This is super interesting, thank you Hristo! Just a question: I'm moving from G7 (V) to CM (I): the triatone F-B (7 and 3) resolutes to E-C (3 and 8). So, when substituting CM, why do you advice keeping the 3 and 7, and not the 3 and 8 (which should emphasise the "gravitational pull" :) )? Thanks!
Thanks so much for your message. Actually on the Cmaj7 I still take the 3rd and 7th for substitutions. I just showed a 3rd and root in the video so people can hear a classic resolution to the one chord easier with the two voice passage.
Dear Hristo, LOVE IT!!!! Question: Shouldn't this also work for the minor II chord and the dominant V chord? In the sense that in C major one could substitute chords that contain F and C for D minor and chords that contain F and B for G7? My first attempts were promising... Thank you, for any advice, your massive fan from Austria
What an elegantly simple concept! Question: do you apply these over standard ii V passages when working with a bass player? If so, how without clashing?
Your “music” is exactly where my heart and spirit want to go..
All your studies are my favorites, but this series is my favorite.
im so happy i found this thank you hristoo
Thank you my dear friend
Amazing to see this pro guitarist teaching us that way! Kudos!
Thank you, maestro! 🙏 A simple idea to open infinite doors in exploring harmony👍
Wow !! This is breaking the boundaries and unlocking doors .. Thank you so much Sir Hristo 🙏🙏🙏
Great stuff Hristo, thanks for sharing !
Very interesting!
What about a bassist? Should he stay into the original harmony?
Both can work.
If you notice in the beginning example in the video the bass is only doing a C pedal and all the chord substitutions are over C
This is super interesting, thank you Hristo!
Just a question: I'm moving from G7 (V) to CM (I): the triatone F-B (7 and 3) resolutes to E-C (3 and 8). So, when substituting CM, why do you advice keeping the 3 and 7, and not the 3 and 8 (which should emphasise the "gravitational pull" :) )? Thanks!
Thanks so much for your message. Actually on the Cmaj7 I still take the 3rd and 7th for substitutions. I just showed a 3rd and root in the video so people can hear a classic resolution to the one chord easier with the two voice passage.
@@HristoVitchev great, thanks💚
Dear Hristo, LOVE IT!!!! Question: Shouldn't this also work for the minor II chord and the dominant V chord? In the sense that in C major one could substitute chords that contain F and C for D minor and chords that contain F and B for G7? My first attempts were promising... Thank you, for any advice, your massive fan from Austria
Absolutely. That is how I apply it. To every chord in every progression. My Chromatonal iiVI book presents exactly that.
@@HristoVitchev OMG. So I need to get that one too... ;-)
@@andreastroster285 I already did some time as go. It is a must!
What an elegantly simple concept! Question: do you apply these over standard ii V passages when working with a bass player? If so, how without clashing?
@@stephz5817 i do it all the time and personally love the harmonic tension created by the superimposition to the original changes.