Шён,япрофессиональный мвзыкант, живу в Сочи,работаю в ресторане,один на рояле,смотрю твои уроки : систему Бобби Харриса и другое ,очень тебе благодарен,сегодня на работе в зале было 140 гостей,после работы они мне аплодировали сначала сидя потом встали и продолжали аплодировать,это благодаря твоим урокам,спасибо тебе и всего сомого хорошего,Анатолий.
Wonderfully explained. Good guidance, for any instrument. This man is an excellent teacher. His TH-cam lessons are great, if you can afford it, go to his site and get more of his expertise.
There is so much going on in this short video, so many threads to lead to more work, but some really foundational stuff that I’m now ready to hear. This video mind blown moment for me, a half step under each diminished chord tone 🤯 I know it’s right in front of you, like dimised chord tones all minor thirds stacked🤯 but connecting these dots is what’s helping me to bring it together.
Hi Shan - I understand the concept of a dominant going home as resolving to a major or minor chord a fourth up/fifth down. But do you also consider it similarly when it moves to another dominant 7th chord a fourth up/fifth down as for example in the bridge of a rhythm changes tune ?
@@bobburrell170 play dominant scales for each. Im working on “all of me”. From C it goes to E dominant before A dominant. So I play E mixolydian on E7 chord and connect it to D harmonic minor once it changes to A7. Or I simply play E7 scale into A7 scale once it gets to A7. BUT because A7 goes to Dm7, you’re better off playing D harmonic minor on A7 into Dm7. So to summarise: Play E7 scale on E dominant chord, and connect it into D harmonic minor when you make the change to A7 until you get to Dm7. Let us know how you’re getting on
Could someone recommend a good book for popular jazz / blues melody, chords & lyrics? I used to have several books years ago that got lost along the years 🙏🏻
But: *why* does Abdim lead to Gm??? In classical harmonic, there would be used an F#dim (or Adim), what is *completeley* different -> *all* notes a are half step apart.
F# dim > Gm is very common in Jazz too. That's like a V > I (you can view F# dim as basically a D7 (with a b9). He wasn't saying that it always goes there, just that it's one of the things that can happen (and that it's a very common one for a flat 3 dim, so not Ab dim in general, but an Ab dim specifically in the key of F ; in another context, you wouldn't expect it) Diminished chords can do many different things in many different contexts; part of their flexibility is that they act as a sort of cipher for various other chords right? Like even just going for your "classical" resolution, an Adim can go through the same motion to G, Bb, Db, or E, with the exact same type of resolution in each one
This is not a very technical answer and so you may not find it particularly satisfying (and hopefully someone else will chime in with another answer that you find helpful), but in this context, which is a chord progression like F, Abdim, Gm7, C7, F , then that sounds a lot like (and functions a lot like) F, G7, Gm7, C7, F. I don't really view that Ab dim as "leading to G minor" so much as a nice chromatic thing which draws out and adds a bit of colour and drama to the 2 of a 2 5 1. So, if you like, I would see that Ab dim as leading to the C, in the same way that the Gm7 also leads to the C. To put it in slightly more classical terms, it's dragging out the subdominant part of the cadence with some chromatic alteration / voice leading. For me, Abdim > Gm7 feels like a chromatic suspension of the Gm7 almost, the Ab and the B resolving chromatically stepwise to the diatonic 2 chord. But this is just how I've thought about it from encountering this type of movement in a few tunes, I can't really back it up with anything. Still, no one else replied, so I figure this might be better than nothing! 😅
you can also view the Ab dim as an inversion of D dim and think of it as resolving that way if that helps. Like how in classical music it's pretty normal to get iio V i in a minor key. Well, this is (from the point of view of the C it's moving to) iio(c)/V v7/V V7 I (D dim > Gm7 > C7 > F). Again, what you've got is an extended subdominant move toward the 5. Obviously that would be very unconventional in classical harmony, but it's really just a fancy IV V I (from a certain point of view) And, finally, you could forget all of that, and say "it's a passing chord" lol. We like to put diminished chords a half step above or below things, because they sound good there. And the rest is for the mathematicians 😁
It's late here and I'm tired so sorry if none of this makes all that much sense, hope it is at least sort of useful in some capacity, and hopefully not all nonsense. Goodnight!
@@Muzikman127 Thank you. My main objection would be: to *lead* somewhere I usually use a *leading tone* which is a half step *below* my target, not *above.*
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Several hundred dollars of top-level jazz piano instruction for free. Love this channel! 🎶🎹
Шён,япрофессиональный мвзыкант, живу в Сочи,работаю в ресторане,один на рояле,смотрю твои уроки : систему Бобби Харриса и другое ,очень тебе благодарен,сегодня на работе в зале было 140 гостей,после работы они мне аплодировали сначала сидя потом встали и продолжали аплодировать,это благодаря твоим урокам,спасибо тебе и всего сомого хорошего,Анатолий.
Thank you,Shan⭐🌹⭐😎
Wonderfully explained. Good guidance, for any instrument. This man is an excellent teacher. His TH-cam lessons are great, if you can afford it, go to his site and get more of his expertise.
There is so much going on in this short video, so many threads to lead to more work, but some really foundational stuff that I’m now ready to hear. This video mind blown moment for me, a half step under each diminished chord tone 🤯 I know it’s right in front of you, like dimised chord tones all minor thirds stacked🤯 but connecting these dots is what’s helping me to bring it together.
Haven't piano for like 100 years, about to start again. Hopefully your videos will help me out :) Thanks for sharing !
This kind of thing is very helpful. Thanks!
Thanks, this was very helpful. I’ll be coming back to it a few times!
thanx a lot
Добрый день,Шён,что можешь сказать о лидийской концепции Джорбжа Рассела?
Nice video!
Hi Shan - I understand the concept of a dominant going home as resolving to a major or minor chord a fourth up/fifth down. But do you also consider it similarly when it moves to another dominant 7th chord a fourth up/fifth down as for example in the bridge of a rhythm changes tune ?
Basically you mean dominant to dominant between that interval
Yes exactly.
@@bobburrell170 play dominant scales for each.
Im working on “all of me”. From C it goes to E dominant before A dominant. So I play E mixolydian on E7 chord and connect it to D harmonic minor once it changes to A7. Or I simply play E7 scale into A7 scale once it gets to A7. BUT because A7 goes to Dm7, you’re better off playing D harmonic minor on A7 into Dm7.
So to summarise:
Play E7 scale on E dominant chord, and connect it into D harmonic minor when you make the change to A7 until you get to Dm7.
Let us know how you’re getting on
Thanks Shan, how did you know I was working on this tune?😂
Could someone recommend a good book for popular jazz / blues melody, chords & lyrics? I used to have several books years ago that got lost along the years 🙏🏻
7:00 Why is F7 a dominant chord? Why not FACE instead of FACEb
But: *why* does Abdim lead to Gm???
In classical harmonic, there would be used an F#dim (or Adim), what is *completeley* different -> *all* notes a are half step apart.
F# dim > Gm is very common in Jazz too. That's like a V > I (you can view F# dim as basically a D7 (with a b9). He wasn't saying that it always goes there, just that it's one of the things that can happen (and that it's a very common one for a flat 3 dim, so not Ab dim in general, but an Ab dim specifically in the key of F ; in another context, you wouldn't expect it)
Diminished chords can do many different things in many different contexts; part of their flexibility is that they act as a sort of cipher for various other chords right? Like even just going for your "classical" resolution, an Adim can go through the same motion to G, Bb, Db, or E, with the exact same type of resolution in each one
This is not a very technical answer and so you may not find it particularly satisfying (and hopefully someone else will chime in with another answer that you find helpful), but in this context, which is a chord progression like F, Abdim, Gm7, C7, F , then that sounds a lot like (and functions a lot like) F, G7, Gm7, C7, F. I don't really view that Ab dim as "leading to G minor" so much as a nice chromatic thing which draws out and adds a bit of colour and drama to the 2 of a 2 5 1. So, if you like, I would see that Ab dim as leading to the C, in the same way that the Gm7 also leads to the C.
To put it in slightly more classical terms, it's dragging out the subdominant part of the cadence with some chromatic alteration / voice leading. For me, Abdim > Gm7 feels like a chromatic suspension of the Gm7 almost, the Ab and the B resolving chromatically stepwise to the diatonic 2 chord.
But this is just how I've thought about it from encountering this type of movement in a few tunes, I can't really back it up with anything. Still, no one else replied, so I figure this might be better than nothing! 😅
you can also view the Ab dim as an inversion of D dim and think of it as resolving that way if that helps. Like how in classical music it's pretty normal to get iio V i in a minor key. Well, this is (from the point of view of the C it's moving to) iio(c)/V v7/V V7 I (D dim > Gm7 > C7 > F). Again, what you've got is an extended subdominant move toward the 5. Obviously that would be very unconventional in classical harmony, but it's really just a fancy IV V I (from a certain point of view)
And, finally, you could forget all of that, and say "it's a passing chord" lol. We like to put diminished chords a half step above or below things, because they sound good there. And the rest is for the mathematicians 😁
It's late here and I'm tired so sorry if none of this makes all that much sense, hope it is at least sort of useful in some capacity, and hopefully not all nonsense. Goodnight!
@@Muzikman127
Thank you. My main objection would be: to *lead* somewhere I usually use a *leading tone* which is a half step *below* my target, not *above.*
Your rules of 3rds come in extremely handy when the chord is not in the scale.
✌ 🎹🗿