different minor scales in one song/composition. That’s it. Play the scales the way you want to, and if it sounds good to you, who cares what the rule is. Just play it.

When you play melodic minor scale(s), you can certainly notice why they are called that way! They just flow. They have this connection, a link, between the notes. I think they have the most perfect space(s) between the notes, and I guess it is the most similar minor scale to major scales. After all, minor scales are built from major scales. The sixth of a major scale is the root of a minor scale.
Example: C major scale, the sixth is an A note, and that note is the root of a relative (I guess that’s the term in English) minor scale. Of course, if A note, the sixth from C major scale, is the root (the beginning) of the new minor scale, we’re talking about A minor scale (Am), natural Am scale. And the rest two minor scale modes (harmonic and melodic) are built/derived from natural minor scales.

NOTES: I started explaining the origin of minor scales from major scales in more detail, but it occurred to me that you don’t really need, and probably, don’t want to know about it anyway. You need to play it, not talk about it, so…I’ll let it be. Just practice the minor scale modes that we have learned so far, and that’s it. I don’t think there is much more for you to know about minor scales, at least not necessary to know anything else.

HINT: Melodic minor scales sound nice over major 7 (M7) chords, because just like harmonic minor scales, you play major seventh in melodic minor scales (as opposed to minor seventh in natural minor scales).

Again, practice this, and we’ll continue next time. We have some more intervals and chords left to talk about. From now on, I believe we’ll focus on shorter posts, I think it’s more effective that way. And you have already learned the basic stuff, needed to continue and ready to take it to another, higher level.

To be continued…

Goran

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Posted: Thu Feb 25, 2010 8:35 am
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I have always liked minor pentatonic, with a couple of extra notes, over major 7 cords.


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Posted: Thu Feb 25, 2010 11:00 am
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inbalance99 wrote:
I have always liked minor pentatonic, with a couple of extra notes, over major 7 cords.


Pentatonic + a couple of notes = diatonic scale (usually)

Thanks inbalance99! You keep helping!

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Posted: Sun Feb 28, 2010 5:54 am
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C7 FM7 Gm7 C7 FM7 F7 BbM7 Bbm7 FM7 Db7...
(according to my music sheet for this song that I have, haven't played it yet, didn't have enough time, but I will)

Here is a nice chord progression for you to try to figure out how to play. And sweat a little. It is only the beginning of the song "Making whoopee".
Jazz. Don't know the author of the song, but I love it! There are a lot of versions out there, different rhythms, tempos, different lyrics...but the music is the same I believe. Chord progression I mean. So, I think it's the perfect song for you to play with notes and harmony.

There is also Elton John version on You Tube, but I like this one best:

http://www.youtube.com/watch?v=7TULYBRHBAs

Yes, it is Michelle Pfeiffer! And Jeff Bridges, the movie is "The Fabolous Baker Boys". Check it out! A beautiful movie! And the soundtrack too!

Anyway, I hope we'll continue with our music theory chat this evening. Have a couple of more things to attend to. Busy couple of weeks. Sorry for the delay.

Goran

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Posted: Sun Feb 28, 2010 9:58 am
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Thanks Goranm!

Looking forward to the next instalment!


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Posted: Sun Feb 28, 2010 3:51 pm
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Watch this:

http://www.youtube.com/watch?v=TZ4FZ80Qdd8

Well, I want to discuss this now after you have watched it. There are two things I need to talk about that Al Di Meola mentioned here, but first I must say that, personally, I am not very fond of his music in general, but that doesn’t mean I don’t respect the guy. I think he is a great musician, but that doesn’t mean I agree with everything he says (or he said in this video) either.
Having said that, I feel obligated to talk about certain things that caught my eye and ear recently. I have been teaching two of my good friends to play guitar as of recently, and I noticed some peculiar thing(s) that I had been noticing here and there even before. I am talking about playing rhythm. Not rhythm guitar, but playing rhythm in general. Playing in beat. That’s why I put this video, because I remembered I saw it a couple of times, and it always made me think about his method. I agree with Al Di Meola on this, but only to a certain degree, and I have some things to add. What I noticed is that new, young players tend to think about rhythm more than feel it. It’s wrong! That’s why I think Di Meola’s approach is wrong here. Because it makes you think too much about something that is actually in you. And has been since the day you were born. I agree that a player must be able to play against the rhythm and beat he/she is listening, but I think that tapping your foot is not the best possible way to learn that. In my case, it sure isn’t. It just doesn’t suit me. I’m not comfortable with it, and it makes me think. Which I don’t like! Rhythm must come natural to you, you can’t learn it!!! Forget everything they told you that everything can be learned. It can’t! Not music! Not art! If you are OK with it and used to tapping your foot all the time (I do tap my foot, but it gets boring after awhile), then you will find this very useful and easy, but for those of us not used to it (including myself), it does not make any difference whatsoever. So, what the rest of us should do is that we must find our own comfortable and easy way of playing, hearing rhythm while we play guitar. As far as I’m concerned, I keep it in my head, I don’t tap anything. It just comes to me. Whether I play piano or guitar, it doesn’t matter. It’s in my head. When I was a kid I remember I was playing rhythm on my stomach all the time, you know, tapping my stomach (I was a kid, give me a break!). Then I started playing rhythm on my legs and eventually came to playing it by tapping my hands, sometimes I whistle, but most of the time I just shut up and play. How? By playing something that inspires me. Let’s say you sit and start to play piano, if I were you I would play bass first on piano. Just hit a bass note or notes, then a chord maybe and see where it can take me from there. To cut the long story short, find your own way of playing rhythm. Play it the way you feel it and you can’t go wrong. Don’t play it the way somebody else tells you to if you don’t feel it that way! You’ll mess it up! Because it’s not your cup of tea, it’s somebody else’s metabolism, somebody else’s feelings, somebody else’s knowledge. Don’t count strokes of the right arm when someone else is playing! Close your eyes and try to feel it and play it on the table first or on your knees. Don’t ever, ever watch other guitarists play chords or lead or rhythm! LISTEN! DON’T WATCH! Because there are so many different ways of playing, so many different styles of playing chords, and so forth, that you’ll get lost in all that. What you hear is all that matters! Music is all about hearing and feeling not watching! It’s nice to see a great show, stage effects, but… all that matters is what you hear and feel during the show. Take Pink Floyd as an example. Unbelievable visual shows, but without the sound completely meaningless. It’s a concert, not a movie. Music is what it’s all about! Songs, lyrics, the overall sound. Not jumping around the stage.

So, my advice to you is FEEL! Don’t think as much! Feel! You can’t feel what I feel, I can’t feel what you feel! That’s why there is such great music all around us! We are all different! Who cares if someone plays the same song a bit differently, don’t take it for granted. You play it the way you feel it. DON’T COPY anybody! You’ll lose yourself that way, and you won’t do much musically. Feel the rhythm, don’t copy it, don’t count the strokes of your hand, don’t think about it and you’ll be fine! Natural!
Rhythm is much more important than lead playing! Because if you remove everything else from a song and leave only lead guitar, or some other lead instrument, it would sound stupid! Wouldn’t it! With all that rhythm, atmosphere, harmony, mixed instruments missing, only lead makes no sense. So, lead is a dependent in music! It can’t stand on its own! Don’t be obsessed by speed! It will come to you naturally too. In time. Don’t practice it! Play rhythm, play scales, play chords…but you choose all the conditions. Speed will come to you!
The other thing Di Meola mentioned is spaces, empty spaces in playing. He is right! Don’t make spaces! Keep it fluent. Unless you want a pause. But, pause is not an empty space in music, it is music. Who could say a pause, a break, a space, can fill up spaces. It sounds like philosophy, but it’s not. It’s true! Keep empty spaces out. Try to fill everything up. As much as you can. Even with pauses. It’s music too.

I hope you understand!

To be continued…

Goran

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Posted: Sun Feb 28, 2010 4:20 pm
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Hopefully your post will have a lot of discussion Goranm - feeling the music and trusting yourself is a big thing.

I find it very easy to criticise what I play, but the moments I enjoy most are the rare ones where I forget I'm even there and just play instead of thinking.


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Posted: Fri Mar 05, 2010 12:07 am
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bump (a worthy one)


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Posted: Mon Mar 08, 2010 10:44 am
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Bumpity Bump


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Posted: Tue Mar 09, 2010 2:23 pm
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15:35 (3:35 pm), March 6th 2010. Zrenjanin, Serbia. Cold wind blowing, the Sun is shining. Goran (me) having a headache, maybe a flu (not swine flu!)

I’m having some trouble trying to understand this home studio thing, and make some demos, but it seems it’s not something I’m good at. So, I’ll just make some simple demos and call couple of friends to be my sound engineers after and if they liked them.
I’ve been really busy lately, making money to pay for my digital piano and I want another strat, so…you know how it goes. It’s true that I’m on the computer all day long and doing really boring paper work (I hate it!), but it’ll get my wishes come true. Well, a few of them will. Anyway, I’m very much sorry I didn’t post anything for awhile, but it’s because I come home late and I don’t think it’s a good idea talking about such sensitive thing(s) with the total lack of concentration! I don’t want to make a mess, and make some amusing and fatal errors. You know what I mean. So, I’ve waited a day off, or a weekend or something like that, but I’ve got a headache right now! (Not a hangover! I don’t drink!). But, I’ll continue with my music thing because I feel like it!

If I remember correctly, we’ve come through diatonic minor scales. And without any casualties I hope!

OK! I want to talk about intervals again. No, not the ones we have learned so far, but we’re going down the road learning new stuff. And here it is, simple again:

Wow, don’t know where and what to begin with. My head is making some serious negotiations with the rest of my body, and my brain especially. I need a rest.
To be continued… A bit later.


A couple of days later actually! Today is Tuesday! At least on my side of the planet it is.
March 9th 2010, Tuesday, 21:03h (9:03 pm)

Feeling better! Thank God!
I’m listening to movie soundtracks right now and I got this strange urge to talk about something which particularly lightens my imagination and which I really like to hear and play (with)! COUNTERPOINT!!!
Perhaps some of you have had the chance to hear about it. Counterpoint in music I mean!
But, as you already know, I’m going to explain it in simple terms.
Counterpoint in music is, roughly speaking, playing two lines at the same time. And very different lines too! A bass line and a melody for example. Like you have in classical music, movie soundtracks of course, and jazz. I don’t think there are many examples of using true counterpoint in rock music. Oh, it is there, but it’s not so much emphasized. It’s reasonable. Distortion and fuzz is there for a reason, right? But, true musicians (the ones that can't live without music, myself inluded), love, adore to play counterpoint. So will you. As soon as you get to understand it. And you guessed it! It’s simple. There are number of rules of using counterpoint in classical music, but they are pretty lame and stupid! (forgive me purists, but they are!). So, I won’t bother you with that. The way I feel and play counterpoint is very simple. When you play, any instrument, there are three basic things to remember, look out and think about:

1. Harmony (chords)
2. Rhythm
3. Bass line (to some it’s melody, but not to me)

That’s the holy trinity of music! You have teachers (and famous ones too) talking about harmony, rhythm and melody being the three essential things in music, but (I think I talked about it in one of my earlier posts) melody is actually the product of harmony, and a dependant in music. So is bass line, bass lines are melodies too, but bass lines can stand on its own and make you move and want to play, you feel rhythm through bass lines, they make, represent rhythm. Melodies, solos, leads…can stand on its own too, but to a certain degree! It sounds stupid! What would you, and what do you feel when you hear just a melody played?! Great, beautiful...but empty? You’re right! And you can really easily improvise melodies over chord structures. Remember that?! If you know what key you’re in, you play the scale in the same key, and you can’t go wrong. Even arpeggios (playing chords note for note; can’t really find words to explain it in English) bring you melodies. Try it and you’ll understand!
So, what playing counterpoint really means is that you play a bass line and a melody at the same time! On guitar you can achieve that by playing melodies through harmony and playing with low notes (bass) at the same time. It’s pretty catchy when you first try it, but you’ll love it! Guaranteed! It’s kind of what Hendrix was doing and what made him famous. On guitar. But, it’s all actually a piano thing! Trust me on that! Everything comes from piano. Every little trick, every little move, every little experiment! It’s the basics! Because it’s a very wide range of notes comparing to other instruments with lower ranges (including guitar)! So, every trick you hear is probably taken from piano and is probably the try of recreating sounds that are not necessarily common or normal for the given instrument. On guitar you’ve got tapping, harmonics, and so forth, which really is just a compensation for the lack of notes on guitar. It’s limited in a way, so musicians have been finding new ways to widen the ranges of their instruments. It certainly started that way. But, we’ll talk about tapping and harmonics later, when the time comes.

I cant’ really give you an example of counterpoint in writing, and I do not have the camera to record it. And I don’t really like to take pictures or videos either.
So, here is a little something my friend (I wish) did on the topic:

http://www.youtube.com/watch?v=P8_0NYqhrXk

My man! Eric Johnson!
Don’t get frustrated you can’t do that the way he does it! It takes time! You’ll get there!
Check out some more of his videos and lessons. It is basically everything we do here, and try to do. And we’ll do it! I’ll do the theory part, and my friend will do the…video part!
I hope he won’t mind! It’s for the world peace, music, joy and…many other and various things!
It’s not really counterpoint on that video, it’s some sort of it, but you’ll understand it as soon as you start playing that way. Try to play low note bass lines (simple ones) and play arpeggios while you hold a chord. If it sounds good to you…it probably is scale/chord/interval correct!!!
You’ll develop it eventually by yourself. And take it a step or two further. Or a couple of more steps.

I was going to talk about intervals again today, where we left off, but it’s enough for this evening (10:06h pm at the moment. Yes, I’ve been writing this since 9:03 pm until now. And correcting it! Don’t want any mistakes!). We’ll continue tomorrow I hope.

Anyway,
It is to be continued…

Count on that!

PS Thanks for bumping my thread guys! I appreciate it!

Goran

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Posted: Tue Mar 09, 2010 2:47 pm
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Glad to hear you're still around, I was concerned you'd forgotten about us! :D

Looking forward to the next lesson


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Posted: Tue Mar 09, 2010 3:14 pm
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Toronado wrote:
Glad to hear you're still around, I was concerned you'd forgotten about us! :D

Looking forward to the next lesson


Thanks brother! Oh, I'm around and I don't plan on leaving either!

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"All that is impossible remains to be achieved."
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Posted: Mon Mar 22, 2010 1:34 pm
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Hi guys!

I'm sorry if I put all of this on hold for a couple of...weeks or so! I've been really in a strange situation recently, mostly working, sleeping and of course playing. I haven't read or posted on this forum for a week. Maybe two weeks, I don't know. Anyway, I haven't forgotten about you and this little project we're doing here, it's just that I was really not in a mood for it lately. External factors! So, I have posted a few links below for you to check out!!! It's an interview with the great, late Jaco Pastorius, so it's about playing bass. But, everything they talk about in the video here is everything we have talked about here on this thread too, so I find it very useful for you to compare all that stuff about music and playing instruments. Please, make yourself watch all the parts of this interview. You can learn a lot of things simply by listening about the sources and methods of learning to play from more experienced players. Maybe some of it may be more easier for you to figure out than from me, this video being in English.
It's time to take my thread out of the mud! The deep mud it's been to.

http://www.youtube.com/watch?v=fgK5VygL ... re=related
http://www.youtube.com/watch?v=jfJ2f52o ... re=related
http://www.youtube.com/watch?v=J5AigXSg ... re=related
http://www.youtube.com/watch?v=wOGKbgQm ... re=related
http://www.youtube.com/watch?v=85Vee1BC ... re=related
http://www.youtube.com/watch?v=Oy6DcFlB ... re=related
http://www.youtube.com/watch?v=e_iMVKD8 ... re=related
http://www.youtube.com/watch?v=IgOGdtkN ... re=related
http://www.youtube.com/watch?v=5reMx8v1 ... re=related
http://www.youtube.com/watch?v=cfuzeUZI ... re=related
http://www.youtube.com/watch?v=hJMfzbrw ... re=related
http://www.youtube.com/watch?v=VBsNp99s ... re=related

PS Sorry it takes so much time for me to write. I am sure it'll all come back to normal in a couple of days.

To be continued...

Enjoy!

Goran

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Posted: Wed Apr 21, 2010 8:25 am
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The “Hendrix Chord”

“…To illustrate, let’s dissect the fingering of the dominant E7#9 chord used in “Purple Haze” (see illustration). From low strings to high, you have an open low E (the root), your middle finger on the seventh fret of the A string (octave E above the open low E), your index finger on the sixth fret of the D string (a G#, which is the minor third), your ring finger on the seventh fret of the G string (a D, which is the dominant 7th) and the kicker, your pinkie on the eighth fret of the B string (a G, which is the major third), followed by an open high E.”

Excerpt from Fender’s “Tech Talk”, dated April 21st 2010 I believe.

Everything sounds quite right except for one little thing! Actually, not so little after all. Note G# of E scale (chromatic scales, which are not divided to major or minor scales) is not the minor third, it’s the major third! And G note is not the major third, but the minor third! You can easily see for yourself by just playing classic E chord on the first fret, and then Em chord. You see, the note that makes difference is the third. In E major chord, you play G string on the first fret, don’t you? It’s a G# note right? So in a major chord, the third of course is the major third! In Em chord you let go of that G# note and play an open G string right? So it’s a G note. And the chord is called Em, so the third in a minor chord (any chord) is the minor third. A little mix up in the text! Now, I am not trying to sound smart here, I’m just making things right. I don’t know who the author of the text above is, but a mistake slipped through. Not so obvious one, so I don’t take anything against the author. Nothing at all. Some of you may remember that I made a similar mistake in my “Music Theory!!!” monologue. So, a forum brother stepped in, and gave me a hint about it, so I corrected it. That’s exactly what I am doing here right now. Just correcting. English is not my native language so I hope I understood the text above correctly. I believe I have.

Ok, I’m back guys!

This story about the “Hendrix chord” got me right back here, and right back where we left off. If I am not mistaking myself, we got to the intervals again. This time ninths!


THE NINTHS

You know how the sevenths are made, you know the notes of the fretboard, now you are about to enter the world of the ninths! Yes, the ninth note of the scale, a diatonic scale. But, there are only seven notes in a diatonic scale, and the eighth one is the root again, you say?! I hear you! The reasonable explanation is as follows: when you get through the seven notes of the diatonic scale, you get to the root again. And that root is just that, the root of the scale again. And the same scale that is that you have just played, but only an octave higher. So, all you need to do is play the same notes of the scale you have already played but do it one octave higher. You see, the eighth note of the scale (which is also the eight interval) is the beginning of the scale all over again. So what would be the ninth note (the ninth interval as well)? You guessed it! One note behind the eight note. Perhaps my explanation sounds really stupid, so here is an example:

C major scale: C D E F G A B , seven notes! Then it goes again, a full circle!
C D E F G A B , seven notes! And then again! And again!
So, in C major what would be the ninth? D note! Because the eight note is a C note! One full step up is a D! We all know that!

Let’s take a C minor scale as an explanation too:

C minor scale: C D Eb F G Ab B, seven notes! And as you have noticed, be it a minor or a major scale, the ninths remain the same! Actually, the only notes that are different in major and minor scales and what sets them apart are only the thirds (major and minor) and the sevenths (in major scales you play the major seventh, in minor scale you play the minor seventh). Of course there are different modes of minor scales that we have already talked about in which you play major sevenths instead of minor ones, but that just makes it even more closer to major scales (and chords), doesn’t it?! That modes leave us with only one difference most of the time, and it is the third. You see, everything else (the fifths, the sevenths, the seconds, the fourths…), everything is the same regardless of the name of the chord (major or minor).
So, what are the ninths actually?! They are actually the seconds! Because the ninth note is actually the second note of the scale! Because the eighth note is the root again and thus the first note of the scale (only an octave higher), the next note will be, is the ninth or the second.

So, the “Hendrix chord” from the beginning of my today’s writing is also known as E7#2. It depends in what part of the world you live in.

So, it’s E7#9 or E7#2. It’s the same chord!

Now, there are a couple of modes of ninth chords as well. Here they are:

There are chords where you simply add the ninth/the second to the classic chord.
Take the E chord this time. You have three basic notes that make the E chord,

E – the root, G# - the major third (thus major chord), and B – the fifth. You want to add the ninth. You now know the ninth is actually the second, so the second is the note next to the root note, and in this case it’s an F# (if anything not understood, please refer to “Major chords/scales” post on this thread). That way created chord, by just adding the ninth/the second is not an E9 chord! It is an Eadd9 (or somewhere E+, E+9, depends where you’re from). Now you wonder what an E9 chord is?!

The nine chord are actually 7/9 chords! So, E9 actually is an E7/9. What does it mean?
It means, as you already know (or I hope you do) that you have a classic/basic E chord with added minor seventh and a ninth! Simple as that! Add the minor seventh (one whole note below the root of the chord/scale) and the ninth (the second) and you got yourself an E7/9, or simply an E9! So whenever you have a chart that says D9, E9, Gb9…it is D7/9, E7/9, Gb7/9. You must have a seventh in it, or else it’s not a nine chord, it’s an add9 chord if you choose to let go of the seventh. Of course the seventh can be minor or major, you know that too. You get maj7/9 chords the same way, you just add the major seventh instead of the minor seventh. And that’s about it!

Oh yes, one more thing! We have an E7#9 here, not E7/9! What does it mean and how is it made? Easy! Just as with the fifths (diminished or augmented), you diminish the ninth/the second for half a step, or augment it for half a step (half a note).
It’s easy! When you know what the ninth is. Now you do know, so…

In this case, here are the differences between the E7/9 and E7#9:

E7/9 (or E9) notes: E G# B D (the minor seventh) F# (the ninth/the second)
E7#9 notes: E G# B D and a G

The ninth augmented by half a step! That’s all! No need to cry over it! Pure logic! And fun too!

Of course, you can exclude the third completely and add the fourth or the second alone, and make 7/9sus4 chords. You see the difference between adding the ninth/the second when you have the third and when you don’t have it?! When you have the third, it’s a ninth chord (both add9 or 7/9), but when you’re without the third and add the ninth/the second, it’s a sus2 chord! Also know as sus9 chord.

Wow, I’m tired after writing all this without taking any time off to chill my brain a bit!

I believe this post concludes the intervals. If I remember it correctly! I must go through my posts!

I hope I didn’t make a lot of mistakes writing this in English, and I hope it’s easy to understand. If anything not understood, please ask, so that I can try and clarify it more.

Don’t know what we’ll talk about next, but TO BE CONTINUED…

Goran

_________________
"If you're on a path that's beaten, it's not your path." Joseph Campbell

"Sticks and stones may break my bones, but words will never hurt me."

"All that is impossible remains to be achieved."
Jules Verne

www.stratcollector.com


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Posted: Wed Apr 21, 2010 8:47 am
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Aspiring Musician
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YEAH! Back on page 1 again!

_________________
"If you're on a path that's beaten, it's not your path." Joseph Campbell

"Sticks and stones may break my bones, but words will never hurt me."

"All that is impossible remains to be achieved."
Jules Verne

www.stratcollector.com


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