#1
Hi, i recently watched a keyboard instructional video with a guy going from a V to a I while adding passing chords in the middle that are based on "out of scale" notes. For example he goes like V - bIII - I, or V - bVI - I.

Anyway they all sound great and all but the theory is whats making me scratch my head.
The bIII chord for example he said is a 6/9b5 chord, which in his example contains;
R 3 6 b5 b7 9. To my knowledge a 6/9 chord usually doesnt contain a b7 though, could this be considered a 13 chord with a b5 in it, or a #1113? or is this chord based on another chord entirely and the Root isnt the bIII at all ?

By the way, the V he used each time was a 9sus4 or 11 chord. R 4 5 b7 9. i dont know if that makes the whole function of the progression any different but i know some people consider this chord a IV with the 9th in the base..
Last edited by Ignore at Feb 27, 2014,
#2
Quote by Ignore
Hi, i recently watched a keyboard instructional video with a guy going from a V to a I while adding passing chords in the middle that are based on "out of scale" notes. For example he goes like V - bIII - I, or V - bVI - I.

Anyway they all sound great and all but the theory is whats making me scratch my head.
The bIII chord for example he said is a 6/9b5 chord, which in his example contains;
R 3 6 b5 b7 9. To my knowledge a 6/9 chord usually doesnt contain a b7 though, could this be considered a 13 chord with a b5 in it, or a #1113? or is this chord based on another chord entirely and the Root isnt the bIII at all ?


6/9 b5 chords (and given the b7) don't exist (they'd be labeled something else), which makes me question his grasp of conventional theory. clearly, though, he knows the music, which i suppose is all that matters.

if you link to the video i might be able to give you a more detailed analysis.

Quote by Ignore
By the way, the V he used each time was a 9sus4 or 11 chord. R 4 5 b7 9. i dont know if that makes the whole function of the progression any different but i know some people consider this chord a IV with the 9th in the base..


what? that's a ridiculous and overly convoluted way to think of that chord.
Anfangen ist leicht, Beharren eine Kunst.
#4
9 seconds in and god damn his voice is annoying.

what he calls an "F chord" is not an F chord, and it's certainly not an F7#5. it sounds to me like it's just functioning a first inversion Db chord, but if i was writing this in a jazz or rock context i might have notated it as Absus/F.

as for his E chord, i'm seeing it more as a Gb9 with the seventh in the bass, so Gb9/Fb (Fb and E are enharmonically equivalent). that would simply be the IV9 in the key of Db, not a bIII.

the D chord is spot on - he's voicing a D7b5#9 chord, which can be very commonly used to resolve to Db because of the concept of tritone substitution, where a dominant chord a tritone away can be used in place of another dominant chord. the typical dominant chord in Db is Ab7, which is replaced with D7, a dominant chord built on a root a tritone away from Ab.

his Cm7#5 isn't functioning that way at all. i'd call that chord Ab9 (it would be nicer if the 7th was involved but since it was present in the chord before it (the Ab chord) and i'm not hearing anything that contests it as the seventh, i would carry it over in my ear. you wouldn't be incorrect to call it Abadd9/C, i guess, but it's just a C in the bass and a quartal voicing in the right hand (Bb - Eb - Ab, all a fourth apart).

that Gb chord is interesting. while you could consider it a Gbm9(maj7), i find that nomenclature unwieldy, and i also don't feel it's functioning that way. i'd consider this a Dbmaj chord with a Gb in the bass, and the A note (or Bbb, if we're talking functions) is just a chromatic passing tone from the Bb in the Ab9sus chord to the Ab in the Dbmaj9 chord.

i could keep going but pretty much that's all that's happening here. what he's labeling as the chord isn't actually accurate -- it feels like he's just taking notes in his right hand that are (mostly) diatonic and structuring the chord from the aural bass note, rather than the theoretical root (from which chords are constructed).

he knows his way around the sound (enough to be able to construct alterations, extensions, and other color tones) for sure but i'd say his handle on the theory is pretty poor.
Anfangen ist leicht, Beharren eine Kunst.