This is why fundamentals are so important. Know every triad, every inversion, in both hands. Then you start stitching "earth" and "quake" together and your vocabulary expands dramatically.

I was able to grasp this even at 7:10am well done

Every time i just listen to Jeff’s lesson, I thought Chris Evans is explaining jazz music to me.😂Anyway, what a great lesson!🎉

You’re a great teacher. 👍🏼🙏🏼

Jeff, been watching for awhile and your explanations have always been great but your production quality has become next level. Thank you!

What a fantastic explanation. I'd been noticing the relationships with stacking triads, but this really makes it super clear. Thank you!

Your content is well informed,precise and to the point......i appreciate

Great video, love the explanation Jeff - Big props to you for making a fairly complex idea simple to explain!!!

You have nailed the visualisations explaining chord stacking and inversions. I love it. Thank you.

I've tried explaining this concept to people before, and I'll definitely use the "earth-quake" analogy next time I do! I think it really helps put things into context right off the bat!

Just commenting for the algorithm Thanks Jeff, always love your jazz content ❤️

this opened up a whole new world of chords for me - before this video, I understood everything about extensions and inversion. but now, I actually have a way to use these in my playing!

Increíble Jeff muy bueno!! Gracias!

This is a great video, right at my level. just subscribed bc of it. Looking forward to learning more with you

I just have to comment and give a massive THANK YOU. Coming across your videos today has *really* helped me to finally make sense of my first month of jazz school. Sometimes I feel like I'm trying to learn rocket science! And I think it all comes down to the teacher's ability to explain complex topics in simple and memorable ways. You're able to do that and I'm just super grateful (and relieved that actually there are easier ways to understand jazz theory! haha)

Superb video please keep these coming. You make learning easy

Brilliant and mind-blowing ! The chord stacking is a science , while choosing the tastiest inversion is an art. No?

Some of this I had managed to figure out on my own but this lesson helps tremendously. Thank you!

The real skill is how to combine this technique with a particular melody.

Such a cool and simple way to think about these scary chords!

Thank you Jeff for showing me how to get those chords easily. You're the man!!!!

That helped me a lot! Thank you

Good one - thanks Jeff!

Another great lesson thanks

Thanks Jeff !!!

Fantastic, very clear lesson, I play guitar, not piano, but it just explained so clearly how to add the upper extensions of these lush rich voicings, thanks 👍

Subscribed! I was just watching a video the other day with some juicy extended chords and thinking, that’s a lot of notes, I think there’s an easier way to think of this in terms of triads, but the video was going too fast. This concept came just in time for me. Thanks!

really nice video making!

no freaking way it was made easier!! this one is superb, i ve been looking for a beginner friendly tutorial for these chords, and now it was made easy for me! ive made tritone sub easier in my head, so if im in the 5 of the scale, and wanna do the 13b9#11, ill add the #1 which is the tritone sub of the 5 in the scale, this way its easier for me to stack both chords! thanks a lot bro

thanks you so much

The animations are so impressive

Love the Bobby Fisher shoutout 😁

@sampowellmusic

8 ай бұрын

I never would have gotten that except I watched that movie like a month ago for the first time

Thanks for this. Do you actually think like this while playing/improvising or is this just a tooltip for learning the chords and get them under your fingers?

@juliancouture6619

8 ай бұрын

Good question. I would also like to know this

@solsoup

7 ай бұрын

Personally, I think you need to think like this when first incorporating new chords into your playing. Over time and with practice, you’ll get a sense of how each chord “feels” and the color it will add in the context of a song, and it’ll become a natural part of your toolkit.

@kierenmoore3236

7 ай бұрын

… then you too will be able to play clichéd jazz chord progressions, like everyone else! 😉

@kozmobluemusic

13 күн бұрын

feels like it’s great for calculating the chords more efficiently at first, but as with many things, practice makes it muscle memory so you don’t think about it at all

Do you do your own video editing? This editing is on point!

Do you think you could do some videos on mixing/production of your workflow of r&b, gospel, Neo soul tracks? Mainly, with piano/keys, bass guitar and drums?

Thanks, Jeff. Great ideas. Can I use any of the three relationships you showed us with any of the chords (m7, MAJ9, dom7)? Or is there something about the three chord qualities that suggests using a specific relationship?

Super useful Jeff. Please suggest some slow ballads that use a lot of extensions. They might be useful for us to focus on and enjoy practising. I guess some Stevie Wonder songs or something like Round Midnight would work but I'm sure you have some great suggestions.

Hey Sean, what's your method for simplifying complex songs for beginners?

I love your explanation...I have been doing this for years but never heard anyone reference the relationship in this way...I have (in my head) called these poly-chords but I like the term stacking even better. I also think in the way of building these (particularly in the II and I chords) as dropping down a full step and using the opposite polarity...If it is a Cminor, add a Bflat major...If it is a Cmajor, add a Bflat minor...makes for better coloring of the chords.

@victormusic01x

8 ай бұрын

..not sure about “if it is a Cmajor, add a Bflat minor”..that’s not the same result, and the B flat, Dflat and F natural gives a completely different sounding chord stack..

10/10 complexity broken down into abc….. thank you sir!!!

I can see how this makes it faster to figure out the chord on the fly if you memorize them. But is there a rule or formula that can quickly convert the big courts to 2 triads?

For those who wonder what the actual theory is called for this is called "Upper structure triads"

Quase prefeito. Faltou fazer todos os exemplos em C , falar mais devagar , e deixar claro quando a root é em escala maior ou menor. Obrigado.

Pro tip: BUY THIS MAN'S CHORD COURSE

Hi Jeff, Will that be any Black Friday discounts for your RNB Chord course!?? 🙏🏾🙏🏾

What's the ending song? Is it yours? It sounds so good, I want to listen to it. Where can i find it?

cant lie jeff ur on to something here

OH MAN!!!! I have subs your channel for about over 10 years, you got such sexy beard now, I'm so glad you are still updating your channel, really appreciate what you do and share, bless you more success, Jeff

is it the same idea as upper structure?

So, there's no G in G13b9#11??

Enjoyed your video...unable to download chord chart though 😢

I always leave feeling like I learned a ton and nothing at the same time (not Jeffs fault, this stuff just seems so simple in theory but not in practice)

Chord stacking and “polychords” are the same thing, right (or is there a difference)? I’ve heard of them being referred to as “polytonal or bi-tonal” chords too. P.S. I’m a guitarist (theory is theory though). Thanks.

You should be called Jazz Schneider

This is an awesome lesson! One suggestion is to leave the chord and note information on the screen while you are talking as it would make rewinding unnecessary. The speed of sharing the great info is a little fast. Including the inversions in your video was pure genius and a masterclass within itself! 🎉🎉🎉🎯🎯🎯💯💯💯👑👑👑

Lol the transposing to other keys is such a pain but rewarding.

Thank you, with out your posts, I'd still be a halfassed bass player. Now I'm a halfassed piano player.

I sent for your charts nothing came

Ehi Jeff, how can I come up with different chords? There's some easy way to do it, or I have to do my math every time I want to play a different chords than the three you have shared here? Thanks

@bomubomuboi

8 ай бұрын

I’ll give you a pointer that’s extremely boiled down: for all the really consonant major 7-and-beyond chords, if you play an F major on a keyboard and then try white key intervals or triads on top of that you’ll find that almost all sound good. It’s the same with D for minor chords. Maj chords are built on lydian and min chords on dorian. If you learn eg. Eb lydian you’ll be able to find the E maj extensions. Dominant chords have a lot more variation, but it’s the same logic. The main chord scales there are mixolydian, “diminished scale”/octatonic and “altered” scale. That’s a mouthful, and it all requires study to make use of, but I hope it helps give you an intuition on where you might look to find chords like this on your own.

@bomubomuboi

8 ай бұрын

Sorry, one thing that I didn’t make clear is that the scale from F to F is the lydian mode/scale, and the scale from D to D is the dorian. I recommend trying to just play triads on the root and random triads and notes in the right, add some notes, take some away. You’ll notice that F and D sound good, and that for example E have some notes that sound dissonant.

Hey Jeff, I was wondering if you can explain how using a G13b9#11 chord was better to resolve to a Cmaj9 compared to something like a G9? Are there some relationships between the 2 chords? Thanks

@arcine3976

8 ай бұрын

voice leading mostly, the a (13) resolves down to the g (or up to b for major 7), the Db (b9) resolves down to c, the F# (#11) resolves up to g. the extra spicy notes all have a place to go, or to resolve to, which makes the movement sound stronger.

@midtemp

7 ай бұрын

@@arcine3976 got it, thanks!

@calebmatthews4644

7 ай бұрын

The biggest reason is actually that traditionally B the third of G7 moves up a half step and the 7th F moves down a half step both arriving to C and E the root and third of a C major triad. The g7 is the dominant in the key of C which means it wants to resolve to C. Resolving the altered G7 into a G9 doesn't provide any harmonic movement as they are essentially two slightly different versions of the same chord.

Why is there no G note in the stacked 13b9#11 example (or Bb in that example)? Can you explain how leaving out those roots still makes it work?

@107olivier

8 ай бұрын

When he leaves out the root its technically not a g 13b9#11. But when you are playing in the context of a 2-5-1, you can leave out the root and still interpret that the chord is a g chord because of the chord before/after it.

@lukeamerson3652

8 ай бұрын

It’s called a rootless voicing. There are several KZread videos out there on this topic if you’re interested

@agonist85

7 ай бұрын

@@lukeamerson3652 i'm definitely gonna check out those videos. Thank you

@agonist85

7 ай бұрын

@@107olivier that's so interesting. I'm gonna have to incorporate this into my song writing

why not use barry harris method? :)

This is all very fine, and yes it does help to understand these chords, but where did that Ab come from? It looks completely random. Edit: Looking at 4:11 again, I'm seeing it as G7-minus-I-minus-V = B, F then you add "Fm augmented 7" (not sure of the correct name) = F, Ab, Db, E. For me this makes more sense than just plucking Ab out of the air. No?

@weonpulento123

8 ай бұрын

It's the fifth of Db minor

I don't get the logic behind the G13b9#11

I FIND THIS KIND OF STRANGE TO NOT TALK ABOUT 3RDS STACKS AND INVERSIONS FROM A, B I FEEEL MSISED OPP.

Germans should be the best at chord stacking seeing how most of our nouns are composites. 😉

You lost me at Hello.

Too much information for one video. I find it complicated

@michaelsuau293

Ай бұрын

Music is notoriously very complicated until you get it and then it's easy

It's not even free as you said