Thank you! Indeed two years, I forgot all about it ;-)

Don’t be too hard on yourself - if you’re only 2 years old, you haven’t had much time to look around.

Wish I started that young. Keep it up!

Keep up the good work. You'll be shredding by age 4!

Thank you!

@@JohnFKlaver sounds great. Does this work over a Bb major 7 vamp? You are using that B7

@@sat1241 It could when you adapt licks to the maj7 sound.

Thank you Michael, appreciate it!

Thanks!

Thank you! Best, John.

Thank you!

Thanks, nice guitar helps ;-)

Thank you!

Thanks Neil!

Yes thanks!

Thanks Roger!

I got it from Eef Albers (dutch guitarhero)

@@JohnFKlaver I going to see how this works with Diminished motion, should get most if not all alterations of Dominant.

I should have mentioned from b2 3 5 7.

Thank you Jochen!

Thanks!

It can but I just moved a simple lick in major 3rd intervals without thinking of one scale.

Yes, that was a whole debate here at the conservatory of Amsterdam, but you can say #9 if you want. Cheers

In British and American discussion, it would be a 7#9 chord. Because the 9 can be altered by being flattened or sharpened, like the 5, when we are discussing an altered dominant chord. But hey - it's just words.

Hi Daniel, You can slow it down in the youtube-app. That's what I can think of now, but since it's a popular video I might make another one. Thanks, John

Thank you John. One other thing that would be helpful would be if you named all of the notes in the riff. You give the names of the first four notes but that’s all. For some reason, I’m not really getting or following the major third interval thing or something. I’m pretty close to working it out by ear. Thanks again.

Yes, it would be the sus4 and wants to resolve if you land on it, but as a passing note it works. Best, John

Sorry about that, if you search for 'backing track - hottentot John Scofield' you'll find similar tracks. Hope this helps!

It's from JHG Guitars! Builder is Hans Geerdink, he also works for Huber Guitars. Cheers, John

@@JohnFKlaver 🙃

I bet you mean the song Sunny!? ;-)

But seriously, excellent video. You have given me a lot to experiment with

I learned it that way at the conservatory here in Amsterdam. Most of the time the b10 resolves down and #9 implies upwards, but in this case being it's a static chord it can be either way probably. Thanks, John

W.A. Mathieu spells it that way also because of the acoustic origins; it’s simpler to conceptualize (and tune) as a scale with both a major and a minor third [5/4 and 6/5-although you can conceive the minor third in a blues as the natural seventh of the subdominant or 7/6]. The sharp nine of C# in Bb is very far away acoustically, probably the closest path is up a 3rd to D, up a 5th to A, then up another (major) 3rd to C# = 45/32

Flat 10 makes so much more sense

See previous comments 😁👍

Depends on the situation. In this case both are possible and alt might be even better here. That’s how I was taught at Amsterdam’s conservatory. Thanks!

@@JohnFKlaver Yea, never heard of a Dom 7 b10 chord ever talked about or used in any situation in school, in any chart I've read, or at any gig I've played for the last 30 years. Outside of Amsterdam, no one is going to know what you are talking about if you throw up a chart with that chord.

It's about the function of the note in a musical context, so sometimes it's sharp 9, but most of the times it's flat 10.

It can be both depending on the function, but either way same result. Thanks, John

@@JohnFKlaver Function..........................................!!! ??? It's a definition ! You're talking about a lowered third in the next octave which is really just a flat 9th since there are no other 9's in the chord. Who use 10's anyway ! Music consist of the following intervals : 1, 2, 3, 4, 5, 6, 7, 9, 11 and 13 There's no eights, tens, twelve's, fourteen's, fifth-teen's etc etc. It's a confusing terminology to use tens !

@@johansvenson4297 no, its function in the musical context, so sometimes it’s sharp 9 but most of the times it’s flat 10. By the way, the flat 9 is Cb which is not the lowered third in the next octave like you say. Anyway, there’re more roads that lead to …… Thanks for commenting.

I already explained it somewhere in the comments. In short it has to do with how notes resolve which makes sense if you think of it in that way. Anyhow don’t worry about my musictheory. Thanks.

Usually 10th and 12th is synonymous with 3rd and 5th respectively in tertian chord stacking. But sometimes, especially in modern jazz and European concert, you’ll see things like b12 when the chord being spelled it more reliant on the actual intervals. That being said, “b10” is not correct here and should be referred to as a #9.

Yes don’t worry about it, I explain it somewhere in the commentsection. Thanks, John

Yes, it’s more accurate-blues has both thirds

@@michaeltilley8708 #9 is the most common, as chords are stacked in thirds 1,3,5,7,9,11,13. So 10 is not used.

@@tbgtbg6311 true that, but if you’re interested see my other comment.

@@tbgtbg6311 it also kind of precludes adding the b9 to that sonority, which sounds quite tasty.