Jazz Piano Tutorial - Available Tensions
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- čas přidán 26. 05. 2016
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For an example of how available tensions are used in a chord progression, click here: • Jazz Piano Tutorial - ...
This Jazz Piano Tutorial is about available tensions.
A ‘tension’ is just an extra note you can add to a basic 7th chord. That is,
- Chord tones = 1, 3, 5, 7
- Tension = 9, 11, 13 (or alterations of these - b9, #9, etc)
Now, there are two types of tensions:
- Available tensions - extensions that complement the consonance of the chord
- Unavailable tensions - extensions that conflict with the consonance of the chord. That is, an extension that creates a dissonant interval with a chord tone. Specifically, an extension that creates flat 9 interval (i.e. 8av + Semitone)
While in theory, all alterations and extensions exist on all chord types, in practice only ‘available tensions’ are used. For example, while a CMaj7b9 chord exists in theory, you will never find it in practice because a b9 is not an available tension over a Maj7 chord.
The concept of ‘available tensions’ is similar to the concept of ‘avoid notes‘. Both relate to notes that create a dissonant interval with one of the chord tones, but ‘available tensions’ are in the context of chords and ‘avoid notes’ are in the context of scales.
So if you’re playing a song and you want to extend or alter a particular chord to create a more complex harmony or jazzier sound, or if you’re reharmonising a song, make sure you use ‘available tensions’ - so that the chord extensions don’t clash with the underlying consonance and harmony of the chord.
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Easier to remember is, available tension are notes on the chord before and after the chord being played. Example over A dorian, available tension are notes in the Bm and Gmaj.
This visual is exactly what I needed
You are a god send to the world, my friend. I enjoy this much more than reading it in a book. Thank you.
Haha, thanks Ben. Yeah, it's always easier actually hearing a musical concept rather than just reading it on a page. Cheers.
This is a fantastic video and I am fascinated by this. Thank you SO very much for making these.
You explain so well. Thank you :)
Wow dude. Thanks a hell of a lot for this video. Absolutely brilliant.
Thank you, that's some very good work!!!
these lessons are freakin amazing. thank you so much. SUBSCRIBED!
excellent, thank you very much. Some things are obscure even on renowned books until someone gives you an easier rule to get it. I felt a little overwhelmed reading "this is the list of all available tensions (deal with it)"
well organized and structured knowledge! thanks
Thanks alemanito. I just answered the question in our other comment. Let me know if it doesn't make sense and I'll try elaborate :)
amazing
great video as always, keep up the great work!
Thanks :)
Thanks a lot man! Gonna do my homework now!
No worries :)
I'm not one to usually comment, but these videos are ageless.
Fantastic explanation!
Thanks Kyle.
+1 Terms and ideas I've heard before but never fully grasped, much more understandable now
Funny, just yesterday I came across a V-I progression using G7b9 to C and I thought to myself "why does this sound so good? Isn't it supposed to clash?"
And then today you post a video explaining that dominant chords are an exception haha. Thank you, I've learned so much from you channel! :)
No worries, Janis. The G7b9 is a great chord and it resolves especially strongly to the C because the 3rd (B) resolves up 1 semitone to the C, the 7th (F) resolves down 1 semitone to the E and the b9 (Ab) resolves down 1 semitone to the G - so you have a C Maj triad. That's why this chord progression sounds so good and strong.
Hi there. Following on from an earlier conversation with you, I suspect there really is something to diminished chords + tritones in figuring out an easier way to play jazz. Was experimenting with diminished chords the other day and noticed that for all three dim chord shapes, if you play one note, then skip one--you have a tritone.
I'm still in the process of figuring out how to use this information to making playing jazz easier--it seems that by moving a finger or two from the simple three chord shapes (for dim chords) you can play any basic chord... and by targeting the correct dim chord you have the 3 and 7 of any dominant chord in any inversion. But I feel like since the three dim chord shapes are so easy to remember, that using them to find the 3 and 7 for any dominant chord will be easy, and from there a finger move will give me either the minor 3 or major 7 ... plus other color tones.
My current brain block is when sitting down I still see the chord symbol on the lead sheet and tend to go for stacks of 3rds--because for whatever reason I can't conjure up the other shapes. It may just be that I have to sit down and think through the voicings--but it would be nice to be able to hold onto something simple like a pattern based approach like I describe with the dim chord shapes + tritones.
Yeah, you're onto something. Because there are 12 notes in an octave, and 12 is divisible by 1 (semitone), 2 (tone), 3 (min 3rd), 4 (Maj 3rd) and 6 (tritone) there are heaps of patterns you can use. Because the diminished and tritones are symmetrical (i.e. repeat every octave) they are great fun to play around with. Keep it up.
mind opening again
I thought I knew music until I saw minor major chords
haha. Wait till you come across a Phrygian Chord...
Hi WTB. Thank you again for very interesting lesson. As I mantioned in my previous words, all of its are important for beginers. However, I think, good idea should be to present short example of explained theory at the end of the program. If you explain avoid, unavailable or available notes (tensions), very helpfull for us, fascinated beginners, will be how to use them in pracitice. We easier find difference. You have produced a lot of jazz videos, so, it is not easy to find examples in all ones. You should know, that you are watched worldwide, I am from Poland for example, listen to the music is more understandable for foreigners. I love all your lessons, thank you!!
P.S. If I wrote "example" I mean short improvisation included analysed material on known piece (standard). If you say it is not necessary, I believe you, and try to learn without it ;).
Hi Tom. Thanks for your comment.
- At first, I didn't think an example was necessary for this video, but I think I was wrong and you are correct - I should have included one. Sorry. There is always a trade off between the length of a video and the amount of detail I can cover.
- I'll try make a quick video about how to use this in practice and upload it soon
- I'll be releasing a video on reharmonisation next week which will use this idea extensively. So this video was going to be an introduction to that the next one.
Hi Tom, have a look at my quick top up video here: czcams.com/video/t4MIYbysZa8/video.html
Thank you very much for understanding me and present more examples in the next program. Your instructions are very helpful for self-studying amateur jazz fans. Its clearly explain step by step jazz features. I am your student forever ;).
wow
Your videos are incredible! You have a true knack of clearly addressing the theory so it can apply to any key and circumstance (with the relevant exceptions of course)!
Can the principle of available tensions be applied to embellishing the melody when improvising so you don’t hit those no-no notes?
Thanks :)
Thanks, Alex. Yep, definitely. When you're improvising or embellishing the melody instead of thinking 'what notes can I use' (Chord Tones + Available Tensions), you can think 'what notes should I avoid' (Avoid Notes) and then use all the other notes (12 notes - Avoid Notes).
Walk That Bass Thanks so much buddy, I have written so many notes (excuse the pun) whilst watching your videos - it is incredible you are mostly self-taught in jazz! Keep up the great work :)
Hi WTB, thanks for such a great and helpful video! I would really appreciate if you can help me with this one question-- For the Dom7 chords, when you said the b9 can be created against the root and the 5th, does it mean when I do play the b9 in Dom7 chord, I can't play the 3rd and 7th note in the chord? Thank you
Great video! How do you practice this?
Hy I'm really enjoying your site.
A lot of interesting things.
But I have to question about the available tensions.
1- In the non-dominant chord, I noticed this :
For example take the Cm7, I see that the available tension is the 11( F), because don't form a b9 interval with the be ( Eb), but for the same reason I can use also an 11# on it ....or not ?
2 The second question is this :
In the dominant Chord, I see that we can use all the 3 tension with the root so b9,
9 and #9 but you say in the video that if a tension contradicts enarmonically a guide tones, I can't use it , and in this case the #9 is a D#=Eb so we can have a minor third and a major third in the same Chord ???? Little confuse about that.
Thanks a lot for your answer
Open question, how do available tensions and passing chords relate?
Thank you for this really good video. But I have a question. If I play the chord notes in a different order than 1 3 5 7 9..., then I have different Intervals. Do theses rules still exist then?
If by definition Dominant 7th Chords have a tritone interval between their 3rd and 7th (5:27), then why is C7sus a Dominant Chord?
Any borrowed chord and chord from symmetrical scale, can function as dominant (functional dominant in tonal music, not static dominant like in blues/funk).
So I think the tritone thing beetween 3rd and 7th to function as dominant, can be completely disregard.
Example : in tonal C maj, you make 4 chord progression that is Cmaj7, Emin7, Dmin7, dominant (whatever chord you want except the available chord in C maj, but still G7 and Bm7b5 can function as dominant too)
In Cmaj7: when 13 is added we get - 6 7 1 3 5 . it is Am7 with 9
so how can a 13 be an Available Tension
of Cmanj7?
Hi teacher, could i ask major chord diminished chord alt tensions come from which scale?
Hi there, could you please elaborate on why the 13 is not considered an available tension in the -7b5 chord? Is it a matter of potential ambiguity with the diminished 7?
Hi, in the spreadsheet at Cmin maj7 you forgot to write number 5 in the blue cell, could you provide other examples in other maj 7? D, e, f , f# etc? tanks
If the 3rd and the 7th are important for the C7 chord, should'n it also be important for the Cmaj7? If that was so then why make Db an avoid note for the Cmaj7?..or why use Db for the C7? Cause i think the Db will also make more tension in the C7? No? Thank you so much for your videos, they are my new bible!
But, in minor7, b9 is available because it sounds like Phrygian and b13 is available (Aeolian) 13 (Dorian) is that right?
Could you make an exception for a flat 9 in a min7 flat 5 chord? The 9th of a ii chord in a minor key would be flat, no?
thanks for the clip.
in Cm7 the 3 and the 13 are in Tri Tone interval. is it desired? is it correct?
It's up to you. I personally think the 13th on a minor chord is ok, but some people think it is not an available tension for the reason you stated. The tritone may make it sound like a dominant chord, especially if you don't have the root of the minor chord in the bass. But this is up to you to decide whether you think it still sounds like a minor chord or not.
I think it depends on the mode. in Dorian we would like to emphasis the 6, so we add the 13
In Aeolian :| only 9 and 11, In Phryian : only 11
Hey not sure if you'll see this but I couldn't work out how to private message you. I understand the concept of these available and unavailable tensions but what I don't get is how you know them off the top of your head - is it just a matter of committing them to memory as well as a bit of trial and error or are there any solid rules/formulae?
So the rule is actually quite simple.
For Non-dominant chords - available tensions are a chord tone + a tone
So for a CMaj7
Available tensions are = D F# A
And a Cm7
Available tensions are = D F A
It does get a bit more complex with more complex chords, but the general rule is: An UNavailable tension is 1 semitone above a chord tone (for everything other than dominant chords).
For dominant chords - UNavailable tensions are a semitone above the guide tones
Guide tone = 3 & b7
UNavailable tensions = 4 & 7
So over a G7 - the unavailable tensions are the C and F#
Everything else is an available tension.
It is a little confusion and you may have have to memorise it.
I explain the above rules in my 'Jazz Theory Overview' video and discuss how it links up with all the other Jazz Theory concepts. Check it out if you're interested: czcams.com/video/WzLBA5kCP1w/video.html
In terms of sending private messages - if you go to my About page on my channel there should (hopefully) be a 'send message' button. I think that should work. But yeah, CZcams don't make it easy to private message people.
czcams.com/channels/k24OnGLcP5XlTBjZ9WBWvw.htmlabout
Hi Anton.....In the Dominant chord chart rules doesnt the D sharp the sharp 9th break the rule cus its against the 3rd??
Hey. It's only an 'unavailable tension' if the note is one semitone ABOVE a chord tone (or in the case of a dominant, if it's one semitone ABOVE a guide tone).
The #9 is one semitone BELOW the 3rd, so it is an available tension over a dominant 7 chord.
Aaah...makes sense :) me being a piano spaz as usuall haha Thanks man...Im slowly working my way thru all your vids...learning so much...will def be in touch again v soon tho . ha
But thats a b9 against a guide tone tho isnt it if its up against the 3rd???
no a b9 means above doesnt it!! iv got it!!!! haha
haha, yep that's right. It's only a b9 interval if you go up from the chord tone - 3rd (E) to the 11th (F). It's a Major 7th between the 3rd (E) and the #9th (D#)
However, while this b9 interval determines which notes are 'unavailable tensions' you should also keep in mind that this same idea affects chord voicing.
If you play a Cm9 and voice it as follows:
C D (8av higher) Eb (8av higher) G Bb
Then you create a b9 interval between the D and the Eb.
So even though the D (9th) is considered an 'available tension' over a Cm7 chord. The above voicing will sound dissonant because of that b9 interval between two acceptable notes.
But this is a bit different to the concept of 'available tensions' and I don't mean to conflate the two. An 'unavailable tension' is a note a semitone (or b9) above a chord tone (or guide tone for a dominant chord).
Hope I made that clear...If I've confused you, just ignore the above comment!
it is like the accepted harmony thing isn't it?
Yep, that's right. I mix around my terminology sometimes. But I try to use the term 'available tension' for 9ths, 11ths and 13ths, while using the term 'acceptable harmony' (like in my reharmonisation video) for the 3rd, 7th, 9ths, 11ths and 13ths.
So essentially, if you're mathematically minded:
Acceptable Harmony = Available Tensions + Guide Tones
+Walk That Bass haha, you are doing great work
For a C+7 chord, why is A an available tension? It seems too dissonant to be useful and kinda ruins the dominant feel for which the chord was built.
All these things are somewhat subjective. If you don't like it, don't use it. I think it sounds ok resolving to the 3rd of the FMaj7.
Hi Anton...id like to contact you to ask you a few questions regarding dance music with finky bass lines played by a synth bass lets say and containing piano...Iv sent you some money before nad would really like to do that again for a bit of knowledge from you....maybe by email or face book?
Hey, Soulsonichouse. Just got back from my holiday. I'll look into your email/video soon and get back to you when I can. Cheers. Anton.
6:40: a flat thirteen is a flat nine? Thought you misspoke but you said it twice.
Yeah, sorry it is a little confusing. I'm talking about two different things which happen to have the same name.
If a note creates a 'flat 9 interval' with a chord tone (1, 3, 5, or 7), then it is an unavailable tension. Here I am talking about 'flat 9' as an 'interval'.
Then there is the 'tension' called a 'flat 9' - which is the degree of the chord above the root.
A 'flat 13 tension' is a 'flat 9 interval' above the 5th.
So for example a C7b13 = C E G Bb D Ab
An Ab (b13 tension) is a 'flat 9 interval' above the G (5th).
A 'flat 9 tension' is a 'flat 9 interval' above the root - which is why it's called a 'flat 9' (as chord degrees are based off the root note)
Does that make sense?
Iv msgd you on FB Anton .
Funky not finky!! haha