It’s 12:30 at night and I feel enlightened. I wish more tutorials were as concise, informative, demonstrative, and frank as this. You’re just awesome man, thank you.
This video was of great help, even thou I wasn't even looking for chord progression; I was trying to find out why a song I was trying to play had a note that was outside of the scale, then I stumbled upon dominant chords (which I didn't know were a thing) and now I can go back to the video that might have the answer to why I have to play a F# on the A# scale (A#; C; D; D#; F; G; A; A#)
@@davidtorazzi7650 there are many reasons why that could be. I highly suggest looking up “secondary dominants” and “borrowed chords”. These are methods of using chords from outside the scale and that means using notes that are from outside as well. Sometimes it’s not even that complex, they are just simply breaking the rules whether it be as a passing note (between chords) or an extension of a diatonic chord.
i really appreciate the little details in the editing, namely the music in the background always being on and changing depending on the topic. It helps me concentrate and puts me in the mood of the chords that you are actively talking about.
Music Student here, This is by far the most helpful lesson I've gotten on Functional Harmony, and my Professor is really talented. But after hearing this everything clicked and it became so simple.
I've been struggling with understanding chord borrowing and modes, but the final table made something click in my mind even if this wasn;t necessarily related. thank you so so much.
I've watched many theory with Roman numbers and tonic sub dominants etc.,but this is simply the best. Now can actually start writing my own progressions with confidence ! Thank you very much! J.R.
Great video showing whats useful. I dont get why so many people just explain how they named "Supertonic" when that literally explains nothing useful. Its a subdominant and has a subdominant function, thats what is important to know because that tells us it sounds tense and can be used for contrast between a tonic and a dominant.
This is THE most helpful video I've watched for writing chord progressions, and I've watched dozens of them. Understanding the function of each chord and the philosophy of building a flow in a chord progression really clicks. And you presented it in such a concise and nice way, thank you!
Dude this is incredible. I've been playing guitar since I was a teen and whenever I asked people or teachers about writing chord progressions, I always got bs answers and terrible tutorials. I never felt like I fully had a grasp on writing chord progressions until I learned about harmonic function and found this video
I've just joined this morning and the reasons are; freedom and flexibility. Understanding anything in this world today is difficult, with signs that say don't walk The sign now says, Walk. Thanks!
Thank you so much. I've owned a guitar for the last 13 years and learned how to play good enough to where my friends who aren't guitar players think i'm decent. Though i'm not and my playing hasn't really gotten anywhere. Well, I finally decided to try to understand theory and even though this is a small part of it, the way you explained everything was so clear and concise! I'm here experimenting with different chord progressions already since I know the chord shapes and i'm actually having fun with my guitar again....thank you!
@@sophiafakevirus-ro8cc thanks for replying to my year old comment. I've been playing sporadically since then. Bouncing back from work and other hobbies not having much motivation to play but I've focused on learning the 12 bar blues structure and practicing soloing using the pentatonics and experimenting with different rhythms using the chords. I been wanting to learn the major scale next but I feel like I'd rather become fairly proficient in the pentatonic/blues scale
Until I bought a piano after my retirement I laughed and said I had two left ears when it comes to music. In college I liked a band "Doug and the Slugs" and played it for a friend that sang in a choir. And she said they went to the wrong chord. But I liked the song.
Surely chord vi is ambiguous. It can function as a tonic chord since in contains the two most stable tones. (Hence the deceptive cadence). I would say that vi has stronger tonic function than chord iii....you seldom hear V - iii as any form of cadence. But, in some contexts vi can function as a pre dominant since it also shares 2 tones with chord IV.
true. which is why even in contexts where the song is in the minor key (where the tonic is [i]) in the back of my head I still treat it as a vi and the IV looks & feels to me as II and the entire song has [III] as my tonic[I] and the root scale is lydian.
The iii chord can be thought as both part of the tonic and dominant chord groups because it also contains two notes from the tonic (I) chord. When played with consideration to the V chord, the iii is called the minor relative Dominant (Dp). When played (less commonly mind you) with consideration to the I chord, the iii is called the minor counter-relative of the Tonic (Tg). Another way to make sense of this is looking at the Mediant (iii) and Sub Mediant (vi). The sub mediant is called sub mediant and not super mediant because it is equally spaced going backwards from the tonic- i.e. I, vii, vi versus I ii iii. I basically agree that the vi feels more like the tonic than the iii- but in a sense every time we play Imaj7 we also play a iii so it is kind of hard not want to relate it to the I in some sense.
Very very very well explained, clear, efficient, simple, easy to understand. Thank you! Please making more videos and like your style: straight to the point, no time to waste in long winded talk.
I am spanking myself for just seeing this. This is simply the very best explanation I have seen and heard. I just subscribed and hit the notification bell. Thanks for this.
Thanks for posting, I've playing guitar most of my life and I've found music theory helps make sense of things whether you've learned by ear or whatever.🙏😷🎵🎶❗👀
Functional harmony is a little bit broader than you suggest here ultimately, so most popular songs are made with functional harmony and slight variations in mind, so very, very useful theory to have a handle on when learning.
Such a great voice and explanation....It felt like someone is sitting near amd explaning things....Very helpfull and really liked tje last part of the vd that feel free to play what u sounds great to you
FWIW, I have the degrees grouped as such: TONIC (I), (vi), (iii) / SUBD (IV), (ii), (vi) / DOM (V), (vii), (iii) I-tonic vi-relative key iii-shares 2 tones with the tonic IV-subdominant ii-contains the 4th degree, root is the V/V vi-shares 2 tones with the subdominant V-dominant vii-contains the leading-tone that pulls to tonic root iii-shares 2 tones with the dominant
Dude. Huge thanks for the Video. Didn't only help me a lot in a breakthrough regarding music in General, it also inspired and impressed me a lot, Videomaking wise. And entertaining it is, too! Amazing.
Dood the amount of work you must have put in to make the 8min, continuous song line up sonically with 8 minutes of technical information... You're a hero. Thanks.
Not a bad explanation but glosses over the fact that you have to use the harmonic minor scale for the minor to resolve properly from the V to the I. Also, the VI degree can function either as tonic or subdominant depending on context.
Hey thanks for the video - I am doing some research to make my own video on functional harmony and found this helpful. Seeing you describe the iii chord as a tonic chord def took me by surprise since I usually associate iii with it's relative major (and so interpret it as part of the dominant chord family). This led me to the wiki page to evaluate why that is- and found that seeing as the iii chord includes components of both the I and V chords it can belong to either the tonic or dominant family- I gather that this corresponds with the German theory which includes both the relative and counter relative chords to the TD and S to be part of those chord families. In any case, I'll be lucky if I make a video as succinct as this one- I'll be sure to mention you. Also It is a small thing but when explaining functional harmony according to the minor key you wrote V instead of v even though the five chord in the minor key is in fact minor- by the sounds of it you also played the it as a major/ even secondary dominant at that! I'd guess the V/vi in Eb (G7)
Depends on context I believe. In a deceptive cadence you can use it as a tonic. In a plagal cadence you can use it as a sub dominant. important to remember that these are all just frameworks, not rules of law, context can change the meaning of chords - depends on the story you're telling
hey man, correct me if I am wrong.. minute 6:06, the 5th chord on Minor Chord Progressions shouldn't it be a Minor Chord? it shoudl be: i - iio - bIII - iv - v - bVI - bVII - i
Those are families but 6th is the submediant, 4th is the subdominant I: Tonic ii: Supertonic iii: Mediant IV: Subdominant V: Dominant vi: Submediant vii°: Leading Tone Update: Oh, I see what you're saying now
@whatabouttheearth yeah, I iii and vi are tonic chords, ii IV subdominant, V and vii⁰ are dominant (the vii⁰ is a rootless V7). I don't like the term mediant and submediant, supertonic,subtonic,etc. 7 is too many terms, when you can boil it down to 3: tonic subdominant, dominant
@@wasimbhai3386 I will! Going to do a shorter one of "The Christmas Chord" soon and then a much longer one on "Japanese Music Theory" so that'll be fun hahaha 😂 Thanks for the encouragement!!!
Sub is Latin for below. So when you think of it in that context it is not weird to use the Plagal Cadence. As it is a 5th away from the Tonic descending.
Hi, here you discussed seven chords. But in other lessons elsewhere i also came across 12 chords (major, minor, diminished, aug, maj7, etc). How is that 12 related to this 7? Whats the usecase for those? These 7 are a subset of those 12. So where to use the remaining 5 🤔
A friend of mine just brought up the idea of doing some writing, so I found this video. Holy crap. Do you understand the amount literature this simple language you explained just unlocked for me? I've been looking at I ii iii ..... for decades and never bothered to learn what it meant. Not to mention being able to really understand specifically why I like progression X over Y or really getting a feel for what's going on under the hood in Beethoven's fake endings.....just mind blown.
I like this lesson it keeps it simple. I don’t care about any other complications others have complained about in here. I’ll use this & if it sounds good I’ll stick with it & just play. Thanks dude 🙃
3:43 it's still valid, but VI (Tonic) is going from Tonic to Subdominant however, NOT subdominant to subdominant. 4:21 The reason that V can go to VI is because dominant is going to tonic (which is why it's a cadence in the first place, even though it's a deceptive one), otherwise the chart at 1:47 would be invalid (although to be fair rules are meant to be broken, IF you know how to do it). It's not an exception, it makes perfect sense since it's dominant to tonic
Thank You so much! I had no idea the chords of the scale had to use only the keys of the scale (I was using only the major versions for each note, neither minor nor diminished ones).
VI functions more as another tonic special when u double the 3rd (which is the 1 in the scale). It can also be the tonic in the relative minor key if u properly modulate to it. PS: Just trying to help here, not trying to correct nobody
Also the III doesn't even have the 1 in the scale, so how can it be a tonic. The III is a mediant, closer to a dominant, specially in the minor key if u make it a augmented chord. Augmenting the 5 ofc, so III#, which gives the leading note. I-VI-III-IV-V-I or V-III-IV-II-V-I are nice examples. It really depends on what's happening on the music which, even a I6/4 can be a subdominant, even tho it's usually a dominant, even tho it has all the notes of the tonic, but repeating the 5th makes a big difference u see.
It's the first time I see your video,and feel so good.Subscribed and I am willing to see you when I get free.Hope I will get something more about music next time.Thank you .
The real question is: who,when and what for invent harmonic Major / ionian b6 if noone use it?No songs,no videos,nothing. Functional harmony of harmonic Major,progressions,how to use it etc we have dimminished chord on ii and vii * "vii" is rootless dominant in natural Major "ii" is sub dominant ii but in harmonic Major it is dimminished chord so,we have two rootless dominants? one diatonic and one nondiatonic?? :( * and "iv", if we play (in C ionian b6) f,a-flat b three rootless dominants? one diatonic and two nondiatonic? Could you make video about this?
What does b represent in the label for the major chords in a minor dianotic chords chart? It's so confusing? You're supposed to write them in small letters Eb as iii not III, but you have shown them bIII, bVI, bVII when actually they are minor so they are supposed to be written in small letters.
So well explained!! Thank you Ian :) QUESTION; T-SD-T-SD-D-SD-D-T holds for chords derived from Harmonic Minor & Melodic Minor scales as well?! REQUEST; Do explain NEGATIVE HARMONY using a similar lesson such as this one.
Thanks for this. Very helpful. One thing that left me confused was that at 6:11 when showing the Cm scale the G chord is written as a major chord, but shouldn't it be G minor? Want to make sure I'm not missing something!
Finally someone who has explained it clearly and simply. Thank you very much.
Glad it was helpful!
@@IanODonnell thanks bro.
For what em in Am scale is MAJOR?
frfr this vid is a godsend
If you practiced long enough you would've discovered this yourself.
Totally agree!
I-Tonic, ii-supertonic, iii-mediant, IV-subdominant, V-dominant, vi-submediant, vii-leading tone.
Those are the notes, not the chords
Correct 🙏🙏🏿👍
The correct Roman numeral for a submediant is vi, NOT iv.
@@dsanj4745 thanks for pointing out the mistake, I took care of it.
@@dsanj4745
Yes, "iv" is the fourth minor chord. Good for a _cliche_ plagal cadence, IV - iv - I.
Finally someone who explains this stuff in way i can understand
It’s 12:30 at night and I feel enlightened. I wish more tutorials were as concise, informative, demonstrative, and frank as this.
You’re just awesome man, thank you.
I know that feeling, its the middle of the night but you get so energized because you finaly learned something haha
This video was of great help, even thou I wasn't even looking for chord progression;
I was trying to find out why a song I was trying to play had a note that was outside of the scale, then I stumbled upon dominant chords (which I didn't know were a thing) and now I can go back to the video that might have the answer to why I have to play a F# on the A# scale (A#; C; D; D#; F; G; A; A#)
@@davidtorazzi7650 there are many reasons why that could be. I highly suggest looking up “secondary dominants” and “borrowed chords”. These are methods of using chords from outside the scale and that means using notes that are from outside as well. Sometimes it’s not even that complex, they are just simply breaking the rules whether it be as a passing note (between chords) or an extension of a diatonic chord.
It’s 2:45am for me and I’m just starting watching this well needed video!
i really appreciate the little details in the editing, namely the music in the background always being on and changing depending on the topic. It helps me concentrate and puts me in the mood of the chords that you are actively talking about.
Music Student here, This is by far the most helpful lesson I've gotten on Functional Harmony, and my Professor is really talented. But after hearing this everything clicked and it became so simple.
I’m glad it was helpful!!
I've been struggling with understanding chord borrowing and modes, but the final table made something click in my mind even if this wasn;t necessarily related. thank you so so much.
I've watched many theory with Roman numbers and tonic sub dominants etc.,but this is simply the best. Now can actually start writing my own progressions with confidence !
Thank you very much!
J.R.
AT LAST, such clarity and freedom.My musical jazz horn- charts head- scratching is OVER. THANKS no REALLY !!
This is the best explanation I ever had to listen to. Nothing left in the cloud. Thank you.
Great video showing whats useful. I dont get why so many people just explain how they named "Supertonic" when that literally explains nothing useful. Its a subdominant and has a subdominant function, thats what is important to know because that tells us it sounds tense and can be used for contrast between a tonic and a dominant.
This is THE most helpful video I've watched for writing chord progressions, and I've watched dozens of them. Understanding the function of each chord and the philosophy of building a flow in a chord progression really clicks. And you presented it in such a concise and nice way, thank you!
Dude this is incredible. I've been playing guitar since I was a teen and whenever I asked people or teachers about writing chord progressions, I always got bs answers and terrible tutorials. I never felt like I fully had a grasp on writing chord progressions until I learned about harmonic function and found this video
nice job, I've studied theory for a long time and picked up a couple new things! thank you
I've just joined this morning and the reasons are; freedom and flexibility.
Understanding anything in this world today is difficult, with signs that say don't walk
The sign now says, Walk. Thanks!
I don't know how to thank you enough for this informative tutorial. The examples you provided clearly teach you what is everything about.
Thank you so much. I've owned a guitar for the last 13 years and learned how to play good enough to where my friends who aren't guitar players think i'm decent. Though i'm not and my playing hasn't really gotten anywhere. Well, I finally decided to try to understand theory and even though this is a small part of it, the way you explained everything was so clear and concise! I'm here experimenting with different chord progressions already since I know the chord shapes and i'm actually having fun with my guitar again....thank you!
That's awesome!! Glad you're getting back to playing. Even a little bit of theory can really help!
@@sophiafakevirus-ro8cc thanks for replying to my year old comment. I've been playing sporadically since then. Bouncing back from work and other hobbies not having much motivation to play but I've focused on learning the 12 bar blues structure and practicing soloing using the pentatonics and experimenting with different rhythms using the chords. I been wanting to learn the major scale next but I feel like I'd rather become fairly proficient in the pentatonic/blues scale
Until I bought a piano after my retirement I laughed and said I had two left ears when it comes to music. In college I liked a band "Doug and the Slugs" and played it for a friend that sang in a choir. And she said they went to the wrong chord.
But I liked the song.
This is my favorite video on chord progressions so far
Thank you so much for the examples. I feel fully equipped to try new chord progressions now!
Surely chord vi is ambiguous. It can function as a tonic chord since in contains the two most stable tones. (Hence the deceptive cadence). I would say that vi has stronger tonic function than chord iii....you seldom hear V - iii as any form of cadence. But, in some contexts vi can function as a pre dominant since it also shares 2 tones with chord IV.
true. which is why even in contexts where the song is in the minor key (where the tonic is [i]) in the back of my head I still treat it as a vi and the IV looks & feels to me as II and the entire song has [III] as my tonic[I] and the root scale is lydian.
@@andrewcalebgorospe2754 If iii is your tonic, then your scale would by phrygian...
@@Nick_Reinhardt sorry I meant, "...and the entire song has [III], just as my tonic[I] and the root scale is lydian."
✌☺
The iii chord can be thought as both part of the tonic and dominant chord groups because it also contains two notes from the tonic (I) chord. When played with consideration to the V chord, the iii is called the minor relative Dominant (Dp). When played (less commonly mind you) with consideration to the I chord, the iii is called the minor counter-relative of the Tonic (Tg).
Another way to make sense of this is looking at the Mediant (iii) and Sub Mediant (vi). The sub mediant is called sub mediant and not super mediant because it is equally spaced going backwards from the tonic- i.e. I, vii, vi versus I ii iii.
I basically agree that the vi feels more like the tonic than the iii- but in a sense every time we play Imaj7 we also play a iii so it is kind of hard not want to relate it to the I in some sense.
I thought the vi chord was in the tonic family.
You nail it man!!! If it sounds good to the ear, play it. That's Music!
Instant sub after the video, you are a natural teacher!
6:50 this! that is the most helpful video and diagram for making non diatonic chord progression on entire site🤩
Very very very well explained, clear, efficient, simple, easy to understand. Thank you! Please making more videos and like your style: straight to the point, no time to waste in long winded talk.
great thanks, was very helpful. was quite difficult to finally find a video that explained as straightforward
Dude you're sooo underrated!!! I really Hope your channel grows fast!!
I am spanking myself for just seeing this. This is simply the very best explanation I have seen and heard. I just subscribed and hit the notification bell. Thanks for this.
you’re doing WHAT??
thousands of tutorials on youtube and finally one that also explains that u go from sub to dominant or dominant then tonic... wtf life can be so easy
And also thank you for encouraging us to know the rules so we can use them but we can break them!
Great video, clear and to the point so that even I could understand.
Now THIS is teaching. Bravo 10/10
Thank you. This is the video that I was searching for a long time.❤
You are music theory, you are 1 of 10 video I find real, useful. For me, and writing
great job Ian. simple, quick and easy to understand.
Ok! I can't thank you enough! That's even a key for any songwriting 😍😍
I've never heard about this, and truly this helps so much, thank you
Thanks for posting, I've playing guitar most of my life and I've found music theory helps make sense of things whether you've learned by ear or whatever.🙏😷🎵🎶❗👀
Huge thanks from Russia!!
Yes I love you man ... and I have a master in music haha there are simple things never thougt to me here .. thank you for your marvolous work
Functional harmony is a little bit broader than you suggest here ultimately,
so most popular songs are made with functional harmony and slight variations in mind, so very, very useful theory to have a handle on when learning.
Can't believe how helpful this video is. Thank you!
Hope you did a complete music theory course from the very basics, you are soooo good at teaching
EXCELLENT LESSON!!! Lovvving LEARNING Everything MUSIC THEORY! ✅THIS was EXCELLENT!!!🎹🎸🎹🎸🎹🎸
Very useful video for a newbie composer like myself!
Such a great voice and explanation....It felt like someone is sitting near amd explaning things....Very helpfull and really liked tje last part of the vd that feel free to play what u sounds great to you
FWIW, I have the degrees grouped as such: TONIC (I), (vi), (iii) / SUBD (IV), (ii), (vi) / DOM (V), (vii), (iii)
I-tonic
vi-relative key
iii-shares 2 tones with the tonic
IV-subdominant
ii-contains the 4th degree, root is the V/V
vi-shares 2 tones with the subdominant
V-dominant
vii-contains the leading-tone that pulls to tonic root
iii-shares 2 tones with the dominant
Dude. Huge thanks for the Video. Didn't only help me a lot in a breakthrough regarding music in General, it also inspired and impressed me a lot, Videomaking wise. And entertaining it is, too! Amazing.
Hahaha thank you! I’m glad this video has been able to help some people out!!
Dood the amount of work you must have put in to make the 8min, continuous song line up sonically with 8 minutes of technical information... You're a hero. Thanks.
Which BEAUTIFULL MASTER CLASS🥇🎷 GOD BLESSS YOU SR
Not a bad explanation but glosses over the fact that you have to use the harmonic minor scale for the minor to resolve properly from the V to the I. Also, the VI degree can function either as tonic or subdominant depending on context.
thanks, it really helped me to kick off.
Hey thanks for the video - I am doing some research to make my own video on functional harmony and found this helpful. Seeing you describe the iii chord as a tonic chord def took me by surprise since I usually associate iii with it's relative major (and so interpret it as part of the dominant chord family). This led me to the wiki page to evaluate why that is- and found that seeing as the iii chord includes components of both the I and V chords it can belong to either the tonic or dominant family- I gather that this corresponds with the German theory which includes both the relative and counter relative chords to the TD and S to be part of those chord families. In any case, I'll be lucky if I make a video as succinct as this one- I'll be sure to mention you. Also It is a small thing but when explaining functional harmony according to the minor key you wrote V instead of v even though the five chord in the minor key is in fact minor- by the sounds of it you also played the it as a major/ even secondary dominant at that! I'd guess the V/vi in Eb (G7)
Thanks a lot for these Ian. Selfish comment perhaps, but I wish you did more videos like this. So clear and easy to understand
THIS IS SOOOO HELPFUL!!!!!!
The vi's default function is *TONIC,* not subdominant.
Depends on context I believe. In a deceptive cadence you can use it as a tonic. In a plagal cadence you can use it as a sub dominant.
important to remember that these are all just frameworks, not rules of law, context can change the meaning of chords - depends on the story you're telling
It is subdominante because do have the F and A of the IV grade.
hey man, correct me if I am wrong.. minute 6:06, the 5th chord on Minor Chord Progressions shouldn't it be a Minor Chord?
it shoudl be: i - iio - bIII - iv - v - bVI - bVII - i
That was killer useful! I'd like to hear more about minor scales in future, this video was about major mainly.
Clear, well explained and a nice voice to listen to!
Isn’t the 6th a tonic chord?
Lmao ya
It’s like the tonic
The submediant can be a predominant chord or a tonic substitute
I was just going to say this. 6th is supposed to be tonic
Relative minor, tonic if minor key.
Very clear description
Wow! Exactly what I was looking for! The missing link!!
wow! your really good at keeping it short, to the point and visually helpful, while teaching the subject matter.. very nice!!
Thanks so much. I'm glad it helped! :)
I've never heard of a 6 chord referred to as a subdominant, it is usually in the tonic family because the 6 chord contains the 3rd note of the scale.
Same.
Same!
Those are families but 6th is the submediant, 4th is the subdominant
I: Tonic
ii: Supertonic
iii: Mediant
IV: Subdominant
V: Dominant
vi: Submediant
vii°: Leading Tone
Update: Oh, I see what you're saying now
@whatabouttheearth yeah, I iii and vi are tonic chords, ii IV subdominant, V and vii⁰ are dominant (the vii⁰ is a rootless V7). I don't like the term mediant and submediant, supertonic,subtonic,etc. 7 is too many terms,
when you can boil it down to 3: tonic subdominant, dominant
Yeah, this is actually very helpful. Thank You!
How , you have subscribers only in the hundreds, is beyond me.
Thank you for explaining theory the way you do . Cheers
Glad to help! And thanks for checking out the video.
Maybe one day we'll brake into 1,000 subs and be up there with the big dogs hahaha 😂😂😂
@@IanODonnell please continue with theory videos
@@wasimbhai3386 I will! Going to do a shorter one of "The Christmas Chord" soon and then a much longer one on "Japanese Music Theory" so that'll be fun hahaha 😂 Thanks for the encouragement!!!
@@IanODonnell look forward, to it . Cheers
You are a very good teacher. Thanks for this.
Sub is Latin for below. So when you think of it in that context it is not weird to use the Plagal Cadence. As it is a 5th away from the Tonic descending.
This is the best vid on this topic I’ve seen
Hahaha Thank you so much. Happy to help!
this was SOOO helpful!!!! thank you!!
Hi, here you discussed seven chords. But in other lessons elsewhere i also came across 12 chords (major, minor, diminished, aug, maj7, etc). How is that 12 related to this 7? Whats the usecase for those? These 7 are a subset of those 12. So where to use the remaining 5 🤔
Yeah, this was *EXTREAMLY* helpful.
Thanks X100000000000000000
A friend of mine just brought up the idea of doing some writing, so I found this video. Holy crap. Do you understand the amount literature this simple language you explained just unlocked for me? I've been looking at I ii iii ..... for decades and never bothered to learn what it meant. Not to mention being able to really understand specifically why I like progression X over Y or really getting a feel for what's going on under the hood in Beethoven's fake endings.....just mind blown.
Hahaha, I’m so happy it was helpful! Good luck with writing, it can be a lot of fun!
Really well explained!
I like this lesson it keeps it simple. I don’t care about any other complications others have complained about in here. I’ll use this & if it sounds good I’ll stick with it & just play. Thanks dude 🙃
Such a great video!❤ 🤘
3:43 it's still valid, but VI (Tonic) is going from Tonic to Subdominant however, NOT subdominant to subdominant.
4:21 The reason that V can go to VI is because dominant is going to tonic (which is why it's a cadence in the first place, even though it's a deceptive one), otherwise the chart at 1:47 would be invalid (although to be fair rules are meant to be broken, IF you know how to do it). It's not an exception, it makes perfect sense since it's dominant to tonic
Yeah I thought the same. I've always seen vi as Tonic
Wow, I thought the useless Goddess does not know any music theory! I am wrong.
@@FaranAiki Hahahahaha
@@cskhard it objectively is tonic he's just wrong lmao
Thank You so much! I had no idea the chords of the scale had to use only the keys of the scale (I was using only the major versions for each note, neither minor nor diminished ones).
VI functions more as another tonic special when u double the 3rd (which is the 1 in the scale). It can also be the tonic in the relative minor key if u properly modulate to it.
PS: Just trying to help here, not trying to correct nobody
Also the III doesn't even have the 1 in the scale, so how can it be a tonic. The III is a mediant, closer to a dominant, specially in the minor key if u make it a augmented chord. Augmenting the 5 ofc, so III#, which gives the leading note. I-VI-III-IV-V-I or V-III-IV-II-V-I are nice examples. It really depends on what's happening on the music which, even a I6/4 can be a subdominant, even tho it's usually a dominant, even tho it has all the notes of the tonic, but repeating the 5th makes a big difference u see.
the chord progressions sound amazing!!!
Not amazing in Harmony and. Counterpoint level 10 😔
Great explanation of progressions! 🙏☀️👌
1:11 - I,iii,vi tonics,IV,ii sub dom.,V and vii dominant
It's the first time I see your video,and feel so good.Subscribed and I am willing to see you when I get free.Hope I will get something more about music next time.Thank you .
this is not a bad explanation if you are new to functional harmony, but you do not have to start with the I chord or end with the 1 chord.
loved your explanation! Thank you very much!
THE BEST VID EVER
Hahaha Thank you!! Glad I could help!
Lol you earned a sub
this helped me unlock theory, thanks
The real question is: who,when and what for invent harmonic Major / ionian b6
if noone use it?No songs,no videos,nothing.
Functional harmony of harmonic Major,progressions,how to use it etc
we have dimminished chord on ii and vii *
"vii" is rootless dominant in natural Major
"ii" is sub dominant ii
but in harmonic Major it is dimminished chord
so,we have two rootless dominants?
one diatonic and one nondiatonic??
:(
* and "iv", if we play (in C ionian b6)
f,a-flat b
three rootless dominants?
one diatonic and two nondiatonic?
Could you make video about this?
Simple and clear! Many thanks for your work!
Hii.. your music lessons are really great..
Looking forward to more...
So so good, easy to understand, so useful! Thanks!
You used the Cm as Number 1 , Do you have the larger table showing the 7 chords when the chord home is a Minor?
Muchas gracias maestro. Muy sencilla y útil explicación.
What does b represent in the label for the major chords in a minor dianotic chords chart? It's so confusing? You're supposed to write them in small letters Eb as iii not III, but you have shown them bIII, bVI, bVII when actually they are minor so they are supposed to be written in small letters.
the vi chord is not in the subdominant family, it's in the tonic family....at least in the vast majority of contexts.
Brilliant data
Excellent presentation
Thanksa ton
I ACTUALLY UNDERSTAND :)
That's awesome!!! So glad I could help! Thanks for checking out the video.
So well explained!! Thank you Ian :) QUESTION; T-SD-T-SD-D-SD-D-T holds for chords derived from Harmonic Minor & Melodic Minor scales as well?! REQUEST; Do explain NEGATIVE HARMONY using a similar lesson such as this one.
Thanks for this. Very helpful. One thing that left me confused was that at 6:11 when showing the Cm scale the G chord is written as a major chord, but shouldn't it be G minor? Want to make sure I'm not missing something!
In orchestra group of types of instruments like wind , brass , string , and wood wind