9ths and 13ths
Lesson 12 from: Music Theory for Electronic Musicians 2: Minor Keys and MoreJ. Anthony Allen
9ths and 13ths
Lesson 12 from: Music Theory for Electronic Musicians 2: Minor Keys and MoreJ. Anthony Allen
Lessons
Welcome and Overview
04:15 2Analysis: Shame on Me (Avicii)
22:25 3Minor Scales
06:27 4Relative Keys
11:03 5Minor Diatonic Chord Progressions
12:09 6The Case of the Melodic and Harmonic Minor Scales
05:26 7Analysis: Ghosts N Stuff
26:08 8The Circle of Fifths
09:48Changing Keys Within Your Track
14:00 10Analysis: Get Lucky (Daft Punk)
26:06 117th Chords in Minor
16:38 129ths and 13ths
09:08 13Suspended Chords
05:03 14Reading a Chord Chart
11:02 15ster and Unnamed Chords
03:47 16Analysis: Everything You Do is a Balloon (Boars of Canada)
21:14 17Writing Melodies for Chord Progressions
14:32 18Writing Chord Progressions for Melodies
13:54 19Counter Melody with Apreggiators
12:24 20Analysis: Scary Monsters and Nice Sprites (Skrillex)
28:26 21Bass lines: Follow the Root Note
13:23 22Bass Riffs
08:49 23Get Muddy
03:02 24Analysis: Windowlicker
12:44 25Chromaticism
03:43 26Thanks and Bye!
01:15Lesson Info
9ths and 13ths
okay, Just a ah, shortlist. And I think this time, uh, I want to tell you about mawr extensions we can use. We've looked at the seventh, but I want to look at ninth and 13th. Now, these are things that don't come up a ton for us to be totally honest. Um, but I want you to be aware that they exist. Ah, and that you can use them if you want to. You. Um, but I don't want to spend a lot of time on him because it will be less useful to you than some of the other stuff that we're gonna work on soon. So we've looked at seventh. Let's zoom in on this here a little bit. Okay, so we're still in e minor. And these are This is our diatonic chord progression. So all our records that exist naturally in the key of e minor with the seventh in them. Okay, so that was going route 3rd 5th 7th So we skip a note. We skipped the second we go to the third. We skipped the fourth. We go to the fifth. We skipped the sixth. We go to the seventh, right? We can keep going. We can go. We can skip eight and go to ni...
ne. Right? So you might say to yourself, but there's only eight notes in the scale. If we repeat the route, let's go back to our scale and look at it. Here's our scale. So if we go root 3rd 5th 7th were out of notes, right? Not exactly. We have to do is go up another octave. So I'm gonna copy this. Ah, lovely. Um, so now we're going E t e t eat. So we have We have two full octaves. That's an active, including that note. And that's an octave. You have two octaves now and keep going up higher. So we have root. 3rd 5th 7th There is the root again on the ninth. So now we would call that the ninth. Now, you might be saying, Wait, the ninth is the same as the second. Why don't we call it a second? Well, the seconds kind of a different thing. Um, look at seconds in a bit. Um, but more importantly, we call it the ninth because we're going to try to put it on the top. When we spell the cord. We're gonna put it on the top above all of the other notes that makes it. And ninth, um, so let's do it. So here we have, sevenths. We're gonna keep on going. So here would be the eighth on. He would be the ninth, 8th 9th I'm just going up to scale. 8th 9th 8th 8th 9th 8/9 eight ninth a night. Now we have nine cords. We would call these everything works the same. 1/7 chords. Except we have five notes now. And these are called ninth chords. Let's hear what our ninth chord sound like. Oh, so you can hear how we're getting closer and closer to jazz Sound right? Are cords were getting thicker and thicker and that makes them less, um, simple. And in most dance music and electronic music in general, pop music In general, we like our courts to be relatively simple. We'll have seventh in there, um, nineths. Less so much. But even less so than that would be 13th. 13th are come up a lot. So let's go back to our scales. We have route 3rd 5th 7th 9th 21st. We do do 11th. Ah, but more common than 11th. Oddly enough is 13th. Um, because an 11th would be 1/4 if we went down inactive in the same way that 1/9 was a second. So 11th happened. We do use 11th cords, but much more common is 1/ chords. So let's keep going. Um, 11 things would be 12 and 13 so that would be a C. So if we take that all the way down, that's gonna be 1/6. If it was low. So we're gonna add in 1/6 1 of the notes we skipped over, just like the second. So we like to add in these six. This is when we start to get real jazzy. So let's do it. Remember, I need to go up to scale degrees to get this. So, uh, sorry to chord tones to get this because I'm going to skip over the 11th for now. Um, so we left off on the ninth. Here's 10 11 12 13 11 12 13. And then I'm just gonna put these in for us. That's the 13th 13th 13th 13th 13 and 13th. Now you might think to yourself, How did I just figure those out so fast. Um, the reason is, once I did this 1st 1 then I can pretty much just count up the e minor scale right from here. And all my notes will be right as long as I keep the pattern in mind. So I was able to remember that there's only one sharp here, and it's this one. The rest are all white notes. So I just had to keep that in mind while I was growing up here and make sure that I got that note as the sharp. And that's for white nuts. So then I just counted up to scale, starting on C but counting the e minor scale neck out in my 13th chords. Okay, so let's hear these. Excellent. Let's hear the same thing down. I think I'm losing some notes in the upper register there, just from my samples. All right, so now we're starting to get really jazzy, right? Um, now we can modify these as well a lot of the time. Like in like a jazz tune. You'll see, like you'll see a cord written, and then it says flat 13. That means like you're gonna add a 13. But it wants a flat 13 swollen. It's like instead of a normal 13 flat 13 pull it down 1/2 step. That's what that means when you see flat and then a number, it means pull that down. So these are just more court options. Weaken Dio. We could flat all of these 13th and then we make a whole string of flat 13 chords on. It's gonna sound pretty weird. I wouldn't be surprised if you had to use for this trick. Show it to you anyway. Way There are some good cords in there, especially this 1st 1 I really liked. That would be E minor nine with a flat 13 is what we would call it. I wouldn't call it E 13 because it doesn't have a full 13th in it. It has a flat 13th so it's an E minor nine with a flat 13th. So what that would look like if you came across, that is, it will be written this way E minor nine and then in parentheses, flat 13. So the more numbers you see here, it's telling you degrees above this so it wants 1/9 which is nine scale degrees above E and the 13th is 13 scale degrees above E. But it wants you to flat it by 1/2 step. So that's ninth and 13th. Um, you won't come across him too much, but I think in this next thing we're going to do ah, it will be useful to us to know how to figure out these chords. So off to the next one.
Ratings and Reviews
MikeD
Well, I slobbered all over you after your first class and this one is as good or better. I realize people don't go to college for 12 years and learn what you shared in a few hours and you didn't earn your doctorate with just this stuff. I mean Julliard must offer a lot more, but you have advanced my knowledge by miles and I've got to say thank you. Make some more of these simple, common talk courses - I'll buy them all.
Ben Küstner
Real Great Course. I learned a lot about Music Theory and now am jamming better than ever on my keyboard. Thanks Allen
Nick van Lochem
This course its so good he makes it al sound so easy. that ists easy to remember and use in your creations.