Chord Symbols: add2 or add9? (includes my video on using added ninth to chords)

Hi everyone!  I received a question online today (on my YouTube channel), an excellent one, and one which is subject to debate.  The question is in response to one of my videos about using add9 chords on piano.  (A link to the video is included below.)

I thought I would share the thread here:

VIEWER: Isn’t the D in Cadd9 supposed to be an octave higher? I guess I’m just confused as to why it isn’t Add2 instead.

ME: Hi Jordan, this is a very good question, and one that is subject to debate. Technically, the voicing of these add9’s that I am using here are really “add2”. In general practice however, add9 is favored in chord symbols found in sheet music, and is meant to imply add2 or add9, depending on the voicing choice of the player. It’s interesting to note that add9 chords played on guitar have the ninth tone on top sometimes, and sometimes the 9th is not the highest tone, often depending on ease of finger positions. This is also true in a piano player’s choice of voicing. Again, to recap, add9 technically has the 9th as the highest tone in the voicing, as you indicated, but when using chord symbols, add9 is preferred for either one.

 VIEWER: That definitely makes more sense. Thanks for the clarification.
ME: Certainly, your question is much appreciated! Two other interesting points: A very popular, jazzy left-hand voicing for the MINOR 9th chord (as in Am9) — which, by the way, is NOT an add9 chord, because it also contains the 7th (I talk about that difference in the video) — is this, using Am9 as an example: G, B, C, E, where the root is implied, and can be played before or after the first cluster (or covered by the bass player). I bring this up because here you can see that the “9th” is not the top note in that particular voicing. (You might try that out, it sounds very cool!) Another thing: In my full two-handed voicings in the video, such as Cadd9, left hand plays C and G, and the right plays C-D-E-G. On close inspection you will note that the 9th (the D) is actually voiced far above the root (the left-hand C). But that is not mandatory to voice add9 that way, just a certain nice-sounding choice.
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 Here is the video lesson which prompted the question:
 See ya soon!
Kent

Learn about the Major pentatonic scale, and its cousin, the “Relative Minor” pentatonic (video lesson)

Learn about the Major pentatonic scale, and its cousin, the “Relative Minor” pentatonic scale (a video lesson). The relationship between any major scale (or key) and its relative minor scale or key is explained here as well, in terms of traditional music theory.

Video: Pentatonic scales, Major and Minor

A Good Way to Learn All Your “Thirteenth” Chords (by Pattern, NOT by Rote)

Hello again, piano people!

Todays’ post is about learning “thirteenth chords” on piano. In this video, you will learn a good way to learn and retain all twelve of the standard 13th chords without resorting to rote memorization.  In my experience,  I discovered early on that learning scales and chords by rote — that is, note-by-note, without any understanding of the patterns they all have in common — is the worst way to go.  Learning the underlying patterns that consistently define all scales and chords is absolutely where it’s at!

 

More on “Fourth Chords”

Ain’t life grand? As in grand piano?

Here’s a follow up to my recent post about “Fourth Chords.” I made this second video to give more insight regarding how “fourth chord” shapes can be superimposed over various roots, to create refreshing voicings for standard chord types, such as major, minor and dominant seventh chords.  The goal here is to focus on the practical side of putting these shapes into use!

Video: Fourth Chords, Part Two

“Fourth Chords” — Very Useful (Part One)

“Fourth chords” are chords built as a “stack of fourths,” rather than as a “stack of thirds.”An example of a “stack of fourths” would be: D, G, C, and F, where D is the lowest pitch, and the rest make up a series of fourths above that.

The greatest thing about these stacks is that any given stack can be superimposed above multiple roots, to create a variety of voicings for various chord types.

Using the stack mentioned above as an example:

A “Dmin7” chord using the stack D, G, C, and F, results in a nice open-sounding voicing, with an added 11th (the “G” note is the 11th).

OR,

D, G, C and F also sounds great over a B-flat root, creating a “Bb69” sound! That is, a B-flat major chord, with an added 6th and 9th. (G is the 6th, and C is the 9th).

And so on…my video here explains this in depth. (Check back soon for Part Two, with more insights on this.)

Essential Theory: Fourths and Fifths

NOTE: Website pianodrumteacher.com, mentioned in the video, is my older site, soon to be retired.

DESCRIPTION OF THIS VIDEO:
Piano and Music Theory – FOURTHS and FIFTHS – “Perfect and Not-so-perfect.” Essential knowledge for building chords without rote memorization, and for understanding chord progressions, plus understanding general music theory.

Understanding “Thirds” – how standard chords are built!

Hi folks!

In order to understand tutorials on piano playing, it is essential that you know some basic terminology from the world of music theory.  So here’s an important video on “major and minor thirds.”

If you aren’t clear about major and minor thirds, you might want to watch this.  Afterward, you can read the rest of this article, using your newfound vocabulary!

Stacked Thirds

Chords are often understood and learned as a series of “stacked thirds.”  For example, a major seventh chord can be seen as the following stack:

Major third, Minor third, Major third.

Let’s look at the CMaj7 (C Major Seventh) chord as an example of stacking thirds to build a major seventh chord from any root.  The notes of the CM7 chord are C, E, G, and B.  Starting from the root C, we can stack thirds to create the chord.  First we pile on the E, which is a major third above C.  Then we put a G on top of the E.  The musical distance (interval) from E to G is a minor third.  Finally, we top off the stack with a B, which is a major third above the G.  We now have a really tasty sandwich!

OK so here’s the vid with some tips on finding major and minor thirds on your keyboard, starting from any piano key.

Questions, comments? Please jump in. Let’s make this a community!

The Amazing Tetrachord: How to Instantly Visualize any Major Scale

I’ve had lots of happy feedback about this lesson, ever since I first posted it on YouTube.  People are basically saying that this is the easiest way they have found to learn the notes of all twelve major scales, quickly and painlessly.  I learned about tetrachords in my college theory classes, and I have found them to be a little-known “secret” for organizing one’s thoughts about scales and modes.  Let me know what you think!