Some authors argue that the Im7 is not a very satisfying I chord because it is kind of inestable. The real minor is Im or Im6. What do you think? (Jimmy Amadie and Barry Harris talked about it)
Hey Rodolfo! I think that makes sense. I think theoretically speaking, the Im(maj7) would be a good option for the one chord as it comes from the melodic and harmonic minor. I simplify my Diatonic Series chart with a Im7 because I see that most often in repertoire.
Im7 gives a kind of Dorian or Aeolin sound to my ears. Of course it is cool, but for lots of standards and bop tunes both dorian and aeolian aren't the number 1 choice for the Im chord situation.
This type of harmonization is very common in Latin music especially in Salsa (Puerto Rico, Cuba, etc.) and in Latin Jazz (U.S.A. and Puerto Rico & Cuba). It's a whole different universe. Great information, thank you...
Great video! :-) Clearly explained, and i like that you made a kind of common denominator "scale"/chord sequence to illustrate how to harmonize every step of the minor key. The only thing i don't fully agree on is the VI chord. I often prefer The VImaj7 over the VIm7(b5). I think it's a beautiful chord, for example in My favourite things and The saga of Harrison crabfeathers, and i also like it because of the great leading sound of VImaj7 - VII7 - Im7 :-) But that is mostly juste taste ;-) It's funny, i was just putting together a very similar instructional cheat sheet for the three minor scales and their chord functions just now for some of my students, i just took a break when your video popped up on my feed! The only difference is that i went with a common denominator chord/scale with (Im7 - IIm7b5 - IIImaj7 - IVm7 - V7 - VImaj7 - VII7) instead:-)
That's great Nikolai! Like you very well pointed out, context is key here. Sometimes the VImaj7 is in use or more appropriate to use. Thanks for your input!
Wait a minute, what do you mean, the v7 (minorV) chord is NEVER used? How about "Black Magic Woman", for example? I'm sure there are many other tunes that work perfectly well harmonically speaking which are in a minor key and use the Vminor instead of the Vdom7minor... this kind of comment can be very misleading, if not downright wrong! What say you?
Making a chord progression in natural minor just doesn't feel right. I need that strong V to I chord. Anyways, thanks for making this video. This was exactly what I was looking for when I wanted to understand why the natural minor scale didn't sound as strong as the major scale. I also learned more about the harmonic and melodic scale. Many thanks
Great breakdown here. I have never seen this material presented quite this way and the 4th "resolution "scale is awesome, makes total practical sense. Thank You...!
sorry but this is geeky dogmatic BS. If you understand how music works, you know there are all sorts of harmonic progressions that sound great but don't necessarily conform to exam-type rules...
Look, I don't like this approach as much as you do, but: Firstly, even if extremely rigid, I still think it's a place to start for people who are still learning how harmony works. As someone who's currently at music school, I know some of my peers who struggles with understanding music theory concepts would love a video like this. And secondly, I still hate how he's teaching the concept, but I use it as a means of thinking about borrowing from other minor scales because I more or less understand the fundamentals of harmony.
Isn't the 7 chord on melodic and harmonic minor both minor 7 flat 5 chords? It says b diminished 7 for harmonic and b minor 7 flat 5 for melodic but the chords I see on here are the exact same?
Been studying the melodic minor.confused about the 7 chord.i thought it was a dim triad.then I’ve seen it as a aug triad,you can make both chords.any help would be appreciated
It is true that the these tetra chords can be made from just the natural and the melodic minor scales, there is a difference when you add the upper structure tones though. For example, the V-chord in harmonic minor will be an V7(b9b13) chord, while the V-chord in melodic minor will be an V7(9b13) chord. For an improvisational, comping and melodic purpose there is a minor difference (pardon the pun), and one should be familiar with all three scales to fully understand the minor key :-)
@@NikolaiMusicChannel thanks for clarification. Makes much more sense to me now. But you can still think altered scale over V-i cadence and not bother yourself with Harmonic minor :)
Certainly a good point here! Regardless when thinking about minor tonality we need to consider all 3 scales. And though my Minor Diatonic Series is my interpretation of a common denominator, that doesn't leave out harmonic minor as an option. For example, sometimes the VImaj7 chord is used instead, or you could compose with that in mind.
This is true! I think the better example off the unique chord choice would be the viidim from harmonic. Regardless, important to consider all three scales when observing minor tonality.
![Demonstrating The Modes of Harmonic Minor [MUSIC THEORY / SCALES]](http://i.ytimg.com/vi/qk8uobP4uJE/mqdefault.jpg)
Some authors argue that the Im7 is not a very satisfying I chord because it is kind of inestable. The real minor is Im or Im6. What do you think? (Jimmy Amadie and Barry Harris talked about it)
Hey Rodolfo! I think that makes sense. I think theoretically speaking, the Im(maj7) would be a good option for the one chord as it comes from the melodic and harmonic minor. I simplify my Diatonic Series chart with a Im7 because I see that most often in repertoire.
Same with major keys, 7th adds more tension than the 6th or the simple major triad of the I
Im7 gives a kind of Dorian or Aeolin sound to my ears. Of course it is cool, but for lots of standards and bop tunes both dorian and aeolian aren't the number 1 choice for the Im chord situation.
@@FrantzesElzaurdia Yes. I prefer the I6 chord instead of IMaj7 when playing functional music (bop and standards)
This type of harmonization is very common in Latin music especially in Salsa (Puerto Rico, Cuba, etc.) and in Latin Jazz (U.S.A. and Puerto Rico & Cuba). It's a whole different universe. Great information, thank you...
Yes! Glad to help.
Great video! :-) Clearly explained, and i like that you made a kind of common denominator "scale"/chord sequence to illustrate how to harmonize every step of the minor key.
The only thing i don't fully agree on is the VI chord. I often prefer The VImaj7 over the VIm7(b5). I think it's a beautiful chord, for example in My favourite things and The saga of Harrison crabfeathers, and i also like it because of the great leading sound of VImaj7 - VII7 - Im7 :-) But that is mostly juste taste ;-)
It's funny, i was just putting together a very similar instructional cheat sheet for the three minor scales and their chord functions just now for some of my students, i just took a break when your video popped up on my feed! The only difference is that i went with a common denominator chord/scale with (Im7 - IIm7b5 - IIImaj7 - IVm7 - V7 - VImaj7 - VII7) instead:-)
That's great Nikolai! Like you very well pointed out, context is key here. Sometimes the VImaj7 is in use or more appropriate to use. Thanks for your input!
It really doesn't need to be difficult, 3 separate flow charts is all that's required
Your explanation is very difficult to follow,....
Wait a minute, what do you mean, the v7 (minorV) chord is NEVER used? How about "Black Magic Woman", for example? I'm sure there are many other tunes that work perfectly well harmonically speaking which are in a minor key and use the Vminor instead of the Vdom7minor... this kind of comment can be very misleading, if not downright wrong! What say you?
Making a chord progression in natural minor just doesn't feel right. I need that strong V to I chord. Anyways, thanks for making this video. This was exactly what I was looking for when I wanted to understand why the natural minor scale didn't sound as strong as the major scale. I also learned more about the harmonic and melodic scale. Many thanks
Great breakdown here. I have never seen this material presented quite this way and the 4th "resolution "scale is awesome, makes total practical sense. Thank You...!
Glad to help Donald!
sorry but this is geeky dogmatic BS. If you understand how music works, you know there are all sorts of harmonic progressions that sound great but don't necessarily conform to exam-type rules...
Look, I don't like this approach as much as you do, but:
Firstly, even if extremely rigid, I still think it's a place to start for people who are still learning how harmony works. As someone who's currently at music school, I know some of my peers who struggles with understanding music theory concepts would love a video like this.
And secondly, I still hate how he's teaching the concept, but I use it as a means of thinking about borrowing from other minor scales because I more or less understand the fundamentals of harmony.
FORTUNATELY there are 3 minor scales, I insist...
Ha! I think I’ll have to agree with you there (just unfortunate for those that want minor harmony to be simple)
@@Learnjazzstandards phrygian dominant is basically the only thing i use from harmonic though, lol.
Isn't the 7 chord on melodic and harmonic minor both minor 7 flat 5 chords? It says b diminished 7 for harmonic and b minor 7 flat 5 for melodic but the chords I see on here are the exact same?
Thanks. Where is the link for your professor? I also went to City College.
Congrats,,, simple, effective, straight to the point...
Been studying the melodic minor.confused about the 7 chord.i thought it was a dim triad.then I’ve seen it as a aug triad,you can make both chords.any help would be appreciated
Great analysis of the 3minor forms ! Bravo!
Great video thanks!!
Glad you found it helpful!
Your final chart comes only from Natural and Melodic Minor scales. No chord that is unique to Harmonic minor there.
It is true that the these tetra chords can be made from just the natural and the melodic minor scales, there is a difference when you add the upper structure tones though. For example, the V-chord in harmonic minor will be an V7(b9b13) chord, while the V-chord in melodic minor will be an V7(9b13) chord. For an improvisational, comping and melodic purpose there is a minor difference (pardon the pun), and one should be familiar with all three scales to fully understand the minor key :-)
@@NikolaiMusicChannel thanks for clarification. Makes much more sense to me now. But you can still think altered scale over V-i cadence and not bother yourself with Harmonic minor :)
Certainly a good point here! Regardless when thinking about minor tonality we need to consider all 3 scales. And though my Minor Diatonic Series is my interpretation of a common denominator, that doesn't leave out harmonic minor as an option. For example, sometimes the VImaj7 chord is used instead, or you could compose with that in mind.
@@Learnjazzstandards VImaj7 is also in Natural minor. But if you applying #9 appear extention - it's one weird scale/chord to think about
This is true! I think the better example off the unique chord choice would be the viidim from harmonic. Regardless, important to consider all three scales when observing minor tonality.
Just what I needed to know, thanks!
Very clear and too the point...thanks for the video
Glad you liked it. Thanks!
This is great!
What about Dorian and Phrygian harmonization?
@Ayustria Salma i see i suppose theyed just end up sounding like major
I’m a little confused....
In Harmonic minor I swear that the chord naming convention goes:
min dim aug min maj maj dim
That works if you're thinking of just the triads, but when you add the seventh to each of the chords it changes some of the qualities.