I just want to write you a note telling you how incredible these videos are. I am a songwriter and have been trying to learn from home the next step in my songwriting. I have found many sources that eluded to these principles, or that told you point blank what chords to use, but never the underlying theory and options I have to choose from in order to apply it in my own songs. I am using your website to work through the various lessons- particularly about chords and then I'm sure many others will be helpful. I don't write jazz, but I do find that the jazz chords are the sound I have in my ears- I just like the complexity with jazz chords I suppose. Thank you thank you for teaching me what I couldn't find anywhere else!!
No worries, Laura. Very glad to hear you're liking the vids and the website. I only launched it a few months ago so good to see someone is actually using it. That's exactly why I made it - to try spell out the actual underlying theory rather than just get people to rote learn chord progression. Thanks for the comment :)
You have really made chord substitution very useful and easy to understand. Kindly make a video on how to play the left hand root chords and the various ways of playing the intermediate and advance ways of playing the left hand chords
firsts of all: awesome videos - thank you very much! Question: I'm trying to learn nice sounding chords if I am for example in Am. In the chapter tension notes we've learnt that there are unavailable tensions like in the case of Am the note F. If I use a chord substitution like in 2:32, do I have to change the bass line also to Fmaj7 or can it remain in Am (but then I would play the unavailable tension note F...)?
Hi, first I wanted to thank you for those videos. I find them very usefull and clear to understand ! I got a question about the tritone sub. though... In the example you played, you substituted the II7 to get to the V7 and make the perfect cadence. So you used the tritone substitution in place of a II7. After having a try myself I realised that this substitution seems to be working only on that II7 and not that well on the V7-I. I wonder if it's just me that doesn't apply this substitution well, or is it "wrong" to tritone-substitute the V7 during the cadence ? Thanks again for all those vids and your website! I'll recommend it to whoever would like to understand a bit more in jazz music !
Question: In the #Vdim7 substition, in the G7 case, where does the #G come from? I get that we can use it because it shares every other tone with G7 but since the progression is in Cmajor and #G isnt there, do we think that note as being a b9 extension of the original G7 chord or like a borrowed note from the C major parallel minor, or maybe both/neither?. Thanks for the lessons, ive been learning a lot from your channel in this last few weeks.
Question here! Do substituted chords retain their same harmonic function as the chords they are subbed for? Like will V chord substitutions still want to resolve to the I, no matter which substitution you choose? Thanks!
Correct if I'm wrong because I am noob, but at 3:03, when you were demonstrating iim7 -> V7 -> I7, did you subconsciously use median note sub to make it A7? I think I see your right 3 finger on A. Thanks again for the vids, this is the most informative theory I've ever seen
Good pick up. Did you mean an Am7 rather than an A7? As an A7 would have a C# in it, but I played a C natural. In fact, I was playing a C6 (C E G A). Even though the right hand is playing an Am triad, the left hand is playing a C Major triad - there is a C in the bass. This makes it sound like it's a C6. If I had played an Am triad in my left hand - with an A in the bass - then you would be correct, it would sound like an Am chord which would be a median note substitution.
xD Yeah, that's what I should have said. I only noticed cuz I decided at that moment to practice spelling by looking at your voicing, and I noticed that I couldn't find that B.
That was a chord substitution that created a deceptive cadence. I substituted the CMaj7 for an Am7 which led to the chord progression being a deceptive cadence.
I just want to write you a note telling you how incredible these videos are. I am a songwriter and have been trying to learn from home the next step in my songwriting. I have found many sources that eluded to these principles, or that told you point blank what chords to use, but never the underlying theory and options I have to choose from in order to apply it in my own songs. I am using your website to work through the various lessons- particularly about chords and then I'm sure many others will be helpful. I don't write jazz, but I do find that the jazz chords are the sound I have in my ears- I just like the complexity with jazz chords I suppose. Thank you thank you for teaching me what I couldn't find anywhere else!!
No worries, Laura. Very glad to hear you're liking the vids and the website. I only launched it a few months ago so good to see someone is actually using it. That's exactly why I made it - to try spell out the actual underlying theory rather than just get people to rote learn chord progression.
Thanks for the comment :)
Hi,I was looking for those things long time ago, I finally find it. I bless you in Jesus Name .post more videos,that one help a lot.thanks
This video is soooo helpful to me--thank you so much!
You have really made chord substitution very useful and easy to understand. Kindly make a video on how to play the left hand root chords and the various ways of playing the intermediate and advance ways of playing the left hand chords
Really nice video !!
nice and clearly explained.. thanks
firsts of all: awesome videos - thank you very much!
Question: I'm trying to learn nice sounding chords if I am for example in Am. In the chapter tension notes we've learnt that there are unavailable tensions like in the case of Am the note F. If I use a chord substitution like in 2:32, do I have to change the bass line also to Fmaj7 or can it remain in Am (but then I would play the unavailable tension note F...)?
Hi, first I wanted to thank you for those videos. I find them very usefull and clear to understand !
I got a question about the tritone sub. though... In the example you played, you substituted the II7 to get to the V7 and make the perfect cadence. So you used the tritone substitution in place of a II7. After having a try myself I realised that this substitution seems to be working only on that II7 and not that well on the V7-I.
I wonder if it's just me that doesn't apply this substitution well, or is it "wrong" to tritone-substitute the V7 during the cadence ?
Thanks again for all those vids and your website! I'll recommend it to whoever would like to understand a bit more in jazz music !
Question: In the #Vdim7 substition, in the G7 case, where does the #G come from? I get that we can use it because it shares every other tone with G7 but since the progression is in Cmajor and #G isnt there, do we think that note as being a b9 extension of the original G7 chord or like a borrowed note from the C major parallel minor, or maybe both/neither?. Thanks for the lessons, ive been learning a lot from your channel in this last few weeks.
I have the same question, you don't see a lot of that even tho it works e.e but I dunno why either...
Question here! Do substituted chords retain their same harmonic function as the chords they are subbed for? Like will V chord substitutions still want to resolve to the I, no matter which substitution you choose? Thanks!
Yes
You sir, are amazing, thanks a lot c:
Correct if I'm wrong because I am noob, but at 3:03, when you were demonstrating iim7 -> V7 -> I7, did you subconsciously use median note sub to make it A7? I think I see your right 3 finger on A. Thanks again for the vids, this is the most informative theory I've ever seen
Good pick up. Did you mean an Am7 rather than an A7? As an A7 would have a C# in it, but I played a C natural.
In fact, I was playing a C6 (C E G A). Even though the right hand is playing an Am triad, the left hand is playing a C Major triad - there is a C in the bass. This makes it sound like it's a C6. If I had played an Am triad in my left hand - with an A in the bass - then you would be correct, it would sound like an Am chord which would be a median note substitution.
xD Yeah, that's what I should have said.
I only noticed cuz I decided at that moment to practice spelling by looking at your voicing, and I noticed that I couldn't find that B.
damn...i gotta see those videos on slowmotion hahahaha
That was not chord substitution (at 40 sec) but a deceptive cadence, yes?
That was a chord substitution that created a deceptive cadence.
I substituted the CMaj7 for an Am7 which led to the chord progression being a deceptive cadence.
Ah! thank you :)