Dreamy CUSH Chords
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It’s like borrowing chords from the key of C minor, because Eb is the relative major of C minor, which means you’re basically playing the progression but instead of resolving to Cm or Eb, you’re doing C major, which is kind of a Picardy third effect.
Exactly
There's truth to this, but notice that there's the extra step of using root tones a third higher. Using just the relative chords (modal interchange) wouldn't involve that.
@@chrysanthos7265does it not? I might be missing something. If we move everything up a minor 3rd wouldn’t that be exactly as if we were in Eb major, aka c minor, aka modal interchange?
@@ryan_raus It is a type of modal interchange, but with an extra leap of a third up. A modal interchange of FM7 might be Fm7, but in this example we would also move a third up, so FM7 would become AbM7, which is a bit different.
@@chrysanthos7265 Well, FM7 is the IV of CM. So you could substitute it with Fm7, which is the IV of Cm, but you could also substitute it with AbM7 (up a minor third), which is the bVI of Cm, so this is still modal interchange, no?
God bless you.
What a blessing... if he only knew.
No………
God bless you ❤❤🤗
God bless you too
God Bless you all!
I don’t believe he sneezed
I am not a musician. I understand nothing. I love and hear the beauty. I love jazz. More more more! Thank you.
Me neither. I just realised that is a top of the line piano.
your feelings are irrational
All the gospel jazz tricks. Good one. Some people aren't good at theory. This guy is giving you some gems.
In my mind, theory is something you just memorize.
@@user-dj9iu2et3r yeah you memorize it , its when you have to apply that 'memory' into the physicality of expressing music that you hit the next layer of it. It only functions if you can both memorize/understand/apply, and also physically express within the instrument
Wow. Now I see why Barry Harris looked at the two whole scales as husband and wife, and the diminished chords as their children (minor 3rds, relative minor).
Hello. Would you please explain what you mean by that, please?
Thank you.
@@mayanksngs I’m not going to try because I will confuse you, but search TH-cam for Barry Harris’s 6th Diminished Scale and the Family of Four Dominants.
The Chromatic Scale: “god, the creator of all.”
The two Whole Tone Scales: “god created man and woman.”
The three Diminished Chords: “man and woman got married and had children.”
Isn’t this is just chords from the parallel minor scale ?
No, parallel minor is a minor 3rd down.
ARG is right about the dominants that come from diminished. It makes this kind of sound so much more elegant to explain.
@@JoshWalshMusic that’s relative minor. ebmaj =cmin = the parallel of cmaj… anyway. I’m not sure . Barry Harris is great to. Still scary too
Dive in. I get headaches while thinking too much
Modal Interchange! Borrowing chords from its parallel minor scale. Sounds great!
not really though
You’re a friggin genius bro. I know these are probably well known concepts, but you explain them SO clearly. Thanks!
He’s got that perfect video loop game down!
They just move the first few seconds of video to the end
@@DanFlashes99 clever
@@DanFlashes99mind blown
Shouldn't we call it a "turnaround" in this context?
A great example of this is
Dave Brubeck - One Moment Worth Years
This short deserves its own merch! 🔥🔥🔥🔥🎯🎯🎯🎯🤯🤯🤯🤯
I really liked the way this loops
I think the Backdoor passing in Jazz is derived from this thing.
IVm - b7 - I major
You don't have to write "m" or "major" when using Roman numerals, you just make minor chords lowercase and major chords uppercase. Also b7 in the way you wrote it could mean so many different things. Do you mean VII, like a major chord from the 7th degree? Do you mean bVII, a major chord from the b7th? Learning the proper notation is important!
@@MrBlake6332 I meant a major chord from the b7th. For instance to approach C major, this could be done (Fm - Bb - C) :D
@@MrBlake6332"ACHUWALLY ☝️🤓" -you
@@MrBlake6332this is true for classical notation, however often in jazz people will just make everything all caps and put the quality after, especially in short hand like for example in the berklee harmony curriculum, what would be notated in classical notation as "iv" would be written "IV-"
@@key-chain All the jazz musicians I know do it the correct way, "iv." If you're notating macro then you could do it like "F-" or "Fm." Doing "IV-" is incorrect and will end up confusing people you play with and result in a nasty half step rub.
Love this so much. Needed a small break from some heaviness around me and got lost just playing through progressions and subbing in these Cush chords for the last 2 hours. Just a beautifully smooth way to color simple progressions but pull back to the same tonic. Appreciate your sharing this! It was more than just a music lesson for me today. God bless.
wat should i do to be able to play for 2 hours straight lol
@@tomybogadjian1487 It doesn't take much! Just sit down and play! Play the stuff you like to play, then just try these cush chord substitutions.
@@tomybogadjian1487if you enjoy it enough you can play forever… then the only limiting factor is stamina. and maybe new ideas, if you get bored. it’s good to enjoy a few things so you can swap around
Possibly the best Jazz teachers online
Thank you 🙏🏾
Love the cush chords, but it's time for you to show us the Kush Chords 🙏🏼🔥🍁
Beautiful!
As a church organist/pianist, I’ve used some of these movements over the years but never knew their name. Thanks for this!
JF, mind blowing!!!
These chords sound so rich love it
Adam, can you give a more in depth lesson on this system.
It's beautiful !
This just adds the borrowed chords from the Aeolian mode. So if it sounds good in C minor, it'll probably work in C major.
Learn your diatonic 7ths in all keys if you haven’t already (there’s tons of stuff on TH-cam about that) then come back to this video and it will all make sense! 👌
@@soulcraftloopsthanks, I’ve been watching this video on repeat trying to figure out how moving a minor third happens at all. I guess what I’m confused about is which part of what he’s doing is the minor third, is he just doing chords WITH. A minor third, aka aeolian like you said, or is he referring to intervals? But in trying the question out I think I get it now. Now to translate to guitar.
But yeah, if you have any clarification that would be so awesome! 🤘🎶
@@Melodysmic Sure! Theory can boggle the mind at times can be overwhelming but try and simplify this concept a bit. Don't overthink the minor third too much. You only need it to establish the key you are GOING to modulate into.
Here's how I think about it...
First you need the progression like Adam's examples here 2-5-1
Ok so in Cmaj our 2-5-1 would be:
Dminor, G7, Cmaj. Because Eb is the minor third of C, we simply move the 2 and the 5 UP a minor third to Eb.
So the 2 and 5 of Eb is Fmin, Bb.
So our progression now looks like this.
Fmin, Bb, Cmaj.
We are still in the key of C right? So instead of using Eb's tonic we go back to Cmaj after playing the Fminor and Bb. That's what he means when he is saying move everything up a minor third EXCEPT for the tonic.
I think its easier to explain this when a progression starts on the tonic. So lets say we have 1-4-5-6 in the key of C.
Play that first to establish the home key in your ear. Cmaj, Fmaj, G7, Amin.
Then play it again starting on Cmaj then modulating to Eb's 4-5-6 ( Abmaj, Bb7, Cminor) then back to Cmaj.
Basically keep that 1 (Cmaj) then pluck the 4-5-6 out of the Eb major scale and replace Cmaj's 4-5-6 with Eb's before going back to the C.
When you know your scale of chords in all keys you can then replace a 4 with another key's four. But you have to know each scale very well to do it on the fly. So, per my original recommendation, learn that very well first!
What's cool about this is it's not only the minor third you can modulate into. You can even modulate into say, the Flat 6! (Ab major in the key of C)
I hope that makes sense and I didnt over complicate things more. Text can be hard to describe theory. But dont hesitate to ask me anything at all! Im a total nerd for it all and wont shut up about it... as you can see. Happy practicing! :)
@@soulcraftloops wow thank you so much. This definitely clears it up. Thanks for taking the time to explain that for me. I appreciate the advice, too! It’s been exciting to start connecting these dots! 🤘🖤
You are special Adam... demystifing, opening a world of creativity. Thank you.
Wow, this short little video is more useful than entire online courses I've purchased. Thank you!!!!
Thanks for all the gems you guys be putting in the world!
This is one of the smoothest edited loops I’ve ever seen. It ends where it began where it ended
Bro, you are the Luca Doncic of piano!
REALLY like this channel. Stuff a guy can use.
Thank you so much for this!
One of my favorite shorts so far
This is gold, thank u broder
this is so fire
This is insane. So simple , yet so goddamn powerefull
Thank you guys for your channel!!!!!!
Golden
Shalom shalom 👋👋👋👋
This man deserves an award❤ it solves everything I have to ask about chords application, which was my long time doubt🎉
That's essentially what the Picardy 3rd does, but in a more modal sense (minor V instead of a dominant V chord). Basically you're drawing all your chords for the parallel natural minor key accent the I chord which remains major or even Lydian if you want. And that's strictly using the diatonic application. I wonder if and how well it works applied to secondary dominants, tritone substitutions, and on. Would be interesting to experiment with!
that was the most seamless shorts loop i have seen
Great job and great job making your YT short loop too!
It’s the same as borrowing chords from the minor since eb major is the same as c minor
Beautiful....
These video shorts you do are the only thing on the internet I feel like I need to sit down and write notes on.
THANK YOU!!!! I saw this and immediately had to try this. This just opened up so much for me to try and add!!!
Very cool thanks mon
I’ve always wanted to understand the theory of borrowing chords from a different key. I am practicing this immediately
You’re a genius
Man this is beautiful. I really need to get a piano. I really think that would help me apply music theory on guitar better and work on chord progressions. You guys are great!
That also means all those Cmajor progresions can resolve on Amajor
Transposition!!!
Hi. Thank you for your teaching.
Dude !!!!! I love simple thing you can apply right away thanks so much
Good recommendation
DOH!!!❤ probably just saved me two years of practice TY
Excellent
Great lesson.thank you
How in the damn hell did this never connect for me before? Thank you for providing continuous insight into the cool little progression and melody techniques that I understand on a theoretical level just based on my knowledge of theory, but never made the connections there or applied them directly to my style while I was learning that theory in the first place.
That is wild! Thanks man!
Yall are so awesome
This is a revelation, thanks!
This shorts are Amazing
This is wonderful man
Backdoor ii Vs to the next level 😮
It's interesting that all notes in a diminished tetrad share the same functions in a tonal center. Therefore, if you transpose progression to a minor third above and make the same movement, you maintain their function related to the latter tonal center.
Sounds beautiful
this is great
Great stuff! Thank you
this needed chord structures man
iv->bVii, I
backdoor two five i think
This could be argued to be derived from diminished substitutions because there are both minor7 and dominant7 chords spaced in minors thirds evenly across the octatonic, or half-whole diminished scale. You could do the same but shifted down a minor third!
Magical, yes.
this makes me want to learn piano but then i see videos like this
playing masterfully and am like who am i kidding 😢
i literally just discovered this when i was practicing playing outside keys with mt music teacher and i came up with doing a 2-5 in Eb as a false resolution 😢
really, this is beautiful. thank you!
This is the first time I hear so-called "magic chords" to be actually magic
The first ones sound like the break in Erykah Badu's Green Eyes
Geniale!!!!!
Amazing lesson and the perfect loop
Beautiful
Beautiful! Thank you from this rock guitar player.
Chromatic mediants are beautiful
AWESOME!
Thank you Adam !
Oh, I get it. This is the same kind of idea as jamming in the "relative major blues scale" over a minor blues progression, and then all of the sudden everything's the same except more elegant and less painful.
gonna go write some Cushy
Awesome! Thanks for sharing
Nice tutorial, but it’s more impressive how smooth it loops❤
Most def using this
It’s cushing season
Damn, this awesome😂🔥😂
I don't even play piano, I play guitar, and this is very eye opening!
Why does this video never end?
Sublime !❤
dad look, it’s the good cush
This is the dollar store, how good can it be
Beautiful.
Wowsa very cool stuff!
Wow great tip! I can’t wait to start using this!
Did you do it?
The first 2 notes of the second one he played sounded like the start of the future / drake song working on the weekend 🤣
What is a "cush chord" and why does this work? I recognize this type of sound from classic jazz ballads and it is beautiful, especially on the IV-iii-I, but *why* does it work?
this is amazing Adam!
IV III I like a rainy day!
Hey guys :) will you please detail what you just show us ? I have not got it :(
Nice
It’s kinda like a classical deceptive cadence where instead of resolving on I, you resolve on vi, but in this case it’s VI.
@supp,
Brahms 118-2.