I appreciate your presentation of the 7-3-6-2-5-1-4 formula, maybe because I'm ready to hear it. Years ago in college music theory they just talked about the circle of fifths and ii-V-1 and assumed we could work out a modulation to anything, but it didn't seem very helpful. I think the advantage of this formula is it expresses the circle of fifths in diatonic steps, suggesting a single path to follow and an identifiable pattern for a lot of music. The formula provides a slightly different way to think about the circle of fifths and I'm happy to add that tool to my toolbox. Someone asked about the special cases of 1-4-7 and 4-7-3. Maybe you could cover movement to distant keys in another video. As you noted in the Description, the formula covers "built-in" 2-5-1 progressions, and it's trickier to move outside of those. But this formula really is an essential and useful foundation.
The 251 is almost the greatest chord progression not only because anything can be the one but it’s literally in almost every jazz and rnb etc music genres
Cool lesson! That makes sense, the 3 wants to go to the 6 and the 6 wants to go to the 2 the 2 wants to go to the 5 and the 5 to the 1, the 1 can go anywhere.
I've only just started to watch your lessons and I'm amazed 🎹 I'm trying to learn more myself after doing 4 years of piano lessons. I'm severely sighted with my guidedog, but not letting that hold me back. I do find what you say a little hard to understand but I'm one with patience and looking forward to your lessons.
Hey @andrewwatts2695 - thanks for the feedback and for watching! I'm relatively new to making these, and I'll keep working to grow & improve to make things more understandable as we move forward. Thanks again!
I have been doing these all doy on every work break. This is genius and I thank you so much for unlocking my playing potential... I'm a beginner that likes to play to fill up my boring life!
whoa! this is the first thing i've seen from ya and it's friggin' fantastic. i'm trying to learn jazz piano and this is DEFINITELY something i can start practicing! heck yeah! thanks, man!
@@dnlwht yeah! i think i started going down that rabbit hole and that's how your video got suggested! haha! @openstudiojazz is phenomenal! lots of great ways to practice little bits and pieces each day. has made this journey extra fun. appreciate you both!
Dude...I love you!🤣🙌🏾🔥 This gave me the revelation of this progression I've tried to understand for a long while. Don't be discouraged fam! Keep learning and growing and you might finally "get it." All you need is someone who can say it in a way you can help you understand like Dan just did for me! 🙌🏾
Really nice.I love to find progressions I'm not using in my music. When I get to my piano tomorrow I'll write it out and share with my own students. I'll be back.
Great question! The G diminished 7 (G°7) works similarly to an A7 because it adds tension that resolves to D minor or D major. When you use G°7 over an A bass, it functions like an A7b9, creating a strong push towards resolving to D. This is a fun technique to help add color and interest to chord progressions!
Thanks for following along, @rottenrob325, and glad that the key of C was helpful to you! I like to start there when I'm learning new concepts and then I work to be able to play it in all 12 keys.
I used Goodnotes for writing my notes on a black background. From there I used ‘blend’ mode in my video editing software to make it the main visual on top of my video.
Thanks for your question! I’m not sure I mentioned that the Dm would be any different if the key changes to F, but if I did, that was a mistake! The main point of the exercise is to explore potential _passing chords_ . I think I used Dm as an example of a chord for you to _end on_ after you've played a couple _passing chords_ first. If I'm remembering correctly, the example with the Dm is towards the end of the video. Let me know if you have more questions or if I'm not understanding what you're asking :)
Correct me if im wrong but the Dminor does function differently in key of F as 6th minor aeolian rather than the key of C where its the 2nd minor dorian. Good video @@dnlwht
I need some support 😅. You started in the key of C and then used the 7-3-6 to come the Am…I’m trying to continue in the key of C take the next step 3-6-2 but it does not sound good at all 😢 what do I miss?
Great question! The formula 7-3-6-2-5-1-4 is designed to _help you find passing chords for any target chord in a major key_ . It's similar to the ii-V-I progression, but it's more about providing options than playing through it strictly. In the key of C, if you're moving to Am (the 6 chord), you can use Bdim (7) and E major (3) as passing chords. However, you could also simplify and use just one passing chord, like E major (3), before your target chord of Am. If your next target chord was Dm (the 2 chord), then you could use Em (3) and A (6) as passing chords. Again, you could simplify and use just one passing chord, the A major (6) before your target chord of Dm (2). Remember, these passing chords can be of any quality-major, minor, augmented, or diminished-and aren't limited to diatonic chords (chords based off the key). Here are a few examples to try: Em (3) to A major (6) E/G# (3) to A major (6) Eø7 (3) to A/C# (6) Experiment with different qualities, voicings, and the number of passing chords to see what sounds best for your song. Happy playing!
Hey @jp-gx9xj - solid question. I believe I played an Am when I was doing the 7-3-6 part. When I played a 3-6-2, I put in an Emaj, followed by an Amaj, since they were passing chords leading to the 2. Let me know if that doesn't make sense or drop in a timestamp if you're describing something else - thx!
You've got it and you're correct that they're basically the same concept. This was a bit easier to teach to beginners, but falling fifths, as _thoroughly decribed_ in Seth Monahan's video here - th-cam.com/video/WcpR5TpG7Ig/w-d-xo.htmlsi=qur2zyNvBudk-hDh - breaks it down nicely.
That is always and interesting chord to look at. I usually think of it as a five chord over a third for the root. If you add an A in the right hand, then I think of it as an add two. 5/3add2. But, there are so many ways to see that chord and play with it. I like your tutorial. It’s very well laid out.
I thought BDFA is half diminished and B D F Ab is fully diminished though, I think if the diminished chord is only the 1st 3rd and 5th you can't really say if its fully diminished or half diminished because the chord isn't extended yet.
I like thinking of it this way too, especially with my gospel music & gigging background! In my reading, the vii chord is typically written as diminished because it naturally occurs on the 7th scale degree in each major key. In this video, I'm using it in the key of C and once you add the minor 7 to the chord it becomes a half-diminished 7th (Bø7). I say all that but totally get using Bm7b5 too - it can be helpful for understanding the chord's structure.
@@dnlwht Bm7♭5 (also called B half diminished) has the Bm7 notes B D F# A but with the 5th (F# in this case) taken down half a step to become F. Bm7♭5 contains the same notes as Dm6. it just has B in the bass instead of D. So Dm7♭5 = Fm6. Em7♭5 = Gm6. And so on.
Great question! Once you understand the 'formula' and where you want to land, you can incorporate various chord qualities (major, minor, augmented, or diminished) into your passing chords. In this case, I used the Bø7 to E major, which smoothly leads us to the A minor and adds a 'gospel/R&B' feel. If that specific chord doesn't resonate with you, no worries! You can always opt for the diatonic option. I simply wanted to showcase some other creative possibilities Feel free to experiment and discover what works best for your style!
Love it! I recently did a small video on tritones (th-cam.com/video/WhZ5jGcwACo/w-d-xo.htmlsi=7JGe29P1W2BSZUmF) though I kept it to one substitution this first time :)
Yes, you can use Em as it’s the diatonic option, but as we’re looking for interesting passing chords, E major is also an option. Really any quality of chord - major, minor, augmented, diminished - is a possibility with this idea :)
This concept is based on the note / chord you're landing on. If you're playing in the key of C and the song is landing on A (or 6 minor) think about the A scale before playing the 2 5 1. So in the key of A, the E chord is a major (because G# is in the key of A and not G). Then one you hit the A, everything is back into the key of C. It's a little confusing at first but it will come more natural with muscle memory / practice.
Great point, and I appreciate the feedback! I do understand how it works and mentioned this in some earlier comments. My aim here was to help people quickly find tones for building chords, and using 4ths seemed like a simple approach. I'm not trying to mislead anyone-just offering a helpful "hack" for finding chords on the spot.
Hey Russell - solid questions! The 'formula' you mentioned isn’t quite a full circle. In a major key, the 4th and 7th scale degrees are a tritone (TT) apart, so you wouldn’t typically use the 4 to get to the 7. Instead, you'd want to try using a chord based on the #4 to transition from #4 to 7 to 3. For example, in the key of C, you could use: F#ø7 - B7 - Em Alternatively, you can use a chord based on the 7th scale degree to reach the 3. In C, try: Bmaj (or B/D# or even a simple G/B) to Em For a deeper understanding of tritones, check out my video here: th-cam.com/video/WhZ5jGcwACo/w-d-xo.html Hope that helps!
@@dnlwht TY so much for the explanation, your channel is truly becoming a go to as you post more videos. I’m a member and can’t wait for your next post.
I see what you're trying to do but don't people just go to the a minor from the C? OK so this enhances your playing by having harmonic substitutions which to my ear sounds a lot like gospel music playing by the fantastic gospel piano players of the past especially in the black church.
For sure! You can totally go from a C to an Am and it sounds great! I made this video after a few friends asked how I find passing chords. I did take a few theory shortcuts (hint: there are 5ths in this) but the goal was to help keys players easily find tones to add/build chords if that's what they're hoping to do. This is also great for songwriter's looking to add some different options to their songs. Anyway - thanks for the comment and for checking this out!
Instead of wasting your time going on talking tell your viewers it is used to go from I to IV.Song examples blues for alice .check out how beatles use it in yesterday.ti go from IV to I just treat IV as I and go down till you reach I. C bm7 E7 am7 D7 gm7 C7 F F em7 A7 dm7 G7 C.just take the real book and where all this type of progression comes.hope this is useful
Thanks!
Thanks @darrellscott1101 - you’re the first person to ever send me one of these! Really appreciate it!
I appreciate your presentation of the 7-3-6-2-5-1-4 formula, maybe because I'm ready to hear it. Years ago in college music theory they just talked about the circle of fifths and ii-V-1 and assumed we could work out a modulation to anything, but it didn't seem very helpful. I think the advantage of this formula is it expresses the circle of fifths in diatonic steps, suggesting a single path to follow and an identifiable pattern for a lot of music. The formula provides a slightly different way to think about the circle of fifths and I'm happy to add that tool to my toolbox.
Someone asked about the special cases of 1-4-7 and 4-7-3. Maybe you could cover movement to distant keys in another video. As you noted in the Description, the formula covers "built-in" 2-5-1 progressions, and it's trickier to move outside of those. But this formula really is an essential and useful foundation.
The 251 is almost the greatest chord progression not only because anything can be the one but it’s literally in almost every jazz and rnb etc music genres
Completely agree!
Quite prevalent also in Haydn and Mozart.
Cool lesson!
That makes sense, the 3 wants to go to the 6 and the 6 wants to go to the 2 the 2 wants to go to the 5 and the 5 to the 1, the 1 can go anywhere.
Thanks @Pulse2AM - and I enjoyed checking out your music!
@@dnlwht Cheers and thanks!
I've only just started to watch your lessons and I'm amazed 🎹 I'm trying to learn more myself after doing 4 years of piano lessons. I'm severely sighted with my guidedog, but not letting that hold me back. I do find what you say a little hard to understand but I'm one with patience and looking forward to your lessons.
Hey @andrewwatts2695 - thanks for the feedback and for watching!
I'm relatively new to making these, and I'll keep working to grow & improve to make things more understandable as we move forward. Thanks again!
Thank goodness you don't have to see the piano to play it. You learn to feel it and hear where it is going. I love to play in the dark!
I have been doing these all doy on every work break. This is genius and I thank you so much for unlocking my playing potential... I'm a beginner that likes to play to fill up my boring life!
Love to hear it, Matthew, and good luck with your practice!
Ty much for explaining these concepts. I've learned a lot from you. Hope you get to the tritones tutorial soon.
I play a guitar
This is also the circle of fifths! Great way of making it functional.
I appreciate you saying this -- that's the goal, to help people see possibilities in their playing!
I can't wait to start practicing this. Thank you for the video, great job!
You got this!
whoa! this is the first thing i've seen from ya and it's friggin' fantastic. i'm trying to learn jazz piano and this is DEFINITELY something i can start practicing! heck yeah! thanks, man!
Thanks so much, @junkyardfrod.
Since you're working on jazz, be sure to check out www.youtube.com/@OpenStudioJazz too, if you're not already! 🙌
@@dnlwht yeah! i think i started going down that rabbit hole and that's how your video got suggested! haha! @openstudiojazz is phenomenal! lots of great ways to practice little bits and pieces each day. has made this journey extra fun. appreciate you both!
I knew about the 7-3-6 and the 2-5-1 separately but I never realized they could be put together in one formula like this.
Dude...I love you!🤣🙌🏾🔥
This gave me the revelation of this progression I've tried to understand for a long while. Don't be discouraged fam! Keep learning and growing and you might finally "get it." All you need is someone who can say it in a way you can help you understand like Dan just did for me! 🙌🏾
I love hearing that this made sense and thanks for your awesome comment, @EBeyond! 🙌
@@dnlwht can't wait to get home and apply it! You got a knew follower 🙌🏾
Thanks so much!
Thank you, Great video 🙏🏻
Thanks for watching! 🙏
Hey, I just subscribed because what you’re teaching is needed. I love how you put everything on the screen and showing us how to experiment.
Best explanation I have seen on this subject I have seen so far. Thank you🙏
Thanks @mrprogresseze - glad it was helpful!
This is incredible! You are a talented musician.
Thanks Paulie -- I really appreciate it!
Bro yes Yes Yes. I loved the level and your pace of instruction. So well done thank You.
You are very welcome and thanks for letting me know!
Power video, excellent teaching. Please post more.
Thanks - there’s more to come!
Cool tips, thanks.
"I'm not an artist", then has the coolest handwriting. Thanks the video, great stuff.
Ha, thanks Nathan! Also, checked out your channel and your office looks super cool... especially that bike hanging up behind you 🚲
Definitely good for different voicings. Especially making space sonically in production
Wow this was a great video. Learned a lot! Makes a lot of sense. I’m definitely going to start practicing all of this.
Glad it was helpful!
These videos are so good!!!
Thanks so much - glad you like them!
Thank you for being so clear and simple
You are so welcome!
Really nice.I love to find progressions I'm not using in my music. When I get to my piano tomorrow I'll write it out and share with my own students. I'll be back.
Fun - let me know how it goes for you! :)
Well done. This is super helpful. Just listening and learning makes me want to go wrote a song. Thank you for doing this.
Glad it was helpful and hope you write that song!
While you were playing, I thought of the Grover Washington Jr song Just The Two Of Us, and this trick works perfectly.
Thanks for this vid
Love to hear it!
This was really awesome. Subbed to learn more 🎉
Welcome aboard - great to have you!
Very interesting thanks!
My pleasure!
Id like to hear the diminished idea explained. When you used the G diminished instead of the A. Why does it work?
Great question! The G diminished 7 (G°7) works similarly to an A7 because it adds tension that resolves to D minor or D major. When you use G°7 over an A bass, it functions like an A7b9, creating a strong push towards resolving to D. This is a fun technique to help add color and interest to chord progressions!
@ oh okay i think i see now, its similar to the barry harris concept it seems
@@austinjoiner5968 exactly, it's similar to the Barry Harris concept, using diminished chords to create tension and resolve in interesting ways
Pls do a video on how use scales over chords
Great idea - I'll add it to my list!
Great video. Just subscribed. Thanks.
Thanks @billhasty5197!
this is a great video ! God bless you🙏
Thanks @jtmadethis - appreciate it!
New subscriber! Ty for making that so easy! Also ty for doing it in the key of C. I know other scales but not well.
Thanks for following along, @rottenrob325, and glad that the key of C was helpful to you!
I like to start there when I'm learning new concepts and then I work to be able to play it in all 12 keys.
Insightful. Thanks
Glad you enjoyed it!
Wow just subscribed
Thanks!
Great tutorial, thanks for that. Got a new sub from me. 😎✌
Awesome, thank you!
This is Charlie Parker blues substitution to get from the I chord to the IV chord.
Great
What gear are you using to write on the screen while videoing? Thanks in advance!
I used Goodnotes for writing my notes on a black background. From there I used ‘blend’ mode in my video editing software to make it the main visual on top of my video.
@@dnlwht Awesome and thank you so much! Keep posting great and informative videos! -AprilRox, Music Teacher 🎶
Very nice video.
Thank you very much!
awesome
Thanks!
How is the dm any different if you change the key to f!?!
Thanks for your question! I’m not sure I mentioned that the Dm would be any different if the key changes to F, but if I did, that was a mistake!
The main point of the exercise is to explore potential _passing chords_ . I think I used Dm as an example of a chord for you to _end on_ after you've played a couple _passing chords_ first.
If I'm remembering correctly, the example with the Dm is towards the end of the video. Let me know if you have more questions or if I'm not understanding what you're asking :)
Correct me if im wrong but the Dminor does function differently in key of F as 6th minor aeolian rather than the key of C where its the 2nd minor dorian.
Good video @@dnlwht
I need some support 😅. You started in the key of C and then used the 7-3-6 to come the Am…I’m trying to continue in the key of C take the next step 3-6-2 but it does not sound good at all 😢 what do I miss?
Great question! The formula 7-3-6-2-5-1-4 is designed to _help you find passing chords for any target chord in a major key_ . It's similar to the ii-V-I progression, but it's more about providing options than playing through it strictly.
In the key of C, if you're moving to Am (the 6 chord), you can use Bdim (7) and E major (3) as passing chords. However, you could also simplify and use just one passing chord, like E major (3), before your target chord of Am.
If your next target chord was Dm (the 2 chord), then you could use Em (3) and A (6) as passing chords. Again, you could simplify and use just one passing chord, the A major (6) before your target chord of Dm (2).
Remember, these passing chords can be of any quality-major, minor, augmented, or diminished-and aren't limited to diatonic chords (chords based off the key). Here are a few examples to try:
Em (3) to A major (6)
E/G# (3) to A major (6)
Eø7 (3) to A/C# (6)
Experiment with different qualities, voicings, and the number of passing chords to see what sounds best for your song. Happy playing!
Thank you so much for the explanation 😊
@@tinagustafsson1417 Happy to help and let me know if you have further questions 😊
Hello, That was very instructive video but I got a question bout that 3rd chord in the 7-3-6. Why did you play a major chord instead of a minor ?
Hey @jp-gx9xj - solid question. I believe I played an Am when I was doing the 7-3-6 part.
When I played a 3-6-2, I put in an Emaj, followed by an Amaj, since they were passing chords leading to the 2.
Let me know if that doesn't make sense or drop in a timestamp if you're describing something else - thx!
@@dnlwht thank you for your answer. I’m sorry when I was talking bout the third chord I was talking about the E chord, but again thx for your answer
What is the difference to the quint-falls-sequence? For me it looks allmost the same….?🤔
You've got it and you're correct that they're basically the same concept. This was a bit easier to teach to beginners, but falling fifths, as _thoroughly decribed_ in Seth Monahan's video here - th-cam.com/video/WcpR5TpG7Ig/w-d-xo.htmlsi=qur2zyNvBudk-hDh - breaks it down nicely.
What was the link to the previous video?
Apologies, I thought it would pop up on screen at the end.
Here it is: th-cam.com/video/NNqOWuYLlYk/w-d-xo.htmlsi=DCiW1Qg7WLgkClMY
Wow, thank you for the excuisit knowlege
Thanks for checking this out @miguel-hu6nr
Great video. That B chord is fully diminished. BDF is all minor thirds.
Great callout - thanks @keithsamuels7645!
That is always and interesting chord to look at. I usually think of it as a five chord over a third for the root. If you add an A in the right hand, then I think of it as an add two. 5/3add2. But, there are so many ways to see that chord and play with it. I like your tutorial. It’s very well laid out.
I thought BDFA is half diminished and B D F Ab is fully diminished though, I think if the diminished chord is only the 1st 3rd and 5th you can't really say if its fully diminished or half diminished because the chord isn't extended yet.
True. It would be called a diminished chord as BDF and not called fully or half diminished without the A or Ab.
Cool
Basically, the Confirmation changes.
2:47 Bm7b5
I like thinking of it this way too, especially with my gospel music & gigging background!
In my reading, the vii chord is typically written as diminished because it naturally occurs on the 7th scale degree in each major key. In this video, I'm using it in the key of C and once you add the minor 7 to the chord it becomes a half-diminished 7th (Bø7).
I say all that but totally get using Bm7b5 too - it can be helpful for understanding the chord's structure.
@@dnlwht Bm7♭5 (also called B half diminished) has the Bm7 notes B D F# A but with the 5th (F# in this case) taken down half a step to become F.
Bm7♭5 contains the same notes as Dm6. it just has B in the bass instead of D.
So Dm7♭5 = Fm6. Em7♭5 = Gm6. And so on.
This is the Circle of Fifths Chord progression. But you started on the 7, or you finished on the 4. So would this be a Lydian scale?
Why is the three chord used here major? Not a diatonic chord
Great question! Once you understand the 'formula' and where you want to land, you can incorporate various chord qualities (major, minor, augmented, or diminished) into your passing chords.
In this case, I used the Bø7 to E major, which smoothly leads us to the A minor and adds a 'gospel/R&B' feel. If that specific chord doesn't resonate with you, no worries! You can always opt for the diatonic option. I simply wanted to showcase some other creative possibilities
Feel free to experiment and discover what works best for your style!
Not a "3" chord, that would be Eminor... but the E7 is V of vi .. but ok, to make it easier, call it a "3 " chord :)
It's true, but I don't mind a little simplification as we’re trying to help people see possibilities in their playing & as they look at the keyboard 👍
Wait till you discover 2-5-1s built on tritone subs like Abmi7-Db7-Cmaj7. :DDD
Love it!
I recently did a small video on tritones (th-cam.com/video/WhZ5jGcwACo/w-d-xo.htmlsi=7JGe29P1W2BSZUmF) though I kept it to one substitution this first time :)
If you're in the key of C, the 3 chord is surely Eminor?
Yes, you can use Em as it’s the diatonic option, but as we’re looking for interesting passing chords, E major is also an option. Really any quality of chord - major, minor, augmented, diminished - is a possibility with this idea :)
This concept is based on the note / chord you're landing on. If you're playing in the key of C and the song is landing on A (or 6 minor) think about the A scale before playing the 2 5 1. So in the key of A, the E chord is a major (because G# is in the key of A and not G). Then one you hit the A, everything is back into the key of C. It's a little confusing at first but it will come more natural with muscle memory / practice.
@@jeffmit2675 Great explanation!
@@dnlwht Thanks!
How do you remember all this? Jeez
Which part? Anything I can help with?
Those cords are a fifth way not a fourth way the fifth is dominant to a one it’s a series of fifths that’s how it functions
A fifth downwards is basically the same as a fourth upwards
Great point, and I appreciate the feedback! I do understand how it works and mentioned this in some earlier comments.
My aim here was to help people quickly find tones for building chords, and using 4ths seemed like a simple approach. I'm not trying to mislead anyone-just offering a helpful "hack" for finding chords on the spot.
@@StrangeLeap Thank you for pointing out such a basic thing.
If I wanted to go to the 7? Could I Use 1 - 4 - 7 ?
If I wanted to go to the 3? Could I Use 4 - 7 - 3 ?
Hey Russell - solid questions! The 'formula' you mentioned isn’t quite a full circle. In a major key, the 4th and 7th scale degrees are a tritone (TT) apart, so you wouldn’t typically use the 4 to get to the 7.
Instead, you'd want to try using a chord based on the #4 to transition from #4 to 7 to 3. For example, in the key of C, you could use: F#ø7 - B7 - Em
Alternatively, you can use a chord based on the 7th scale degree to reach the 3. In C, try: Bmaj (or B/D# or even a simple G/B) to Em
For a deeper understanding of tritones, check out my video here: th-cam.com/video/WhZ5jGcwACo/w-d-xo.html
Hope that helps!
@@dnlwht TY so much for the explanation, your channel is truly becoming a go to as you post more videos. I’m a member and can’t wait for your next post.
@russellsexton2739 - I really appreciate hearing that - thank you!
I see what you're trying to do but don't people just go to the a minor from the C?
OK so this enhances your playing by having harmonic substitutions which to my ear sounds a lot like gospel music playing by the fantastic gospel piano players of the past especially in the black church.
For sure! You can totally go from a C to an Am and it sounds great!
I made this video after a few friends asked how I find passing chords. I did take a few theory shortcuts (hint: there are 5ths in this) but the goal was to help keys players easily find tones to add/build chords if that's what they're hoping to do.
This is also great for songwriter's looking to add some different options to their songs. Anyway - thanks for the comment and for checking this out!
You talk way too much, and way too fast.
I’m not trying to be rude, just giving you some constructive feedback.
Less waffling required please.
This guy is toxic ! There are so many YT channels way better.
And a bit more prep. But nice delivery despite these comments.
@@jackmartinleith
Agreed 👍
Instead of wasting your time going on talking tell your viewers it is used to go from I to IV.Song examples blues for alice .check out how beatles use it in yesterday.ti go from IV to I just treat IV as I and go down till you reach I.
C bm7 E7 am7 D7 gm7 C7 F
F em7 A7 dm7 G7 C.just take the real book and where all this type of progression comes.hope this is useful
exactly, just the circle of 4ths
😂😂😂
uhmm..A confused, terrible lesson full of reversed voicings
Please talk less and play😂 more.
Only if you subscribe 😉
Ugg I can’t take it, too much talking and his soft voice makes learning from him a boring chore.
Sorry to hear it didn’t work for you, but wishing you luck in connecting with someone who fits your preferred learning style.
ur an asshat
You're so stupid for wasting time writing this comment.