Ted Greene's 11th Chords

[e***@rcn.com]

This is sort of a repost but the original one got buried so forgive me.
In the Ted Greene video, Mr. Greene talks about dominant 7th chords
with the 11th (not sharp 11), so the 3rd and perfect 4th are both
played. (Mark Levine mentions this in his book, too). Ted Greene says
that this is becoming a common sound ( not to me!!) and is even heard
in commercials. What commercials are these? Where can I hear this
*interesting* voicing?

[Guido Schrijnemaekers]

Post by e***@rcn.com
This is sort of a repost but the original one got buried so forgive me.
In the Ted Greene video, Mr. Greene talks about dominant 7th chords
with the 11th (not sharp 11), so the 3rd and perfect 4th are both
played. (Mark Levine mentions this in his book, too). Ted Greene says
that this is becoming a common sound ( not to me!!) and is even heard
in commercials. What commercials are these? Where can I hear this
*interesting* voicing?

Pat Martino (and others) often plays a min7 arpeggio based on the 5 of the
dom7 chord (for instance Dmin7 arpeggio over G7). That is 5, 7, 9 and 11
over the dom7 chord. The same sound as you mention.

Guido

[Keith Freeman]

Post by Guido Schrijnemaekers
Pat Martino (and others) often plays a min7 arpeggio based on the 5 of
the dom7 chord (for instance Dmin7 arpeggio over G7). That is 5, 7, 9
and 11 over the dom7 chord. The same sound as you mention.

I think the OP was talking about chord voicings, not improvisation
strategies.

A decade or so ago I was playing a live recording of Kevin Eubanks to my
then teacher where Kevin was using a 1-4-7-11 voicing prominently (in
Autumn Leaves IIRR), and my teacher laughed and commented "it acts on the
laughter muscles". It didn't have quite that effect on me, more a feeling
of powerful but pleasant discord.

-Keith

Portable Changes, tips etc. at http://home.wanadoo.nl/keith.freeman/
e-mail only to keith DOT freeman AT wanadoo DOT nl

[Gerry]

Post by Keith Freeman
A decade or so ago I was playing a live recording of Kevin Eubanks to
my then teacher where Kevin was using a 1-4-7-11 voicing prominently
(in Autumn Leaves IIRR),

Are you sure about your spelling there: R-4-7-11. So the pitch of the
4th is doubled an octave above?

Post by Keith Freeman
...and my teacher laughed and commented "it acts on the laughter
muscles". It didn't have quite that effect on me, more a feeling of
powerful but pleasant discord.

The 11th that I think of as completely common is this one. For example G11:

3 x 3 2 1 x

[Paul]

Post by Gerry
3 x 3 2 1 x

I like that chord because I can use it as a G7 (G11) or an F7 (Fadd9).

In general, I like to collect "tricks" that reduce the amount of thinking I
need to do while playing. Quartal chords are like that too.

Paul K.

[Max Leggett]

Post by Paul

Post by Gerry
3 x 3 2 1 x

I like that chord because I can use it as a G7 (G11) or an F7 (Fadd9).
In general, I like to collect "tricks" that reduce the amount of thinking I
need to do while playing. Quartal chords are like that too.

Quartal chords are the only way to go. In a Bb blues I can sit on
xx5566 and nail hip chords like Bb6add9, Eb6add9, G7#9add11, C7add11,
and F9add11 and never miss. Hell, I can go the can and come back and
never drop a chord. Who says jazz is complicated?









--------------------------------------
Without music, life is a mistayke.
Friedrich "Spelling R Us" Nietzsche
--------------------------------------

[tom walls]

Post by Max Leggett
Quartal chords are the only way to go. In a Bb blues I can sit on
xx5566 and nail hip chords like Bb6add9, Eb6add9, G7#9add11, C7add11,
and F9add11 and never miss. Hell, I can go the can and come back and
never drop a chord. Who says jazz is complicated?

I can see that I've been overlooking an important device.

[Gerry]

Post by tom walls

Post by Max Leggett
Quartal chords are the only way to go. In a Bb blues I can sit on
xx5566 and nail hip chords like Bb6add9, Eb6add9, G7#9add11, C7add11,
and F9add11 and never miss. Hell, I can go the can and come back and
never drop a chord. Who says jazz is complicated?

I can see that I've been overlooking an important device.

What? Going to the can? It may be one of the ways some guitarists
could get their least offensive sound from the bandstand.

I think of that structure (xx5566) as C7sus, Bb69 and Gm11. Thus it
gets to operate as either a V, I or II. Nice modern sound when it
isn't overused.


Which it frequently lis.

[Gerry]

Post by Gerry
I think of that structure (xx5566) as C7sus, Bb69 and Gm11. Thus it
gets to operate as either a V, I or II. Nice modern sound when it
isn't overused.
Which it frequently lis.

Incidentally I don't use this voicing for an dominant 11th. I like to
get both the 3 and the 11th in (if at all possible) to get what I think
of as an 11th sound.

[t***@jhu.edu]

Post by Gerry

Post by Gerry
I think of that structure (xx5566) as C7sus, Bb69 and Gm11. Thus it
gets to operate as either a V, I or II. Nice modern sound when it
isn't overused.

Incidentally I don't use this voicing for an dominant 11th.

Add a tritone underneath it and you get a nice dominant voicing.

Post by Gerry
I like to
get both the 3 and the 11th in (if at all possible) to get what I think
of as an 11th sound.

That's what the OP is asking about. I still can't think of any recorded
examples that are easy to point him to.

[o***@hotmail.com]

Post by t***@jhu.edu
That's what the OP is asking about. I still can't think of any recorded
examples that are easy to point him to."

There was a Clare Fischer Bibg Band recording called Thesaurus methinks
that had a Blues in "G" that had Joeys voicing orchestrated for the
band essentally X54553(D7/11).
I remember seeing the chart but don't remember what Clare called it, it
was a long ,long time ago.
Bg

[Jim K]

What are we taking here?

The technically correct 11th having the 9th in it as well without the
root or 5th - the F11 ex above x-x-7-8-8-6 looks like a Eb add#11 or
just Eb/A - or a dom11 with the root, 5th & 9th?

Or are we talking a dom7 with the 4th added like G7 - G-B-D-F + C?

Or a 7sus - G-C-D-F?

I don't add the 9th in 11th chords - I'll add it in a 13b9, but that's
it - gets muddy - and when it comes to subs lacking the root &/or 5th -
for a G11: Dm7, Fmaj7#11, Cmaj7 sus, or out of key chords like F7#11

But a G7sus & G11 sound different to me - I love the sound of a 7sus
which is a great chord for key changes and I've found an occasional 11
that sounds good but mostly they are pretty dissonant

[Keith Freeman]

Post by Gerry
Are you sure about your spelling there: R-4-7-11. So the pitch of the
4th is doubled an octave above?

Sorry, should be R-4-7-10!

-Keith

Portable Changes, tips etc. at http://home.wanadoo.nl/keith.freeman/
e-mail only to keith DOT freeman AT wanadoo DOT nl

[Joseph Albano]

Post by Gerry

Post by Keith Freeman
A decade or so ago I was playing a live recording of Kevin Eubanks to
my then teacher where Kevin was using a 1-4-7-11 voicing prominently
(in Autumn Leaves IIRR),

Are you sure about your spelling there: R-4-7-11. So the pitch of the
4th is doubled an octave above?

Post by Keith Freeman
...and my teacher laughed and commented "it acts on the laughter
muscles". It didn't have quite that effect on me, more a feeling of
powerful but pleasant discord.

3 x 3 2 1 x

A particular favorite of mine is:

3 x 3 4 1 x with G as the root...

...which I lifted from Allan Holdsworth years ago.

[Jim K]

Post by Joseph Albano
3 x 3 4 1 x with G as the root...

That's an inversion of a Cmaj7 sus - a Cmaj9 sus and G11 have the same
notes in them and maj7 sus's and dom11's share the same dissonant
feature unless a favorable voicing is played.

[Joseph Albano]

Post by Jim K

Post by Joseph Albano
3 x 3 4 1 x with G as the root...

That's an inversion of a Cmaj7 sus - a Cmaj9 sus and G11 have the same
notes in them and maj7 sus's and dom11's share the same dissonant
feature unless a favorable voicing is played.

Yeah, OR - it's an example of the OP's chord.

[Joey Goldstein]

Post by Jim K

Post by Joseph Albano
3 x 3 4 1 x with G as the root...

That's an inversion of a Cmaj7 sus - a Cmaj9 sus and G11 have the same
notes in them and maj7 sus's and dom11's share the same dissonant
feature unless a favorable voicing is played.

Can you give me an example of a musical context in which
3 x 3 4 1 x
would function like Cmaj7sus4 and would *sound *like Cmaj7sus4?

Acoustically speaking, the root of that voicing is squarely on G.

And I hope you realize that there's not really such a strong case that
maj7sus4 chords actually exist in the 1st place.
I.e. They should usually be named something else.
Eg. Cmaj7sus4 is usually really G7/C [or G7(no5th)/C if you want to get
picky].

[Jimbo]

Post by Joey Goldstein
And I hope you realize that there's not really such a strong case that
maj7sus4 chords actually exist in the 1st place.
I.e. They should usually be named something else.
Eg. Cmaj7sus4 is usually really G7/C [or G7(no5th)/C if you want to get
picky].

I don't want to get picky ....and denying the existance of any
theoretical chord doesn't make sense to me, but do as you will - my
point was - and feel free to bash me - is that you can approximate the
G11 by taking the E out of a common Cmaj7 and replacing it with an F -
I personally don't care how you name a chord - it was just a note - I
common play chord partials to hint at a larger voicing

[Joey Goldstein]

Post by Jimbo

Post by Joey Goldstein
And I hope you realize that there's not really such a strong case that
maj7sus4 chords actually exist in the 1st place.
I.e. They should usually be named something else.
Eg. Cmaj7sus4 is usually really G7/C [or G7(no5th)/C if you want to get
picky].

I don't want to get picky ....and denying the existance of any
theoretical chord doesn't make sense to me,

Sorry, that was poorly phrased on my part.
I'm not really making the case that these chords don't exist, just that
naming them "maj7sus4" chords is only rarely the way to go, if ever at
all. I've called them "maj7sus4" chords most of my musical life too, but
nowadays I think I know better.

Post by Jimbo
but do as you will - my
point was - and feel free to bash me - is that you can approximate the
G11 by taking the E out of a common Cmaj7 and replacing it with an F -
I personally don't care how you name a chord - it was just a note - I
common play chord partials to hint at a larger voicing

[Bob Pease]

Post by Joseph Albano
3 x 3 4 1 x with G as the root...

Hi
I somehow missed the rules for the meaning of
3x341x

As far as liking the 11th chord, it ususalty strikes me asa a combination of
V7 and ii
and I find it pleasant but bland, and wouldn't use it as a chord leading to
a final resolution such a IM7 in a phrase end

Is this why the 11 is sharped without notification in a lot of guitar chord
voicings??

Bob Pease

[Greg Guarino]

Post by Bob Pease

Post by Joseph Albano
3 x 3 4 1 x with G as the root...

Hi
I somehow missed the rules for the meaning of
3x341x

I'm a piano player, so it took me a minute too. The posters are
guitarists and the numbers must refer to frets on the six strings.

3x341x would yield G - F - B - C, where the "x" refers to a string not
played.

Greg Guarino

[Charles-Emmanuel]

Post by Greg Guarino

Post by Bob Pease

Post by Joseph Albano
3 x 3 4 1 x with G as the root...

Hi
I somehow missed the rules for the meaning of
3x341x

I'm a piano player, so it took me a minute too. The posters are
guitarists and the numbers must refer to frets on the six strings.
3x341x would yield G - F - B - C, where the "x" refers to a string not
played.
Greg Guarino

Works very nicely as a trito sub preceded by its chromatic
subdominant...

| 4x442x = G#m74 = G# F# B C# | % | chromatic subdominant of...
| 3x341x = G74 = G F B C | % | dominant trito sub of...
| F#7M something... | % |
| B7b9 maybe... | % |
| E6 | % |
| Am | % |
| G7#5 | C |

[Joseph Albano]

Post by Greg Guarino

Post by Bob Pease

Post by Joseph Albano
3 x 3 4 1 x with G as the root...

Hi
I somehow missed the rules for the meaning of
3x341x

I'm a piano player, so it took me a minute too. The posters are
guitarists and the numbers must refer to frets on the six strings.
3x341x would yield G - F - B - C, where the "x" refers to a string not
played.

Yes, that is it, of course. Sorry about the confusion. I was seeing the
cross post to the jazz guitar NG and didn't think to put a note to the
others here.

[Gerry]

Post by Joseph Albano
3 x 3 4 1 x with G as the root...

I somehow missed the rules for the meaning of 3x341x
As far as liking the 11th chord, it ususalty strikes me as a a combination of
V7 and ii and I find it pleasant but bland, and wouldn't use it as a
chord leading to
a final resolution such a IM7 in a phrase end.

Your tastes are yours. I like 11 chords and +11's in different ways
and different times.

Relative to the purported 11 chord above, I find it anything but bland
and not really of any functional utility. The chord which is simply a
7th interval with a m9th sitting above it (the 3 and the 4 side by side
named however one likes).

It certainly can be called an 11th I guess, but I wouldn't know how to use it.

Is this why the 11 is sharped without notification in a lot of guitar chord
voicings?

I'm not sure what you mean. An 11th should be indicated as 11 or +11,
depending on intent: these are two different options.

[Bob Pease]

Post by Gerry

Post by Joseph Albano
3 x 3 4 1 x with G as the root...

I somehow missed the rules for the meaning of 3x341x
As far as liking the 11th chord, it ususalty strikes me as a a combination of
V7 and ii and I find it pleasant but bland, and wouldn't use it as a
chord leading to
a final resolution such a IM7 in a phrase end.

Your tastes are yours. I like 11 chords and +11's in different ways
and different times.
Relative to the purported 11 chord above, I find it anything but bland
and not really of any functional utility. The chord which is simply a
7th interval with a m9th sitting above it (the 3 and the 4 side by side
named however one likes).
It certainly can be called an 11th I guess, but I wouldn't know how to use it.

Is this why the 11 is sharped without notification in a lot of guitar chord
voicings?

I'm not sure what you mean. An 11th should be indicated as 11 or +11,
depending on intent: these are two different options.
--
What a day this has been, what a rare mood I'm in.

Right

For some reason the "13th" is the chord in which the 11th is always sharped
for some reason or other

Bob PEase

[Gerry]

Post by Bob Pease

Post by Gerry
I'm not sure what you mean. An 11th should be indicated as 11 or +11,
depending on intent: these are two different options.

Right
For some reason the "13th" is the chord in which the 11th is always sharped
for some reason or other

Not in my experience. A 13th does not demand an 11th be present. And
if the 11th is present, I assume it to be scale-tone 11th, whatever
that might be (a natural 11th in the case of a I Maj7, an +11 in the
case of a IV Maj7. I assume that whenever anything is unstated it
falls to the "natural" state of the current scale or
scale-of-the-moment. But that's a personal call.

Logically anybody is free to do what the like with implied extensions
(i.e. the invisible 9th or 11th below a stated 13th). You may decide
it ought to be flatted but other people's playing may conflict.

[Keith Freeman]

Post by Gerry
A 13th does not demand an 11th be present.

Agreed.

Post by Gerry
if the 11th is present, I assume it to be scale-tone 11th, whatever
that might be (a natural 11th in the case of a I Maj7, an +11 in the
case of a IV Maj7. I assume that whenever anything is unstated it
falls to the "natural" state of the current scale or
scale-of-the-moment. But that's a personal call.

I think most composers (and improvisers) would disagree with you in the
case of the dom13th, they would expect a #11.

-Keith

Portable Changes, tips etc. at http://home.wanadoo.nl/keith.freeman/
e-mail only to keith DOT freeman AT wanadoo DOT nl

[Joey Goldstein]

Post by Bob Pease

Post by Gerry

Post by Joseph Albano
3 x 3 4 1 x with G as the root...

I somehow missed the rules for the meaning of 3x341x
As far as liking the 11th chord, it ususalty strikes me as a a

combination of

Post by Gerry

V7 and ii and I find it pleasant but bland, and wouldn't use it as a
chord leading to
a final resolution such a IM7 in a phrase end.

Your tastes are yours. I like 11 chords and +11's in different ways
and different times.
Relative to the purported 11 chord above, I find it anything but bland
and not really of any functional utility. The chord which is simply a
7th interval with a m9th sitting above it (the 3 and the 4 side by side
named however one likes).
It certainly can be called an 11th I guess, but I wouldn't know how to use

it.

Post by Gerry

Is this why the 11 is sharped without notification in a lot of guitar

chord

Post by Gerry

voicings?

I'm not sure what you mean. An 11th should be indicated as 11 or +11,
depending on intent: these are two different options.
--
What a day this has been, what a rare mood I'm in.

Right
For some reason the "13th" is the chord in which the 11th is always sharped
for some reason or other
Bob PEase

That's because it sounds better than if it isn't raised, generally.

[Guido Schrijnemaekers]

Post by Keith Freeman

Post by Guido Schrijnemaekers
Pat Martino (and others) often plays a min7 arpeggio based on the 5 of
the dom7 chord (for instance Dmin7 arpeggio over G7). That is 5, 7, 9
and 11 over the dom7 chord. The same sound as you mention.

I think the OP was talking about chord voicings, not improvisation
strategies.

I was aware of that. But in the end it's the same. If the soloist puts the
11 prominent on top of the dom7 chord, it's the same harmony as when you
do it in the chord voicing.

Maybe the Dmin7 arpeggio over the G7 chord comes from thinking from the
melody. But I guess he wouldn't use it that much if harmonically he
didn't like the G7add11 sound.

Guido

[pmfan57]

Post by Guido Schrijnemaekers

Post by Keith Freeman

Post by Guido Schrijnemaekers
Pat Martino (and others) often plays a min7 arpeggio based on the 5 of
the dom7 chord (for instance Dmin7 arpeggio over G7). That is 5, 7, 9
and 11 over the dom7 chord. The same sound as you mention.

I think the OP was talking about chord voicings, not improvisation
strategies.

I was aware of that. But in the end it's the same. If the soloist puts the
11 prominent on top of the dom7 chord, it's the same harmony as when you
do it in the chord voicing.
Maybe the Dmin7 arpeggio over the G7 chord comes from thinking from the
melody. But I guess he wouldn't use it that much if harmonically he
didn't like the G7add11 sound.
Guido

It gives that sound, but generally, the convert to minor people, Wes,
Benson and Martino, also use it as a way of thinking. It's easier to
always be thinking of some kind of minor.

Also, Pat is thinking "minor" in general, not necessarily Dm7. That
includes the Dm6 sound as well. As you know, that sound maps directly
on a Dom9th chord. (i.e., Dm6=G9=Bm7b5).

[Guido Schrijnemaekers]

Post by pmfan57

Post by Guido Schrijnemaekers

Post by Keith Freeman

Post by Guido Schrijnemaekers
Pat Martino (and others) often plays a min7 arpeggio based on the 5 of
the dom7 chord (for instance Dmin7 arpeggio over G7). That is 5, 7, 9
and 11 over the dom7 chord. The same sound as you mention.

I think the OP was talking about chord voicings, not improvisation
strategies.

I was aware of that. But in the end it's the same. If the soloist puts the
11 prominent on top of the dom7 chord, it's the same harmony as when you
do it in the chord voicing.
Maybe the Dmin7 arpeggio over the G7 chord comes from thinking from the
melody. But I guess he wouldn't use it that much if harmonically he
didn't like the G7add11 sound.
Guido

It gives that sound, but generally, the convert to minor people, Wes,
Benson and Martino, also use it as a way of thinking. It's easier to
always be thinking of some kind of minor.
Also, Pat is thinking "minor" in general, not necessarily Dm7. That
includes the Dm6 sound as well. As you know, that sound maps directly
on a Dom9th chord. (i.e., Dm6=G9=Bm7b5).

Yes that's a common thing, playing a Bm7b5 (Dm6) arpeggio over a G7. But
the fact that Pat Martino uses a Dmin7 arpeggio over G7 is interesting (at
least it is to me). In the forum you have referenced to several times, he
says (I don't remember the exact words) that the substitutions he uses
leads to playing "wrong" notes for a brief period of time. But he likes
the tension which comes form that. Like he says, it's against the rules,
but I like it. While Ted Greene says : the rules are old-school harmony,
things have changed. Different ways of thinking, but they both lead to
modern harmonic approaches where you can have a 11 on top of a dom7 chord
which allready has a major 3 in it.

That's my interpretation. I assume that with "a brief period of time" Pat
doesn't mean the same thing as using a "avoid tone" as a passing tone.
Because that would be perfectly normal and not worth mentioning.

Guido

[pmfan57]

Post by Guido Schrijnemaekers

Post by pmfan57

Post by Guido Schrijnemaekers

Post by Keith Freeman

Post by Guido Schrijnemaekers
Pat Martino (and others) often plays a min7 arpeggio based on the 5 of
the dom7 chord (for instance Dmin7 arpeggio over G7). That is 5, 7, 9
and 11 over the dom7 chord. The same sound as you mention.

I think the OP was talking about chord voicings, not improvisation
strategies.

I was aware of that. But in the end it's the same. If the soloist puts the
11 prominent on top of the dom7 chord, it's the same harmony as when you
do it in the chord voicing.
Maybe the Dmin7 arpeggio over the G7 chord comes from thinking from the
melody. But I guess he wouldn't use it that much if harmonically he
didn't like the G7add11 sound.
Guido

It gives that sound, but generally, the convert to minor people, Wes,
Benson and Martino, also use it as a way of thinking. It's easier to
always be thinking of some kind of minor.
Also, Pat is thinking "minor" in general, not necessarily Dm7. That
includes the Dm6 sound as well. As you know, that sound maps directly
on a Dom9th chord. (i.e., Dm6=G9=Bm7b5).

Yes that's a common thing, playing a Bm7b5 (Dm6) arpeggio over a G7. But
the fact that Pat Martino uses a Dmin7 arpeggio over G7 is interesting (at
least it is to me). In the forum you have referenced to several times, he
says (I don't remember the exact words) that the substitutions he uses
leads to playing "wrong" notes for a brief period of time. But he likes
the tension which comes form that. Like he says, it's against the rules,
but I like it. While Ted Greene says : the rules are old-school harmony,
things have changed. Different ways of thinking, but they both lead to
modern harmonic approaches where you can have a 11 on top of a dom7 chord
which allready has a major 3 in it.
That's my interpretation. I assume that with "a brief period of time" Pat
doesn't mean the same thing as using a "avoid tone" as a passing tone.
Because that would be perfectly normal and not worth mentioning.
Guido

Coltrane did something similar when he played Bbmin7 runs over A7 I
believe. Obviously, the scale that most perfectly matches with the A7
altered notes is the Bb jazz melodic minor. But Trane, and Pat also,
sometimes play Bbmin7 material over that. Which, as you say, can lead
to "wrong" notes (in particular the Ab). However, the overall good
sounding structure of the line (if indeed it is a good sounding line!)
on its own terms will make it sound good in any event, even if certain
notes, taken out of context, are, or would be, "avoid tones."

[Joey Goldstein]

Post by e***@rcn.com
This is sort of a repost but the original one got buried so forgive me.
In the Ted Greene video, Mr. Greene talks about dominant 7th chords
with the 11th (not sharp 11), so the 3rd and perfect 4th are both
played. (Mark Levine mentions this in his book, too). Ted Greene says
that this is becoming a common sound ( not to me!!) and is even heard
in commercials. What commercials are these? Where can I hear this
*interesting* voicing?

I'm finding more and more places and reasons to use it as the years go
on. Sometimes, on a dom7 chord, the 11 is just a good melody note and
playing a sus4 doesn't seem to make it.
Eg. Some of the mel notes in Mingus' tune, Goodbye Pork Pie Hat, are 11s
on dom7 chords, and changing the chord to a dom7sus4 or dom9sus4 just
doesn't make it.

In cases like this, I often find myself using this grip, for example,
for F11 when the melody is Bb:

X X 7 8 8 6

The relative success of these sounds depends largely on what happens
next and on how, if at all, the dissonance (between 3 and 11 on the dom7
chord) resolves on the next chord.

[Joey Goldstein]

Post by Joey Goldstein
In cases like this, I often find myself using this grip, for example,
X X 7 8 8 6

With a little bit of work you can get the root on the bottom too:

X 8 7 8 8 6
3 2 4 4 1 (fing)

[Greg Guarino]

Post by e***@rcn.com
This is sort of a repost but the original one got buried so forgive me.
In the Ted Greene video, Mr. Greene talks about dominant 7th chords
with the 11th (not sharp 11), so the 3rd and perfect 4th are both
played. (Mark Levine mentions this in his book, too). Ted Greene says
that this is becoming a common sound ( not to me!!) and is even heard
in commercials. What commercials are these? Where can I hear this
*interesting* voicing?

I haven't seen this video, but here's an example that I have been
using a lot lately (on piano):

(Root played by bass player)
(LH) 7 - 3 - 11 - 13
(RH) 1 - 5 - 1 (or 5 - 9 - 5)

In G this would be:

(LH) F - B - C - E
(RH) G - D - G

...where the C in the left hand would be Middle C. The right hand is
entirely optional, of course, and might be separated from the left
hand by an octave and change. I use this form most often when
alternating between a 13th and a sus.

Greg Guarino