Excelente video profesor!! Una pregunta, todos los tipos de II V I que usted describe en el video, puedo aplicarlos cuando valla a resolver cualquier acorde mayor?
@@AlexanderNagel A question: when playing a chord progression with roots on the left hand how to know if the next chord must be played above or below if the roots are a fourth or fifth apart?
@@tonihereu1370 I'm not sure what type of chords you're talking about right now, and I hope I understand your question right. In general: If the bass jumps, you normally try to avoid jumps in the right hand. The goal is smooth voice leading. You achieve this by using chord inversions to minimize movement in between chords.. Have a look at example 3 at 1:16. The Dmin7 chord is built from the 7th (C) up, the next chord, G7, is built from its 3rd (B) up.
@@tonihereu1370 There's no fixed rule for this. As long as the bass is not too high and thin sounding and not too low and muddy sounding, it's up to your taste - if you're only playing roots with your left hand. But if you play "shells" like root + 7th or root + 3rd, it's better to stay higher, maybe across C below middle C?
Thanks for your feedback, glad you like my video. Lots of the voicings mentioned here (open voicings etc.) can also be applied to minor 2 5 1 progressions. The thing is this: A minor 2 5 1 already HAS a lot of tension inherently built in because of the altered dominant. That of course takes away some of possibilities we have when spicing up major 251s.
And I do have a video explaining the basic 4 voice rootless voicing for a minor 251 here: th-cam.com/video/6GwLgy1I63o/w-d-xo.html With this voicing as a start, you could apply "drop 2" to it a get nice open voicings...
This is so clear and helpful. Great work!
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Excelente video profesor!! Una pregunta, todos los tipos de II V I que usted describe en el video, puedo aplicarlos cuando valla a resolver cualquier acorde mayor?
please make a separate video explaining minor 251 same way
And I do have a video explaining the basic 4 voice rootless voicing for a minor 251 here: th-cam.com/video/6GwLgy1I63o/w-d-xo.html
Great!
Thanks so much!
Like this man!!!🇧🇷🇧🇷🇧🇷
Thanks
You’re welcome!
@@AlexanderNagel A question: when playing a chord progression with roots on the left hand how to know if the next chord must be played above or below if the roots are a fourth or fifth apart?
@@tonihereu1370 I'm not sure what type of chords you're talking about right now, and I hope I understand your question right. In general: If the bass jumps, you normally try to avoid jumps in the right hand. The goal is smooth voice leading. You achieve this by using chord inversions to minimize movement in between chords.. Have a look at example 3 at 1:16. The Dmin7 chord is built from the 7th (C) up, the next chord, G7, is built from its 3rd (B) up.
@@AlexanderNagel Thanks I know it, but I was asking if root is a C and the next root is G or F should I play next root below or above the C?
@@tonihereu1370 There's no fixed rule for this. As long as the bass is not too high and thin sounding and not too low and muddy sounding, it's up to your taste - if you're only playing roots with your left hand. But if you play "shells" like root + 7th or root + 3rd, it's better to stay higher, maybe across C below middle C?
What a completed and detailed major 251 . And about minor 251 ?
Thanks for your feedback, glad you like my video. Lots of the voicings mentioned here (open voicings etc.) can also be applied to minor 2 5 1 progressions. The thing is this: A minor 2 5 1 already HAS a lot of tension inherently built in because of the altered dominant. That of course takes away some of possibilities we have when spicing up major 251s.
And I do have a video explaining the basic 4 voice rootless voicing for a minor 251 here: th-cam.com/video/6GwLgy1I63o/w-d-xo.html
With this voicing as a start, you could apply "drop 2" to it a get nice open voicings...
I m looking forward to practise these voicings.thks