Never stop what you are doing! Of all the theory teachers on youtube, you ate not only the most concise and clear, but also the one monst connected to a generally known and beloved repertoire!!
Hello, i cant stress how perfect this video is This video is a whole new world of harmony for people just exploring tonalities outside of straight major or straight minor -- in 9:30 minutes and seconds, you covered musical worlds of ground, explaining tonalities used by beatles, elton john, stevie wonder, jazz cats, everyone really .. even in pop. This 9 minute video is an absolute gem, and although i know this theory already, ive saved it because of how concise and perfectly you've laid it out. Thank you for all you do
This is incredible!!!! I would love to see a minor version of this or perhaps a level two in major!!! Definitely gonna make a donation after this video.
I have studied Georgia quite a bit. The song Georgia on my mind was written in a jazz style..I think ,by Hoagy Carmichael. Ray who made it famous..I think he played it in G. I definitely remember some sheet music in that key. Ray went directly form the the 1 to III7..In C that Is C to E7..There is no passing chord..which is the way Elvis did Love me tender. However..trying to to do the jazz version in F..I realized that there was quite a difference in their approach. I sussed out the chords and found that Hoagy had used the 7 3 6 2 5 1 progression. It was an altered version of the altered diatonic sevenths. The F Diatonic 7ths are F maj7 Gmin7 AMin7 Bbmaj7 C7 Dmin7 Emin7b5 Fmaj7. After playing it many times..this is something like what I do. Fmaj7 Emin7b5 A7b9 Dmin9 Gmin7 maybe a C13. There are some flavored chords here. It's optional. The jazz version notes by Hugh Laurie from House seem to be mostly from D blues and not F blues. Sinece D is the min third or maj 6 of F that fits.
@@JazzDuets wow, what a good video, I had time thinking about how to use "borrowed chords", in this video I understood how and why some "modal lnterchange chords" are used, but what about the chords vii, VIIb, VIb, IIIb? Does the voice leading have something to do with why we use some chords instead of others, right? When you use II7 to resolve F# to G, why isn't the vii (Bm) chord option also mentioned? If these "new chords" have their root in a note belonging to the C major scale (as you use as an example in the video) why not mention the Bm chord? or in the case of the Bb note, why not mention the Gm or Bb chord? Anyway, I was fascinated by this first part, I can't wait to see a second part. 👐🏻
I've studied a LOT of music, but your approach makes things clear that were once foggy! This video is a perfect example! Oh, and thank you for using the word "myriad" correctly ;-)
The way Lennie does it in Somewhere (dominant I tonicizing the IV) from West Side Story just about tears the heart out of my chest. Something with the sparse scoring, the whole thing, just really gets me. The depth of Lennie's musicianship is colossal.
I feel like your videos are reaching a new level of coolness 🔥 Im very grateful for the work you are putting on these, I couldnt tell how much all this few minutes are helping and feeding my musical self. Thank you!! ❤
I must say your style of teaching is so refined , slowly but properly presented so that people at all levels can understand and learn. A great trip through harmonizing notes of the major scale and its associated notes and chords :) !!! Cheers Jake
I took great interest in this because when i first started puting chords together I just used my ears and knew even less about theory than I do now. I saw some debate on the Internet: "can a song consist of only minor chords". I knew the answer was yes because of my own experimenting and the all-minor progression in question was also not diatonic. I sort of discovered the diatonic system myself by looking at the notes and deriving chords contained in the scales but then I knew it was just a foolproof way of coming up with progressions that required you didn't change scale, which wasn't necessarily what you wanted to do. I'm now studying harmony and synthesizers, mainly on TH-cam and it's baffling how many tutorials fail to do what you do here, which is relate the concepts to several real and non-obscure musical examples so people can really internalize the sounds of each move. Also awesome that you illustrated your point with both classical and modern styles. One could even do a special series on harmony or synthesis where the first thing identified in the tutorial is the sound created, through well-known music examples.
My god man! Your channel, on several occasions, has made me appreciate some of the music I have in my collection, stuff I've even forgotten I had. All you're trying to do is help us get into the 'nuts and bolts' of the structure of the music we're trying to play, but somehow it's making me really appreciate tunes on an expanded level.
I understand these are variations of the major scale, the parent scale of a progression. Is that right? Then you have Melodic minor (b3), harmonic major (b6), mixolydian (b7), lydian (#4). And the b9 I struggle with. But, the idea behind it is that subtle changes (only one note changes) to the parent scale yield different possibilities (depending on the melody). Reminds me of early Berklee, but in a much clearer way. I truly hope you would elaborate on this. So wonderfully insightful. After so many years of studying harmony, Mark Levine, Berklee, Terefenko… I still struggle with a lot of tunes, Wayne Shorter, Kenny Wheeler, Hancock, but even some standards, like Dindi. And, being the Boss I am, I skate over these chords, stumbling or drowning my lack of understanding in chromaticism or random diminished scale running… like a Boss. But it leaves me feeling bad for not understanding or not being able to elaborate on the beauty of the tune.
The b9 alteration you are struggling with is simply a melodic minor scale starting on ii. So in the key of C Major, it would be D melodic minor. Hope this helps.
C->Cmaj7->C7->F is just walking the root down. I use it all the time to add movement to a chord that stays there too long. To replace a 4th by a II7 is more interesting. Use of IV and iv and v and V interchangeably is, to my ear, to soften or to brighten it a bit. The others seem to be like passing secondary dominant chords to me.
The familiar song examples perform 'ear training' exercises that can be adapted to personal music collections . While I play flutes mainly, having a keyboard showing location of chords in a display provides a steep learning curve. My Yamaha is the best 25 bucks I ever spent.
Bluegrass tends to use "V/V chords in some cases to provide some out of key spice, usually with some great group vocals. "Love Please Come Home" uses V-IV-I-V-I-V-V/V (Played in the key of C Major, tonic being G if seen as Mixolydian).
3:28, Beethovens Waldstein sonata mvt no1 has a i-ii7 intro and it is the main memorable motif played numously in the piece. Its also my favourite sonata so please check out tne first movement. Its not a huge time installment . Its chaotic and times then calm , emotional and nostalgic at other bits. Especially towards the end . It has a really satisfying ending too. LISTEN TO BEETHOVENS WALDSTEIN SONATA 1ST MVT!!!!!!!
I for years have been D7 dominant here. The D7 is like miniature modulation up 1 step. The Fmaj7 over the G is of course FACE/G.. or notes GFACE..It's not obvious untill you write it out. The chord is G13sus4. The sus 4 Is C and it has a strong pull to C. My 2 cents.
i'm sorry,,,how do you come up with the D7 exactly?...I understand it's the v of G and so on but the chromatic is F#.......also why is the A7 the first chord that comes to mind ?......don't know why I'm not getting this,,,??...also the E7...thanks if anyone can help...
Great.Video. I know that you are covering a lot of territorry .. but sometimes it helps people.at various levels.. (V7 of 5) is dominant of the key are in..or the temporary key you're in. Eg We are in C, so the 5 is G..but its dominant oot is D..the fifth note of the G scale. scale.. D 7...
My comments have tendency to be long..but I try to explain things so beginners can understand. Since I last commented. I thought about a way thst I can use this by examples ..like all of me.I think Aura Lee qualified or love me tender versión by Elvis..similar Chords. In C. Love me tender D7 Never let me go. The D7 is the V of of G and is not part of the C key notes.. Normally this would have been an a Dmin 7 ,(part of the Diatonic 7ths) the leading tone F# in D7 puts us right back to G. That is in thousands of songs. So no big deal. The song then really goes off the tracks in the chorus. Love me tender C then goes to the E7 Love me true..He is essentially in the key of A temporarily.. Amaj7 Bmin7 C#min7 Dmajj7 E7. The E7 has notes ( E G# B D)) or ( 1 3 5 b7). These are definitely not part of the C scale but part of the A scale. A scale ( A B C# D E F# G# A ).. The E7 is again (E G# B D) so again ( 1 3 5 b7) The b7 is called that because it is taking the major 7 of the scale of A. ( G#), and lowering it. It is now common practice to call this minoring the major 7) This I'd confusing to beginnerd. In my opinion minor should only be used in one place (the third) which tells us the quality of the chord not the chord construction. But that is the way coñleges teach it now. We have live with it. But This E7 now is a very temporary jaunt into A Territory.7 E7 would go to A7 or Amin 7. The chord AMin7 (A C E G) Is the 6min 7 of the C Diatonic 7s. But the song does not go to D next from Amin..it deviated again which gives it flavor. Chords are: C E7 Amin7..should go to D7 to G7 then C. Doesn't. Here are the chords C E Amin7 C7 Dmin7 F C..
Another stella video. You explain in such a clear manner and make the topics both easy to digest and very interesting. I really do appreciate your hard work and top content. Are there any books/materials you would recommend for studying harmony. I particularly like the use of example you use, makes the theory so much more relevant. Warm regards. Owen
Porque me miente?, usted sabe como jugar con la teoría de la música, usted está muy avanzado, tiene bastante experiencia, soy yo quien está aprendiendo la teoría del lenguaje de las divinidades así que soy yo el bebe balbuceante!.
Never stop what you are doing! Of all the theory teachers on youtube, you ate not only the most concise and clear, but also the one monst connected to a generally known and beloved repertoire!!
Hello, i cant stress how perfect this video is
This video is a whole new world of harmony for people just exploring tonalities outside of straight major or straight minor -- in 9:30 minutes and seconds, you covered musical worlds of ground, explaining tonalities used by beatles, elton john, stevie wonder, jazz cats, everyone really .. even in pop. This 9 minute video is an absolute gem, and although i know this theory already, ive saved it because of how concise and perfectly you've laid it out. Thank you for all you do
This is incredible!!!! I would love to see a minor version of this or perhaps a level two in major!!! Definitely gonna make a donation after this video.
great idea about the minor!
I would want a minor version too ! Great vid by the way
That would be great :)
I have studied Georgia quite a bit. The song Georgia on my mind was written in a jazz style..I think ,by Hoagy Carmichael. Ray who made it famous..I think he played it in G. I definitely remember some sheet music in that key. Ray went directly form the the 1 to III7..In C that Is C to E7..There is no passing chord..which is the way Elvis did Love me tender. However..trying to
to do the jazz version in F..I realized that there was quite a difference in their approach. I sussed out the chords and found that Hoagy had used the 7 3 6 2 5 1 progression. It was an altered version of the altered diatonic sevenths. The F Diatonic 7ths are F maj7 Gmin7 AMin7 Bbmaj7 C7
Dmin7 Emin7b5 Fmaj7. After playing it many times..this is something like what I do. Fmaj7
Emin7b5 A7b9 Dmin9 Gmin7 maybe a C13. There are some flavored chords here. It's optional.
The jazz version notes by Hugh Laurie from House seem to be mostly from D blues and not F blues. Sinece D is the min third or maj 6 of F that fits.
@@JazzDuets wow, what a good video, I had time thinking about how to use "borrowed chords", in this video I understood how and why some "modal lnterchange chords" are used, but what about the chords vii, VIIb, VIb, IIIb? Does the voice leading have something to do with why we use some chords instead of others, right? When you use II7 to resolve F# to G, why isn't the vii (Bm) chord option also mentioned? If these "new chords" have their root in a note belonging to the C major scale (as you use as an example in the video) why not mention the Bm chord? or in the case of the Bb note, why not mention the Gm or Bb chord? Anyway, I was fascinated by this first part, I can't wait to see a second part. 👐🏻
You are awesome! You give the absolute best in musical content!
I couldn't agree more 😀
I try!
Great stuff. Loved seeing CFG harmonized on the diatonic scale. It’s a game changer concept for me. Awesome presentation as well. Guru. Thank you.
By far one of the best videos I have come across regarding music harmony... Pls don’t ever stop! :)
This is opening so many doors to me! Honestly incredible
I'm still waiting for the next video!!!! to look further more of this types of chord progressions!!!
Yes please!
Yes Same
this channel is the GOAT (greatest of all time) of saxophone music theory method
Awesome man, you are the first one talking about this in a systematic way. Thank you so much!
This video lesson is totally effing brilliant!! It has helped me more than I can tell you!! Thank you!
Finding your channel today has filled in a few chunks of missing info in my mind so thank you very much!
I've studied a LOT of music, but your approach makes things clear that were once foggy! This video is a perfect example! Oh, and thank you for using the word "myriad" correctly ;-)
Superb. This material is pure gold. Love your presentation style too. Thank you.
Another excellent and inspiring video that makes you want to practice more
I maj. I maj7 I flat7 IV maj = Raindrops keep falling on my head (B.Bacharach)
Fabulous video as always! Many thanks
The way Lennie does it in Somewhere (dominant I tonicizing the IV) from West Side Story just about tears the heart out of my chest. Something with the sparse scoring, the whole thing, just really gets me. The depth of Lennie's musicianship is colossal.
What a gem of a video this is.
I LOVE YOUR VIDEOS! Please make more!
I feel like your videos are reaching a new level of coolness 🔥
Im very grateful for the work you are putting on these, I couldnt tell how much all this few minutes are helping and feeding my musical self.
Thank you!! ❤
I must say your style of teaching is so refined , slowly but properly presented so that people at all levels can understand and learn. A great trip through harmonizing notes of the major scale and its associated notes and chords :) !!! Cheers Jake
Thank you for this video! We are all waiting for level 2 !
Song examples are awesome. Many thanks for that!
Really wonderful! Thank you so much, Nick. You are a gifted educator in my favorite subject!
Owuh! Thanks Nick! Beautiful example!!!
Great channel! It's lovely how you break down these concepts for a layperson or beginner musician!
nice to see the face behind the voice and you are opening a lot of doors for me. thanks
You are a true teacher.
I'm grateful for a lot of things in life.. This channel for one!!
Thank you for these videos!
this really gave me peace in the big crowd of YT. please keep doing this. SUPPORT!!
Khachaturian, great! Support from Armenia
I wish I could thank you in person! Thank you for these amazing videos :)
Absolutely fantastic. Thank you so much for your channel.
Great simple explanation of very important harmony theory.
I took great interest in this because when i first started puting chords together I just used my ears and knew even less about theory than I do now. I saw some debate on the Internet: "can a song consist of only minor chords". I knew the answer was yes because of my own experimenting and the all-minor progression in question was also not diatonic. I sort of discovered the diatonic system myself by looking at the notes and deriving chords contained in the scales but then I knew it was just a foolproof way of coming up with progressions that required you didn't change scale, which wasn't necessarily what you wanted to do. I'm now studying harmony and synthesizers, mainly on TH-cam and it's baffling how many tutorials fail to do what you do here, which is relate the concepts to several real and non-obscure musical examples so people can really internalize the sounds of each move. Also awesome that you illustrated your point with both classical and modern styles. One could even do a special series on harmony or synthesis where the first thing identified in the tutorial is the sound created, through well-known music examples.
very good class, nina Simone is beautifull , the change I major to IV minor is great
My god man! Your channel, on several occasions, has made me appreciate some of the music I have in my collection, stuff I've even forgotten I had. All you're trying to do is help us get into the 'nuts and bolts' of the structure of the music we're trying to play, but somehow it's making me really appreciate tunes on an expanded level.
Amazing stuff as always :) I always find your videos exactly when I need them
Excellent video on all counts. Another A++ . Thanks
When you think the last video couldn’t be bettered...and suddenly this new video came across! Amazing. Thanks !!!
I wish this channel had tens of milions of subs!
Thanks Nick, I can't wait for the next video as I think this is my favorite subject
Fantastic as always! Your my new fave tutor. Cheers from NZ
You are great, man. Thanks for sharing.
This video really opened up my mind to composing chord progressions!
Cmaj scale harmonised with C F & G chords. This is so helpful!
I've only watched the first minute here. 9 minutes to follow.
I understand these are variations of the major scale, the parent scale of a progression. Is that right? Then you have Melodic minor (b3), harmonic major (b6), mixolydian (b7), lydian (#4). And the b9 I struggle with. But, the idea behind it is that subtle changes (only one note changes) to the parent scale yield different possibilities (depending on the melody). Reminds me of early Berklee, but in a much clearer way.
I truly hope you would elaborate on this. So wonderfully insightful. After so many years of studying harmony, Mark Levine, Berklee, Terefenko… I still struggle with a lot of tunes, Wayne Shorter, Kenny Wheeler, Hancock, but even some standards, like Dindi. And, being the Boss I am, I skate over these chords, stumbling or drowning my lack of understanding in chromaticism or random diminished scale running… like a Boss. But it leaves me feeling bad for not understanding or not being able to elaborate on the beauty of the tune.
The b9 alteration you are struggling with is simply a melodic minor scale starting on ii. So in the key of C Major, it would be D melodic minor. Hope this helps.
C->Cmaj7->C7->F is just walking the root down. I use it all the time to add movement to a chord that stays there too long. To replace a 4th by a II7 is more interesting. Use of IV and iv and v and V interchangeably is, to my ear, to soften or to brighten it a bit. The others seem to be like passing secondary dominant chords to me.
The familiar song examples perform 'ear training' exercises that can be adapted to personal music collections . While I play flutes mainly, having a keyboard showing location of chords in a display provides a steep learning curve. My Yamaha is the best 25 bucks I ever spent.
Great video. I'm learning this at the moment and you gave more clarity. Thanks. Keep it going!
wow so clear and informative! big thank you! your channel is a pile of gold :D
This is just outstanding! Thank you!
really love all your videos, you are so inspiring... many thanks from Perú! :)
Always inspiring, Nick. Always exciting...
thank you Santi! Abrazo fuerte!
Very interesting and helpful, thanks so much!
You are currently my favorite. The best. Working on ''My Romance'' from Waltz for Debby and Ray Brown Trio 3 Dimensional
Very revealing approach 👌
Bluegrass tends to use "V/V chords in some cases to provide some out of key spice, usually with some great group vocals.
"Love Please Come Home" uses V-IV-I-V-I-V-V/V (Played in the key of C Major, tonic being G if seen as Mixolydian).
I loved yours videos !!!
That's cool, tank ya for all your efforts
Great work, thank you!!
Amazing job on this one, awaiting next one !
AMAZING Channel... Thank you very much!
great work!!
Wonderful, thank you!
this video is very excellent
Excellent !!
Enserio, amo estos videos.
3:28, Beethovens Waldstein sonata mvt no1 has a i-ii7 intro and it is the main memorable motif played numously in the piece. Its also my favourite sonata so please check out tne first movement. Its not a huge time installment . Its chaotic and times then calm , emotional and nostalgic at other bits. Especially towards the end . It has a really satisfying ending too.
LISTEN TO BEETHOVENS WALDSTEIN SONATA 1ST MVT!!!!!!!
Super.. thanks for this..Getting on patreon
Awesome vid again! Thank you
Very helpful. Thank you.
Love it!
Wonderful lesson.....bravissimo
Great video man!
Simple twist of fate by B. D. has in the Beginning the Major chord, than a major 7 an then the dominant7; thank you for this Tutorial
Excelente explicación amigo
II7 is definitely Make You Feel My Love - Adele
tis is some quality teaching!! thanks man :)
Nuevamente festejo un video de mí admirado Nick Homes!!
I for years have been D7 dominant here. The D7 is like miniature modulation up 1 step. The Fmaj7 over the G is of course FACE/G..
or notes GFACE..It's not obvious untill you write it out. The chord is
G13sus4. The sus 4 Is C and it has a strong pull to C. My 2 cents.
Yes..thank you.
Brazil thanks, great my friend
Maravilhoso como sempre! Cheers from Brazil!
Thanks again 👍🏻
I just watched this. What a great video! What is the name of the follow up to this video?
i'm sorry,,,how do you come up with the D7 exactly?...I understand it's the v of G and so on but the chromatic is F#.......also why is the A7 the first chord that comes to mind ?......don't know why I'm not getting this,,,??...also the E7...thanks if anyone can help...
My favorite example of VI7 is, "it's a beautiful day in the neighborhood," by Fred Rogers.
Great.Video. I know that you are covering a lot of territorry .. but sometimes it helps people.at various levels.. (V7 of 5) is dominant of the key are in..or the temporary key you're in. Eg We are in C, so the 5 is G..but its dominant oot is D..the fifth note of the G scale. scale.. D 7...
My comments have tendency to be long..but I try to explain things so beginners can understand. Since I last commented. I thought about a way thst I can use this by examples ..like all of me.I think Aura Lee qualified or love me tender versión by Elvis..similar Chords.
In C. Love me tender D7 Never let me go. The D7 is the V of of G and is not part of the C key notes.. Normally this would have been an a Dmin 7 ,(part of the Diatonic 7ths) the leading tone F# in D7 puts us right back to G. That is in thousands of songs. So no big deal.
The song then really goes off the tracks in the chorus. Love me tender C then goes to the E7 Love me true..He is essentially in the key of A temporarily.. Amaj7
Bmin7 C#min7 Dmajj7 E7.
The E7 has notes ( E G# B D))
or ( 1 3 5 b7). These are definitely not part of the C scale but part of the A scale. A scale ( A B C# D E F# G# A )..
The E7 is again (E G# B D) so again ( 1 3 5 b7) The b7 is
called that because it is taking the major 7 of the scale of A. ( G#), and lowering it. It is now common practice to call this minoring the major 7) This I'd confusing to beginnerd. In my opinion minor should only be used in one place (the third) which tells us the quality of the chord not the chord construction. But that is the way coñleges teach it now. We have live with it.
But This E7 now is a very temporary jaunt into A Territory.7 E7 would go to A7 or Amin 7.
The chord AMin7 (A C E G) Is the 6min 7 of the C Diatonic 7s.
But the song does not go to D next from Amin..it deviated again which gives it flavor. Chords are:
C E7 Amin7..should go to D7 to G7 then C. Doesn't. Here are the chords
C E Amin7 C7 Dmin7 F C..
Stay With Me- Faces and Forget You by CeeLo Greene are other examples of I II7 V
I LOVE it....
Another stella video. You explain in such a clear manner and make the topics both easy to digest and very interesting. I really do appreciate your hard work and top content. Are there any books/materials you would recommend for studying harmony. I particularly like the use of example you use, makes the theory so much more relevant. Warm regards. Owen
Is there a second video? If not, I will pray every night for one..
Amazing !!
Very great! Isn't that different from my access to harmony and this theoretical part of music!
What does he mean when he says “harmonizing the scale over I IV and V”?
The I, IV, and V are the strong chords in any major scale. In the scale of C major, it is C (I), F (IV), and G (V).
thanks bro..very usefull
2:44 is this also used in "if i could" by pat metheny?
Usted sabe demasiado!. Saludos!.
estoy aprendiendo!
Porque me miente?, usted sabe como jugar con la teoría de la música, usted está muy avanzado, tiene bastante experiencia, soy yo quien está aprendiendo la teoría del lenguaje de las divinidades así que soy yo el bebe balbuceante!.
Donde fue su formación musical, donde estudio?.
Amazing fun thanks.