Dr. B Music Theory Lesson 7 (Triads, 7th Chords, Lead-sheet Symbols)

Watched this twice today, and wondering if there aren't augmented sevenths, like a major augmented 7 (1 - 3 - 5 - 7#) etc. or something like an augmented major 7 (1 - 3 - 5# - 7)? Think I really learnt this second time round though. Thanks for uploading, really appreciate it :)

Great lesson! Thank you!

you are the man

Is this your 1st Triad Lesson? why jump to Augmented before discussing Major, minor, & diminished? Perhaps in my skipping around your vids via lesson topic, I missed where you covered it. My problem in both undergrad and grad degrees in music ed and with almost all textbooks and sources I seek to correct/fill in fundamentals gaps in my theory background is that all jump across the simplest concepts to advanced instead of going in a step-by-step method...Still, your explanations in this video form are some of the best I have seen:) Sound along with sight would be especially helpful. Oh, I now see in your description A, M, m, d...seems backwards to me.

Dr B have you ever heard of a power chord? It's only 2 notes...the root and the 5th.

I heard that "sigh" when you said "Major Minor Seventh Chord" haha. In CIS countries we call that chord a Dominant 7th , always, so it was first time I heard the name "major minor 7th" :)

Do all music professors draw the treble clef that way??? I currently have two professors who do that exact same thing

Major-minor seven is an uncommon name for a dominant seven chord, or a false name for a chord that I’m about to show you.
Minor-major seven is a completely different chord, formed like this:

7
5
b3
1

why there is no mM7?

Excellent and clear explanation.

I would like to know the convention for writing note heads in chords where notes are not vertically aligned, but on the left or right.

I'm visually impaired. I can't see anything on your white board but your courses are amazing because you say everything you write, which is way better than anything else for me. It's a good way to teach in general but it's also accessible to the blind. A great teaching 'reflex' that must be shared by all teachers.

Sir can you explain C,E flat, G,B notes chord oftenly called as major minor 7th chord .and yousaid that the c7 th dominant chord as major minor 7th chord, i am quite confused about it.

Blues chord progressions its common to see I7-IV7-V7. Example C7-F7-G7 the C7 has the Bb as the flatted 7th, the F7 has the Eb as the flatted 7th, the G7 has the F natural as the flatted 7th. C7 is the home I chord and if you look at all the flatted 7th notes Bb, Eb, F natural those are all considered out of key notes and not related to each other. Rock guitarists often will play the flatted 7th note for each chord change which the flatted 7th note is an out of key note to the previous dominant chord and following dominant chord. This blues chord progressions goes back to how BACH would chain dominant 7th chords in successions chaining 7th chords in successions, but I don't think BACH or classical composers would be playing the flatted 7th note for each dominant chord. This is kind of like tonicization because if you are considering it to be "Dominant 7th chords in succession" the flatted 7th chord tone of the Dominant chord would have to resolve to the 3rd of the next follow chord or the flatted 7th of the dominant chord would have to resolve to the root or octave of the next following chord? The Blues chord progression C7-F7-G7 considered tonicization or considered Dominant 7th chords in succession? because you have to factor in that each flatted 7th notes Bb, Eb, F are accidental notes out of the keys not related to each other.

"Triad!" Applause

Hello .. great lessons ... however, I have a question ... does each scale have all these types of chords ? Or how are chords related to scales ... for example taking C Major scale will have major minor diminished and augmented chords? Or for example the minor is related to C minor scale ?
I hope you understood my question
Thanks

Christopher knocks it out of the park again! Very clear explanations.

So clear. Thank you so much.

I see your approach of counting up the notes according to the major scale, but I am curious why not also mention the intervals, that major triads from 1st to 3rd are 2 whole steps (4 half steps) and minor triads are 1.5 whole steps (3 half steps)? Then there is the opposite stacked on top from 3rd - 5th? For example: C - E - G from C E is 2 whole steps. Then from E - G is 1.5 whole steps. C minor would have the opposite: C Eb would be 1.5 whole steps then Eb to G would be 2 whole steps. From the 5th to the 7th intervals, if it is 2 whole steps it would be a major chord, 1.5 whole steps it would be a minor or dominant or half diminished, depending on the other notes. So in a C Major 7 chord, going from G - B is 2 whole steps rendering it a major 7th. You have 1 whole step interval, C-E, with a 1.5 whole step interval on top, E-G, then a 2 whole step interval on top, rendering it a C Major 7. You can also have a minor major 7th by the way. Anyway, was wondering why no mention of intervals.

Hello Dr. B! I have a question. If the fifth of a major chord had a sharp in it already (like C# E# G# and F# A# C#), and then I raised it by a half step to get an augmented chord, would the fifth be written with a double sharp (like C# E# G## and F# A# C##)?

So, I notice that you seem to be avoiding the whole notion of counting half steps. A major triad is also any triad where you start somewhere, go up four half steps, and then go up three half steps. That applies to any note, and avoids having to consider various major scales and so on. I'm betting that there is a reason for avoiding that point of view, and I'm very curious as to what it is, since it seems like such a simple approach to this particular aspect of the topic.

I also get it that the approach you're advocating is one where "avoiding the whole notion of various major scales" is nonsense - you'd say that we should know those so well that there's no need to even consider "avoiding" them. I.e., they're a staple of the subject. :-)

Is there a workbook to go along with the 47 classes?

When I google Tertial Harmony, I only get back Tertian Harmony. Maybe it should be Tertian, instead of Tertial.

Does theoretically a minor augmented triad exist?

Awesome, thank you! Yep, this one will need practice lol.

Merci beaucoup.

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