YES! Or as a passing through chord, for example in just a two chord progression. When I play the classic song Horse with No Name, I usually slide in a B half dim between E minor and D/F#, sounds fucking rad by the way
What a stupendous presentation! I was just thinking about putting together a progression that doesn't include the tonic, and here it is. I'm excited to explore the rest of your channel. Thank you!
@@airborn1015 all I was clarifying was all the chords are diatonic (because the video implied that the chords weren’t all in a key signature), all share the notes of “G major”, which are the same notes as D mixo I know that Amy knows this, but I commented bc I thought it could possibly confuse some viewers
@@airborn1015 our “disagreement” may be ultimately semantics/terminology, but I’m definitely not incorrect. I’ll clarify again. The three chords, D, Am7, G are not “in the key of D major” they all ARE in the key of G major. The Key Signature that would be written on sheet music for this would be G major (one sharp, f#), not the key of D major (two sharps, f#, c#) So, the parent key/key signature is G major. But if the tonic/1 chord is then D (which is the V of G) then it’s the fifth mode of G major, the mixolydian mode, D Mixolydian. Not “D major”, (bc D major has a C#, and the Am7 chord has a C natural). In the mixolydian mode, the V chord is minor. If one were to solo over that progression, one would use D mixolydian (enharmonically identical to G major). If one used “D major” it would really wrong on the Am7, because you would be playing the major third of the chord instead of the minor third that the chord has) A correct understanding of music theory IS useful, but not always necessary.
@@airborn1015 that progression is on D mixolydian. There was never an A major chord. The PARENT key is G major. The tonic is D. The progression is “In D” but it’s not “D major”. A “borrowed” chord comes from outside a diatonic key center, all three chords are IN the diatonic key center of D mixo/(G major). I’m not gonna explain it any more. I’m pretty knowledgeable about this shit. I studied it as a teenager in the 1980s, further studied in college, and taught guitar privately for 7 years (before becoming and English teacher). I’ve been a performing musician on the side for 35 years. I politely tried to clarify something (for general readers of the comments), but you persist in “correcting” me. I don’t mean to be rude, but I’m done responding. You win. Have a nice day.
Just... Thank you! I happened across your video early this AM, and my guitar decided to write some music. Of late, it had gotten bored with me, and our time together had become routine. You brought sparks back to our relationship. Thank you!!
One of my favourite out-of-the-ordinary chords is in Nick Drake's "Saturday Sun". It goes down a fairly straightforward, but very pleasant progression, with a nice descending bass, through C, G/B, Am, C/G and then throws in a gorgeous F#dim7 that never fails to make me go "oof!" He slips it in beautifully again later, in what I suppose you could call the chorus, going from F to F#dim7, which really piles on the tension, before easing into a lovely conclusion with C, A, Dm7, G, C. It's so good!
@@htws Your husband's a lucky guy...you have it all, just wanted to pass on.Also, thanks for sharing that Fm6 chord, wasn't even aware of that, just worked it into very melodic melody with Travis picking.
Nice changes! I think your 4th example is not likely to be analyzed by many people as starting on the vi-minor, though - you've got a V7-i movement from the last chord to the first, so C#m7 is really the i chord (especially given how common - by including the chord before it - a bVImaj7 V7 i progression is). Not as clear, but I'd also agree with another commenter that the 2nd progression is probably best looked at as V - ii7 - I - I. It could also be useful to describe why these changes work - for example, the 1st example is really all about the following note movement C -> D7 (keeps c in chord and moves the 5th of C - g - down to the 3rd of D7 - f#) then D7 -> F (keeps c in chord, keeps a in chord, and moves the 3rd of the D7 - f# - down to the root of F - f) then F -> Fm6 (keeps c in chord, keeps f in chord, moves 3rd of F - a - down to 3rd of Fm6 - ab) and then back around Fm6 -> C (keeps c in chord, moves 3rd of Fm6 - ab - down to 5th of C - g - AND moves root of Fm6 - f - down to 3rd of C - e). Very strong voice movement of g->f#->f->(->f)->e and, starting on D7, a->(->a)->ab->g (and then back down the g->f#->f->e). Anyway, thanks very much!
This is my new favorite channel. I've been watching a bunch of your videos on lyric-writing and I'm learning so much. This video (the first I'm watching that's not about lyrics) is just as interesting and helpful as the others. I don't play guitar, but it's very clear how to transfer the chords to piano. Thank you for all this great content!
Exceptional! Your video got my 6-string sounding completely fresh and new! So easy to process and follow - you have a real gift for teaching. Thank you, Keppie!
Here are a couple of out of sequence changes that I like. Quite a few Eagles songs step from a major chord straight to the corresponding minor triad eg Desperado where there is a step from C major to C minor. Technically it might be a modulation but it sounds good. Another change I like is in When You're Gone. Most of it cycles around Dm F C and G but an occasional Bb appears almost as a turnaround.
Keppie, you are an excellent teacher and these are great chord progressions. I'll be re-watching, pausing and adding these to my chord vocabulary. Thank you!
This is so brilliant!! Getting Diatonic theory under my belt was life changing for me… Your approach is perfect for opening new ways of thinking and “hearing” new song ideas! ❤️❤️❤️ Love this!!! Thank you 🙏🏻!!!
Seriously outstanding video! Love the way you continually remind viewers with less theory background that they don't have to understand all the theory of "why" those chords work together... they can use them in writing beautiful, interesting songs right out of the gate. I also liked that you played each progression first, and then talked about the chords. Since I know all the theory, I closed my eyes and used it as a ear test for myself... I was able to identify all the chords by ear, up until the very last two chords of progression #5... the bVImaj7, bVIImaj7--you got me with those. 😀 By the way, I really appreciate your friendly, easy-going delivery in this and all your videos. Very enjoyable to listen to. --Jer of the band Mitch the Needle
Thank you for your inspiring content. As a composition exercise, I tried writing a piece ("Less Travel'd") that incorporates all five of these exotic chord progressions. Quite an ethereal result!
Awesome video! A really nice little modification/add-on for number 4 is to sub a C#maj7 in for the C#m7 every so often! Delightful little modal surprise.
I sure appreciated you .. explaining the endless creations .. I'm caught in a rut .. wow the guitar is my therapy I've always been left out in this Right handed world 🌎 I'm Hendrix .. Haynes I miss Jimmy .... I have not explored these cord progressions ever .. thank you for opening up the door to my mind ... Never ending Love for Music I know I am not left out in this world on my right hand ... It's just that everything is backwards ... Lol 😂 It's time to study and connect all the dots ... thank you again 🎼🎶🎵 Troy from Canyon Lake Texas USA 🇺🇸
My all-time favourite was just known as the Jazz Turnaround when I started in a band. It is (in C) C- A7 - D7- G7. I suppose that is a bit ordinary. by these standards, but it still gives me the chills when I hear it. It is the happiest of sounds. Love, light and peace, Bob McGowan (Not the Chair Circle!).
Wanted you to break down what jimi hendrix did on Third stone from the sun...He was really headed in a hreat direction..combining blues,rock n roll roll,jazz....flamenco...and just his learning buy playing live concerts... Hey you really know music theory...jam on.
your videos are awesome. Even if I haven't used any of these progressions yet the video triggered some thoughts and I discovered a new progression that I just used on an old unfinished song,
I am so grateful for the content and genuinely helpful videos you produce. You do a great job of packing in a lot of information in your videos without it feeling overwhelming. Most of all, they are always practical. And for that, there will be a piece of you in a LOT of people's music. BAM 💥❤
that first one has a d7 borrowed from C lydian and the Fm borrowed from C minor. Those are two of the most common keys to borrow from, one is a cycle of fifths key change and the other is the parallel minor.
@@airborn1015 I understand. You could say, instead of C lydian, G major is the key. I think that makes sense too. In that sense you have a scale that's barely different. To say you're borrowing from C lydian as a key implies the keys C major and C lydian exist parallel to each other though, with the same tonic of C. But yeah I typically refer to whatever is ionian as the true tonic, but you gotta appreciate that if you're in C lydian, the C is not the IV anymore, it's the I chord and all the other chords have new roman numerals too.
In your first example I like "borrowed chord" to explain the D7. You could also assume you are in key of F (C as IV, D7 as V). I think the reason the F minor works so well is that we in enjoy the chromatic transition from F's major 3rd (A), minor 3rd (Ab), then landing on the G, 5th of C. Anyway, you got me geeking. Great vid!
OMG - 7mth old vid came into my feed at exactly the right time for me as I was geting really bored being "stuck" in key of C. Where have you been all my life? Thanks for sharing and getting me out of the "rut" Love ya work, I'm going to go thorough what else I have missed from you channel and needless to say I have sub'd -OneLove
I realise you both are so great, I may never have a chance some day. Very bummed I missed jan 25 deadline. If I could get in somehow, would be my best birthday present ever. ( jan 28). All the love, Stephan
This lesson subliminally teaches to write songs in blocks of 4 bars, which is very mechanical, and is a major blind spot with beginner songwriters. Why fence in your melodies to patterns of 4, 8, 16-bars? One of the many things that makes the music of Lennon-McCartney and Bacharach-David so fresh and sparkling is that their greatest chord sequences *Follow the Melody* wherever it leads them, regardless of bar count, regardless of whatever changes are necessary in Key Signature or Time Signature. For example, "Yesterday". A steady diet of 4-bar patterns is boring. YOU, however, are beautiful, sparkling, and fresh!
There's a chord progression I learned in a song by Ernie Halter called Whisper. Chords are E major, F#m11, C diminished to A. Sounds weird but the way he strums the chords in a bluesy rhythm works really well. I'm also a sucker for Augmented chords
I am really enjoying your channel, such wonderful progressions! I will be recommending your stuff to our local songwriter group. I am sure it will be well received! Thank you, what you do matters.
This was fantastic. I’m not a songwriter, but I’m always looking for interesting chord progressions for loops. Subbed and will be digging through your back catalogue of videos now. Thanks!
Great video! There’s always that rut where you know the basics of painting within the lines but don’t yet realize that there are no lines. It’s about what sounds right for the mood, melody or the words you are singing. I do believe Elliott Smith used something like this to great success with his chord progressions. It’s unclear whether he knew what he was doing or just used his ear but he mixed things up really well.
Very useful lesson. Thanks. I love to run across ideas (progressions, in this case) that I hadn't used or thought of and seeing if I can turn them into songs (or parts of songs). I like your open, generous spirit. Just subscribed to your Patreon page.
That half diminished shape is a keeper-use it all the time. It's really great arpeggiated in a blues or jazz run.
YES! Or as a passing through chord, for example in just a two chord progression. When I play the classic song Horse with No Name, I usually slide in a B half dim between E minor and D/F#, sounds fucking rad by the way
What a stupendous presentation! I was just thinking about putting together a progression that doesn't include the tonic, and here it is. I'm excited to explore the rest of your channel. Thank you!
Thanks!
This is a fabulous demonstration and lesson. I hope you do more like this.
I loved your “ forget about where this orange came from and focus on how much juice you can squeeze from it” approach ❤
😊 normally my line is, “you don’t need to grow the rice to cook it in 10 minutes”!
In the end it’s all about food 😂
The second progression IS in key:
It’s D Mixolydian. All the chords are from the “parent key” of G major.
smartass
@@airborn1015 all I was clarifying was all the chords are diatonic (because the video implied that the chords weren’t all in a key signature), all share the notes of “G major”, which are the same notes as D mixo
I know that Amy knows this, but I commented bc I thought it could possibly confuse some viewers
@@airborn1015 our “disagreement” may be ultimately semantics/terminology, but I’m definitely not incorrect. I’ll clarify again. The three chords, D, Am7, G are not “in the key of D major” they all ARE in the key of G major. The Key Signature that would be written on sheet music for this would be G major (one sharp, f#), not the key of D major (two sharps, f#, c#)
So, the parent key/key signature is G major. But if the tonic/1 chord is then D (which is the V of G) then it’s the fifth mode of G major, the mixolydian mode, D Mixolydian. Not “D major”, (bc D major has a C#, and the Am7 chord has a C natural). In the mixolydian mode, the V chord is minor. If one were to solo over that progression, one would use D mixolydian (enharmonically identical to G major). If one used “D major” it would really wrong on the Am7, because you would be playing the major third of the chord instead of the minor third that the chord has)
A correct understanding of music theory IS useful, but not always necessary.
@@airborn1015 that progression is on D mixolydian. There was never an A major chord. The PARENT key is G major. The tonic is D. The progression is “In D” but it’s not “D major”. A “borrowed” chord comes from outside a diatonic key center, all three chords are IN the diatonic key center of D mixo/(G major). I’m not gonna explain it any more. I’m pretty knowledgeable about this shit. I studied it as a teenager in the 1980s, further studied in college, and taught guitar privately for 7 years (before becoming and English teacher). I’ve been a performing musician on the side for 35 years. I politely tried to clarify something (for general readers of the comments), but you persist in “correcting” me. I don’t mean to be rude, but I’m done responding. You win. Have a nice day.
The Modal Monster bares its toothy grin
The second chord progression reminds me of HER “Best Part” 🙌🏽
Just... Thank you! I happened across your video early this AM, and my guitar decided to write some music. Of late, it had gotten bored with me, and our time together had become routine. You brought sparks back to our relationship. Thank you!!
One of my favourite out-of-the-ordinary chords is in Nick Drake's "Saturday Sun".
It goes down a fairly straightforward, but very pleasant progression, with a nice descending bass, through C, G/B, Am, C/G and then throws in a gorgeous F#dim7 that never fails to make me go "oof!"
He slips it in beautifully again later, in what I suppose you could call the chorus, going from F to F#dim7, which really piles on the tension, before easing into a lovely conclusion with C, A, Dm7, G, C.
It's so good!
I'll check it out!
@@htws Your husband's a lucky guy...you have it all, just wanted to pass on.Also, thanks for sharing that Fm6 chord, wasn't even aware of that, just worked it into very melodic melody with Travis picking.
Yeah. That's a great song, indeed. I know what you mean with THAT chord.
Oh man Nick Drake is/was AMAZING. Didn't he tune his guitar to like Csus?
F# and C are tritones to one another.
Really like that transition from the diminished chord to the fourth major 7chord on that last progression.
What a wonderful lesson! Thanks so much for this! Liked and Subbed!
First of all, let me tell you something...I LOVE YOU. This lesson is PURE GOLD. Those progressions are almost as neautiful as ypur smile..
Great progressions for looping away calling melodies out of thin air, thanks!
Like that visual making the ii V smaller in relation to the rest of the progression to show it's outside the key. Very intuitive for me.
You are Intergalactic a Prophet of a kind...never knew the simplicity of the chords.
I think I you
Nice changes! I think your 4th example is not likely to be analyzed by many people as starting on the vi-minor, though - you've got a V7-i movement from the last chord to the first, so C#m7 is really the i chord (especially given how common - by including the chord before it - a bVImaj7 V7 i progression is). Not as clear, but I'd also agree with another commenter that the 2nd progression is probably best looked at as V - ii7 - I - I.
It could also be useful to describe why these changes work - for example, the 1st example is really all about the following note movement C -> D7 (keeps c in chord and moves the 5th of C - g - down to the 3rd of D7 - f#) then D7 -> F (keeps c in chord, keeps a in chord, and moves the 3rd of the D7 - f# - down to the root of F - f) then F -> Fm6 (keeps c in chord, keeps f in chord, moves 3rd of F - a - down to 3rd of Fm6 - ab) and then back around Fm6 -> C (keeps c in chord, moves 3rd of Fm6 - ab - down to 5th of C - g - AND moves root of Fm6 - f - down to 3rd of C - e). Very strong voice movement of g->f#->f->(->f)->e and, starting on D7, a->(->a)->ab->g (and then back down the g->f#->f->e). Anyway, thanks very much!
❤❤ I am so glad I found yr channel.
If your writing sounds like you are in a rut, you might have a hit!
🤣👍
you’re not wrong but it’s risky business - helps to explain why so many people go rapidly downhill after success
😂 anybody serious has to be snotted
One very talented young lady sharing these. ❤ Thanks 🏴
Hmm...10 yrs for me a bit to long though ....🤣
I love teachers like you.
How to do it and just enough of why it works.
You could do that all day. Well I could listen to you do that all day. (And play along). Love your vids. Thank you.
Watched this a dozen times and it is rewiring my guitar brain....
Fab lesson. You're a great player and a great teacher. Blessings in abundance to you. 🙏🏽🌹
This is my new favorite channel. I've been watching a bunch of your videos on lyric-writing and I'm learning so much. This video (the first I'm watching that's not about lyrics) is just as interesting and helpful as the others. I don't play guitar, but it's very clear how to transfer the chords to piano. Thank you for all this great content!
Exceptional! Your video got my 6-string sounding completely fresh and new! So easy to process and follow - you have a real gift for teaching. Thank you, Keppie!
Here are a couple of out of sequence changes that I like.
Quite a few Eagles songs step from a major chord straight to the corresponding minor triad eg Desperado where there is a step from C major to C minor. Technically it might be a modulation but it sounds good.
Another change I like is in When You're Gone. Most of it cycles around Dm F C and G but an occasional Bb appears almost as a turnaround.
Keppie, you are an excellent teacher and these are great chord progressions. I'll be re-watching, pausing and adding these to my chord vocabulary. Thank you!
This is so brilliant!! Getting Diatonic theory under my belt was life changing for me… Your approach is perfect for opening new ways of thinking and “hearing” new song ideas! ❤️❤️❤️ Love this!!! Thank you 🙏🏻!!!
Nice presentation.
Absolutely loved this lesson and the theory thrown in behind it.
Seriously outstanding video! Love the way you continually remind viewers with less theory background that they don't have to understand all the theory of "why" those chords work together... they can use them in writing beautiful, interesting songs right out of the gate. I also liked that you played each progression first, and then talked about the chords. Since I know all the theory, I closed my eyes and used it as a ear test for myself... I was able to identify all the chords by ear, up until the very last two chords of progression #5... the bVImaj7, bVIImaj7--you got me with those. 😀 By the way, I really appreciate your friendly, easy-going delivery in this and all your videos. Very enjoyable to listen to.
--Jer of the band Mitch the Needle
These are tricks you hear a lot in Sondre Lerche’s music, which I looooove.
Thank you for your inspiring content. As a composition exercise, I tried writing a piece ("Less Travel'd") that incorporates all five of these exotic chord progressions. Quite an ethereal result!
I loved the first and last chord progressions!
really appreciate this. Having a ball with these progressions.
Hi Keppie, this is a fantastic video. I bought both of your and your colleague's courses and they were THE BEST. Very inspirational. Thank you :)
Awesome video! A really nice little modification/add-on for number 4 is to sub a C#maj7 in for the C#m7 every so often! Delightful little modal surprise.
I sure appreciated you .. explaining
the endless creations ..
I'm caught in a rut .. wow
the guitar is my therapy
I've always been left out in this Right handed world 🌎 I'm Hendrix .. Haynes
I miss Jimmy .... I have not explored these cord progressions ever ..
thank you for opening up
the door to my mind ...
Never ending Love for Music
I know I am not left out in this world on my right hand ... It's just that everything is backwards ... Lol 😂
It's time to study and connect all the dots ... thank you again 🎼🎶🎵
Troy from Canyon Lake Texas USA 🇺🇸
Awesome Keppie! Its good to see you out here!
Your ability to teach is exceptional. Thank you.
I love this video! Thank you for taking the time to make it!!!
this is great! i was looking for inspiration and here it was! that 2nd mixolydian one sparked something and a song is on its way! thank you!!!
Just discovered this channel. Great information, tremendously well presented. Love it, and subbed!
My all-time favourite was just known as the Jazz Turnaround when I started in a band. It is (in C) C- A7 - D7- G7. I suppose that is a bit ordinary. by these standards, but it still gives me the chills when I hear it. It is the happiest of sounds.
Love, light and peace,
Bob McGowan (Not the Chair Circle!).
Hey, how you doing? I haven't seen you since your video on writing a song and its good to see you back. Your videos spark my interest. Thanks.
First time seeing one of her videos. Well presented and good personality!
Thank you so much for your content! It’s wonderful and it inspires me to have curiosity when making my own songs. Thank you!! ❤
Chord sequence 1 - the last chord Fmi is really nice, but I reckon an E7 instead also works well.
Wanted you to break down what jimi hendrix did on Third stone from the sun...He was really headed in a hreat direction..combining blues,rock n roll roll,jazz....flamenco...and just his learning buy playing live concerts...
Hey you really know music theory...jam on.
just found your channel, I've been playing a long time but feel stagnant, there are some lovely chord progressions here, i feel inspired
your videos are awesome. Even if I haven't used any of these progressions yet the video triggered some thoughts and I discovered a new progression that I just used on an old unfinished song,
Good stuff...life long learner here, and there's always something to learn. Thank you.
4:05 yeah! I minor Vth always sounds cool and a bit like summer evening... and promising :) - "Cloudy Day" uses this :)
You are a 'Ghoul'!!! Thank you soooooo much!!!!
Your are so inspiring, very natural and relatable. Great teaching technique. Love it. Many thanks . Very helpful. Cheers Colin
Solid gold theory
You GO girl!
I am so grateful for the content and genuinely helpful videos you produce. You do a great job of packing in a lot of information in your videos without it feeling overwhelming. Most of all, they are always practical. And for that, there will be a piece of you in a LOT of people's music. BAM 💥❤
Such a great theory lesson! Subscribed 🙂
Very very cool. Informative. Fresh. Different. Thank you so much!!!
Chord Progression No 4 is actually used for the song "Sunny". I love it!
"Tive Razão" by Seu Jorge, too
that first one has a d7 borrowed from C lydian and the Fm borrowed from C minor. Those are two of the most common keys to borrow from, one is a cycle of fifths key change and the other is the parallel minor.
D7 is the dominant chord of G major and F minor is borrowed from the key of Ab C lydian is not classed as a key it's a mode.
@@airborn1015 I understand. You could say, instead of C lydian, G major is the key. I think that makes sense too. In that sense you have a scale that's barely different. To say you're borrowing from C lydian as a key implies the keys C major and C lydian exist parallel to each other though, with the same tonic of C. But yeah I typically refer to whatever is ionian as the true tonic, but you gotta appreciate that if you're in C lydian, the C is not the IV anymore, it's the I chord and all the other chords have new roman numerals too.
Great! Would love to see more interesting progressions!
Me, fast forwarding past all the talking and just watching her play the progressions lol
Great video. Downloaded the pdf. Liked vid. Ty.
I am so happy I found this channel. so amazing! That 251 turn around tho!
I've used #5 a few times...sounds really cool on a piano!
Als ein großer Fan von melodiösen Akkordfolgen, muß ich sagen, dass dies ein sehr tolles Video ist 😊
Always nice to try new chord progressions, thanks! I'm going to go try them tonight.
im so happy i found this channel
In your first example I like "borrowed chord" to explain the D7. You could also assume you are in key of F (C as IV, D7 as V). I think the reason the F minor works so well is that we in enjoy the chromatic transition from F's major 3rd (A), minor 3rd (Ab), then landing on the G, 5th of C. Anyway, you got me geeking. Great vid!
In key of F Bb is IV and C is V
Face palm. You're completely right of course. No more late night commenting from me. @@arschi6554
OMG - 7mth old vid came into my feed at exactly the right time for me as I was geting really bored being "stuck" in key of C.
Where have you been all my life? Thanks for sharing and getting me out of the "rut"
Love ya work, I'm going to go thorough what else I have missed from you channel and needless to say I have sub'd
-OneLove
I realise you both are so great, I may never have a chance some day. Very bummed I missed jan 25 deadline. If I could get in somehow, would be my best birthday present ever. ( jan 28).
All the love, Stephan
Thank you I sometimes switch keys for the chorus but I have rarely gone outside the key within a verse. These are so helpful
Beautiful progressions, advanced theory and clear explanations make this video really awesome ! A great lesson - for free! 😮 I love it !
Exaclty what I needed, thanks!
This lesson subliminally teaches to write songs in blocks of 4 bars, which is very mechanical, and is a major blind spot with beginner songwriters. Why fence in your melodies to patterns of 4, 8, 16-bars? One of the many things that makes the music of Lennon-McCartney and Bacharach-David so fresh and sparkling is that their greatest chord sequences *Follow the Melody* wherever it leads them, regardless of bar count, regardless of whatever changes are necessary in Key Signature or Time Signature. For example, "Yesterday". A steady diet of 4-bar patterns is boring. YOU, however, are beautiful, sparkling, and fresh!
Some awesome chord shapes here. Thanks.
What a great lesson. I immediately made my playing less boring. Thanks!
Awesome video! Great rut buster! Thank you for sharing this with us!
these are all going to become new songs of mine!!!! :) thankyou
Wow, i just found your channel, you are so talented. thanks for the great lesson!
I just stumbled onto your channel...Great stuff. Thanks for sharing.
There's a chord progression I learned in a song by Ernie Halter called Whisper. Chords are E major, F#m11, C diminished to A. Sounds weird but the way he strums the chords in a bluesy rhythm works really well. I'm also a sucker for Augmented chords
loved the third one :)
Thank you.
Excellent tutorial, thank you very much!
I am really enjoying your channel, such wonderful progressions! I will be recommending your stuff to our local songwriter group. I am sure it will be well received! Thank you, what you do matters.
You boost my passion to play again
Always a pleasure learning from you! Thank you
Love your lessons - so inspirational! Thanks so much ; )
That was great, really presented, thanks!!
I believe the second progression is in G (G Am Bm C D Em F#dim), so it is V IIm I and only uses diatonic chords
What an awesome video. Thank you!
Amazing hints! Many thanks!
simply awesome :) many thanx, LOVE 2U
Thank you Keppie, you are an inspiration!
Excellent video, thanks so much for sharing the knowledge... I am still learning after many years of playing. Many blessings to you
This was fantastic. I’m not a songwriter, but I’m always looking for interesting chord progressions for loops.
Subbed and will be digging through your back catalogue of videos now. Thanks!
Great video! There’s always that rut where you know the basics of painting within the lines but don’t yet realize that there are no lines. It’s about what sounds right for the mood, melody or the words you are singing. I do believe Elliott Smith used something like this to great success with his chord progressions. It’s unclear whether he knew what he was doing or just used his ear but he mixed things up really well.
Thanks Keppie, I love how you exlained this. I love your guitar playing too. So glad I found your channel!
GREAT lesson. Earned a subscription, even though I'm an electric guitar rock and roll player.
Best songwriting video ever!!!
I love this channel. Thank you ❤
Very useful lesson. Thanks. I love to run across ideas (progressions, in this case) that I hadn't used or thought of and seeing if I can turn them into songs (or parts of songs). I like your open, generous spirit. Just subscribed to your Patreon page.