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If all you've learned is classical theory, then this chord makes no sense. It contains both the major and minor 3rd, which used to be a big no-no. However, it's contains the absolute essence of rock and blues music - the clashing between two thirds. This lesson explores how the b3 interacts with major chords, and vice versa. Along the way you should gain some knowledge on how to use the Jimi Hendrix chord (7#9) and other ways to compose with "mixed thirds".
Here's the @AdamNeely video I mentioned at the end: https://youtu.be/mqsnqIw--RU?si=ar2xYoq9lVJVq66r
The following lessons should be great followups to this video since they involve some of the same concepts:
Pentatonic Possibilities: https://www.youtube.com/watch?v=OIggxG7Kon8
Mario Cadence: https://www.youtube.com/watch?v=jx7BcbS15tU
Borrowed Chords: https://www.youtube.com/watch?v=7IdttvJSedg
Modal Mixture: https://youtu.be/RyR98UEtt18?si=W4uxewcscWSMQ3yk
Picardy Third: https://youtu.be/Be2-Qr4htrA?si=C0X42fXGjtHflDPh
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00:00 The Worst Chord In Music, IMO
01:27 A Musical Axiom
02:05 Major Triads + Minor 3rds
03:43 7(#9) chord
05:36 V7(#9)
07:10 Where To Place The 9th
07:55 Chromatically Approaching the 3rd
09:40 Mutually Exclusive Thirds
11:10 The Picardy 3rd
12:58 Additional Thoughts