For whatever reason, I seem to have neglected posting this early video with James Corbett for his subscriber exclusive series. I just became aware of this because I needed a clip from this video for my Parallel/Relative Switch Music Theory Series. I looked on my channel and hadn't found it there, but luckily I had a copy on my hard drive. So here it is.
James Corbett's Website:
https://www.corbettreport.com/
James' Odysee Channel:
https://odysee.com/@corbettreport:0
Broc West Video Editor:
https://odysee.com/@brocwest:d
Vincognito Website:
http://www.vincognito.com/
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https://www.youtube.com/watch?v=5jeCHnJESOg
In a minor chord environment setting, there is only one Blue Note, the flatted 5th of the root chord. In a Dominant 7th (pure Blues) environment, there are two Blue Notes: the flatted 3rd and the flatted 5th. In a Major 7 chord environment, there are 3 Blue Notes: the flatted 3rd, the flatted 5th and the flatted 7th. Hopefully this wasn't too nerdy for you and you got what I meant!
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https://www.youtube.com/watch?v=px1bLpBOGnY
Did this one on this playlist with Matty D but didn't do it as a solo version, so here it is. Long live Jimi.
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https://www.youtube.com/watch?v=Pl5oLnqU-hE
At the historical Beyond Baroque for Eric Vollmer's Voice In The Well Arts Salon. Once again the song that has followed me around for years.
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https://www.youtube.com/watch?v=p3TOQL1B9Jc
My notion is that the #9 chord (aka the 'Jimi Hendrix' chord or the 'major-minor chord'--both silly names) is the essence of Blues Harmony in the vertical sense. Considering, say, a G root, it is the Gmaj chord, the Gmin chord and the G7 chord all wrapped up into one tight little bundle. Now perhaps you can begin to see why I say that the Blues "blends" keys rather than merely interacting them. Why? Because, say, Gmaj is from one key, Gmin is from another key and G7 is from yet another key. And the G7#9 chord is a blend of all three chords just mentioned.
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https://www.youtube.com/watch?v=UrSze1geudc