Wow, that was so easy and effective. Thanks for the easy visual explanation with the chord names on screen. I got it right away with the only exception of resolving the last chord with jewelry
For the last couple of years, when creating my own music, I've been going through same old chord progressions, unable to break out of the 'mold' that I've created in my playing...eventually using some clever chord substitutions, but always somehow feeling enclosed by that mold. I wondered what's the trick that good players use to 'break out', and I've watched many tutorials on many youtube channels but haven't really gotten help on that topic...You can't imagine how happy I am that you've shown this trick today. This is literally the thing that I've been looking for.
Write the melody first, and then use good 'ol trusty 2-5-1 progressions. Dictate where you're going with dominants. Normal 7th's are often easy, but you can spice them up with anything 6, 9, b9, 11, #11, 13, b13, b5, #5, #9 (major7#9, the Jimi Hendrix chord). If you're at a loss play a Ebmaj9, instant inspiration right there. Mediants are cool, especially 2nd degree mediants (for example Cmaj7 to A7/C# (and to Dm9 to finnish it off)). There are no limits. Then again there is no shame in using the same progressions over again, there are only so many viable options.
Mangold, I appreciate all the content you upload. I can only peck out block chords on piano, working on that. I LOVE taking your lessons and ideas and translating them to my guitar playing. Very beautiful and musical for sure. You're teaching guitar too, congrats!
when i was in a band we used to do this all the time. I always liked going > example changing from E natural minor to G natural minor to get kinda a fantasy sound
I see someone already pointed out the A# should be A in your scale on the screen so just to alert people. But I think we should also say why this works. The F# scale is the natural minor form of the scale, which is the relative minor of the A major scale, hence the term conjugate minor. It is very common to go between A major and F# minor therefore because they share notes and chords. Going between A minor and F# minor is only a subtle difference.
hey mangold, just a quick message to thank you for your job. Im a (jazz?) saxofone player trying to learn more about harmony and your videos help a lot. Its always a great moment to learn more about this amazing world of music. Take care ! Mat (french sax player from Chile) :)
Thank you Mat. One of my favorite musicians is a sax player (Frank Foster, who played with Count Basie's band for many years). I've copied his sax solo on Little Pony from one of Basie's records to the note on the piano!
In the last example, just going back and forth, it really suggests a theme of someone trying to talk about one thing, and then ending up talking about another, and then saying "but no, it IS the other thing that's more important," and so on. Sometimes in life you really can't decide what's more important, or where the real theme is, and it's a clever musical mimicry.
F# Minor and A Major are not exactly the same. Although they're relative keys, minor keys give you the freedom of using different types of minor keys, so if he decided to use harmonic or melodic F# Minor instead of just the natural minor scale, he could've used chords that are not in the key of A Major.
I would've never even given it a thought while transcribing/listening to a solo of, say, Robert Glasper or Hiromi Uehara. They do it quite a bit, and I think I somewhat picked it up without realizing it when I first started playing. It's a known tool, now that it's been shown to me and explained. It's dope for my ears, despite its simplicity.
Movement of a 3rd whether it's a minor 3rd or major, relative keys or a chromatic mediant relationship always have a tendency of perking up our ears. I think it's because those keys and chords we move to contain so many of the same notes from the previous tonality that it blurs the line between whether we've really made an abrupt modulation or just gone out of our way to heavily tonicize the m3/M3rd, m6/M6th of the scale prior.
I believe the answer is in the first statement: movement of a 3rd. Yes, our brains register the subtle changes, especially when they're made incredibly obvious, even if individual listener's can't accurately describe what they've heard. At least that's my guess anyway based on how easily people develop relative pitch.
I use this alot. I basically think about it as tertiary harmony. The keys C major and A major are separated by Major third and they share the common tones, A and E which change function as the key changes. In C they are active tones. In A they are Stable tones.
For a change to something radical sounding you should modulate from the A minor scale to a series of chords where they're all major #5 and see what you get from that. Actually the late jazz player, Mulgrew Miller does this in his rendition of "Body and Soul" in the in the first several measures and then when that pattern repeats later again returns to this modulation.
Great lesson. You can, of course, take this idea to the next degrees of that symmetric tonic system, i.e. you can go from Am to Cm, or Am to F#m then to Ebm, etc. The more even transitions seem to come from adjacent steps through this symmetric system, i.e. Am to Ebm requires some more finesse to make it work, but Am to Cm (sounds best of course if you approach via G) and Am to F#m are relatively smooth. For that matter, you can rotate through any symmetrical system to similar effect (i.e. go from Am to C#m to Fm, or Am to Fm).
Better than when the singer changes key without telling the instrumentalists.......Did you hear the one where the accompanist stops, throws up his hands in frustration and exclaims "I play on zee vite keys, I play on zee black keys, but you, you sing in zee slits!"
@Julian Diaz Maybe I can solve the "mystery". In the graphic above the keyboard, the F# minor scale is shown to have an A# (oops!), so maybe that's what the guy was referring to. The graphic appears around 3 minutes in. :) th-cam.com/video/gvRvXDgBcT4/w-d-xo.html
Honestly, The opening progression brings me to tears every single time I listen to it. So beautiful. I'm getting there Mangold, I'm on my way there thanks to you.
Frankly. I play guitar and I dont know one key on piano from another but that was an awesome lesson. Clear, immediately useful and inspiring. Thanks. I just subscribed
I think you might consider the trick of playing the relative minor scale of a minor scale, so you could do that from A minor to F# minor but even from F#minor to D#minor in the same piece. should be just consider as another way or tool to modulate.
Yes since f# is the relative minor of A major . You could say that he is switching between parallel keys A major an A minor ., but with the only exception that they don't share the same tonic
I've seen this technique also applied between major and minor scales moving from the major scale to the minor 3rd. I'm no theory guru by no means. Thanks for sharing.
Merci for these videos. These techniques are out of my pay grade...for now. But your explanations are based on logical ideas based on music theory and help throw another bone to learn chords and scales.
Some people might miss a major concept here.. This is new to me and I love the idea, but it seems the magic of it is because YOUR RIGHT HAND STAYS IN A MINOR. If I'm not mistaken, as I watch your right hand, it's NOT MODULATING, and that's what makes it special.
My biggest help in understanding notes and progression is to think of everything in flats. Correlate minor to major and you've just taken away half of thought. A minor is c major. G flat minor is a major. Now apply circle of 5ths.
i don't know everything you're talking about, but your technique has my subscribed. I hope i'll learn a few tricks from you, as each and everyone of them is important to me and to my short bag of tricks.
Great video mate but I think by mistake you wrote an A# on the F# minor scale instead of a regular A note other than that great explanation thanks for sharing...cheers
:( The thing that frustrates me the most about this video is the chord voicings! The progression and theory sounds so beautiful but I can't reproduce it right now because the voicings are hard to keep up with
This kind of thing is a real art. He will often play upper extensions so your chords might have a 9th or 11th thrown in. You get to know how to space out the left hand voicings, avoid duplicates and cluster dissonant notes
Where did you learn all this stuff? I don't know where I'd go to learn ANYTHING before youtube. The college music schools don't even teach it. It's crazy. You had another video that expands the chord tool box to the relative minor scale. I saw a website where the author mentioned borrowing chords from the parallel minor. What do you think of this? Obviously, that would mean learning C and Cm instead of C and Am. Which is more important to be able to know and use? I'm already ready to throw in the towel and just focus on melody writing, then trying to come up with the best option of all chords available in the universe instead of trying to overthink it. It's chord selection that's slowing me down, so I figured I'd come here to try and learn how to narrow it down. Which videos of yours show how to harmonize a song once the melody is written, or how to come up with both at the same time?
What an incredible tutorial. I've always wondered how to play that sort of movement. Now I know...and knowing is half the battle. The other half, for me at least, is to apply it in practice on my instrument of choice, which is guitar. Thanks for sharing your vast knowledge. I hope to see more videos on various modulation techniques very soon as these are extremely valuable tutorials. After studying a bit, I've noticed that you're modulating to the closest chord of the new minor key, as in the Em - F#m (except in the case of the F#m - Dm, which is major 3rd down...btw, the F#m could be substituted by an F#7#9). Am I correct? Also, how would you write a modulation such as this using the numbering system ( ie ii - V7 - I )? For my last question, what type of chord are you playing for the Gmaj? Since the progression is in Cmaj, G would be the V; but it doesn't sound like you're playing a dominant chord. Is it some sort of 11 chord?
Very interesting concept. Really sounds Jazzy, and reminds me of classical composers like Brahms and Debussy, most of there romantic work. Appreciate you sharing!!!
Thanks. You've probably evolved as well which is why you view lessons differently. "No man ever steps in the same river twice, for it's not the same river and he's not the same man."
yup, that's it - in jazz harmony it's called modal interchange. your diatonic chords which you can use in major are I: Cmaj7 II: Dmin7 III: Emin7 IV: Fmaj7 V: G7 VI: Amin7 VII: Bmin7(b5) you are now free to add the following (originating from the c minor scale!) chords in your improvisation whenever you want ---> you take chords out of a different mode (aeolic in c: c d eb f g ab bb c) ---> modal interchange I: Cmin7 II: Dmin7(b5) bIII: Ebmaj7 IV: Fmin7 V: Gmin7 bVI: Abmaj7 bVII: Bb7 Totally ok to just mix these chords (one originating from major mode (ionic) the other from minor (aeolic)! Cheers
Right on, and that's an interesting way to think about it, basically he's playing off the vi of C major diatonic triad series (Amin) (as musicfromhenja points out) and the vi of A (F#min) as the key centers, then also playing vi, ii, iii, IV, and V of C and A. Very creative way to use and abuse the major diatonic triad/tetrad progression ;-). However the sound you're getting is largely due to the key center sounding minor. There is a minor diatonic triad/tetrad series but it's not as versatile as the major because the chords get unpleasant. Thanks for the new sound and the creative insights.
Can i get what right hand chords playing what left hand chords are playing!! If it is possible show the chords .I mean Aminor (right hand) f#(left hand) like that
I could listen to this progression all day. Reminds me of Robert Glasper.
I thought the same thing!
Don't forget Casey Benjamin
If you want to learn how to play piano like a pro then visit this website here: HootPiano.info
Michael Reyes no here
This is something you would hear in the black church as "talking music". Thank you for sharing the theory behind this!!!
Never heard of talking music. Thanks for sharing!
MangoldProject surely you've heard of "talk music" not "talking" I doubt. Thanks for sharing. Loved it.
i will def be usuing this as background talk music. thanks a million.
"And I KNOW that the LORD JESUS..." *modulation intensifies*
@@MangoldProject it's basically background music played during an interlude like announcements.
I find it impressive how you come up with those inversions so quickly and on the spot
It's all about drilling it into your head with repeated practice.
Daniel K
Daniel K
Daniel K
Daniel K
the plug for your sister's website was so sweet!!
OMG! I was doing this by ear, but now I understand how to do it. It's an excellent tool for any scale.
Wow, that was so easy and effective. Thanks for the easy visual explanation with the chord names on screen. I got it right away with the only exception of resolving the last chord with jewelry
:)
I'm impressed by how nice this video looks, good job! And thanks for not keeping secrets to yourself! It makes life better when you share :)
For the last couple of years, when creating my own music, I've been going through same old chord progressions, unable to break out of the 'mold' that I've created in my playing...eventually using some clever chord substitutions, but always somehow feeling enclosed by that mold. I wondered what's the trick that good players use to 'break out', and I've watched many tutorials on many youtube channels but haven't really gotten help on that topic...You can't imagine how happy I am that you've shown this trick today. This is literally the thing that I've been looking for.
Write the melody first, and then use good 'ol trusty 2-5-1 progressions. Dictate where you're going with dominants. Normal 7th's are often easy, but you can spice them up with anything 6, 9, b9, 11, #11, 13, b13, b5, #5, #9 (major7#9, the Jimi Hendrix chord). If you're at a loss play a Ebmaj9, instant inspiration right there. Mediants are cool, especially 2nd degree mediants (for example Cmaj7 to A7/C# (and to Dm9 to finnish it off)). There are no limits. Then again there is no shame in using the same progressions over again, there are only so many viable options.
This is my first time listening to you and I must say you're the best teacher I've ever heard and watched. thank you very much.
Why, thank you Thomas.
You’re a great teacher ... very blessed to have found you on line .
Many thanks HD.
Really nice you helping yur sister
Mangold, I appreciate all the content you upload. I can only peck out block chords on piano, working on that. I LOVE taking your lessons and ideas and translating them to my guitar playing. Very beautiful and musical for sure.
You're teaching guitar too, congrats!
Then maybe I can watch my own videos and learn some guitar myself :)
THIS is exactly what I need, right to the point.Excellent .Thanks for all the giving.
Thank you for these lessons! Really learning a lot and excited to explore these concepts
Absolutely Brilliant Mangold. Thank you so much for your wonderful lessons. I follow every one video and its as interesting as the next one.
when i was in a band we used to do this all the time. I always liked going > example changing from E natural minor to G natural minor to get kinda a fantasy sound
Thanks for this! I've heard this in so many acid jazz/broken beat tunes and never even thought about what they were doing.
I see someone already pointed out the A# should be A in your scale on the screen so just to alert people. But I think we should also say why this works. The F# scale is the natural minor form of the scale, which is the relative minor of the A major scale, hence the term conjugate minor. It is very common to go between A major and F# minor therefore because they share notes and chords. Going between A minor and F# minor is only a subtle difference.
hey mangold, just a quick message to thank you for your job. Im a (jazz?) saxofone player trying to learn more about harmony and your videos help a lot. Its always a great moment to learn more about this amazing world of music. Take care !
Mat (french sax player from Chile) :)
Thank you Mat. One of my favorite musicians is a sax player (Frank Foster, who played with Count Basie's band for many years). I've copied his sax solo on Little Pony from one of Basie's records to the note on the piano!
i have always wondered how these progressions worked. thanks!
In the last example, just going back and forth, it really suggests a theme of someone trying to talk about one thing, and then ending up talking about another, and then saying "but no, it IS the other thing that's more important," and so on. Sometimes in life you really can't decide what's more important, or where the real theme is, and it's a clever musical mimicry.
The minor chord progressions for both the call and response combined with conjugation pretty much always = that feeling of intense soul searching.
He just did modal mixing. F# Minor's the same as A major. He played A minor first and then moved to A major (parallel scales).
Why explain simply when you can do it in a complicated way? ^^
F# Minor and A Major are not exactly the same. Although they're relative keys, minor keys give you the freedom of using different types of minor keys, so if he decided to use harmonic or melodic F# Minor instead of just the natural minor scale, he could've used chords that are not in the key of A Major.
I would've never even given it a thought while transcribing/listening to a solo of, say, Robert Glasper or Hiromi Uehara. They do it quite a bit, and I think I somewhat picked it up without realizing it when I first started playing. It's a known tool, now that it's been shown to me and explained. It's dope for my ears, despite its simplicity.
Movement of a 3rd whether it's a minor 3rd or major, relative keys or a chromatic mediant relationship always have a tendency of perking up our ears. I think it's because those keys and chords we move to contain so many of the same notes from the previous tonality that it blurs the line between whether we've really made an abrupt modulation or just gone out of our way to heavily tonicize the m3/M3rd, m6/M6th of the scale prior.
I believe the answer is in the first statement: movement of a 3rd. Yes, our brains register the subtle changes, especially when they're made incredibly obvious, even if individual listener's can't accurately describe what they've heard. At least that's my guess anyway based on how easily people develop relative pitch.
Tip: in a major II V7 I, play the IIm7 dorian then go UP a minor 3rd !
Dm7 => DEFGABC
G7 => FGAbBbCDEb=> G7(b13/9alt) !
Really dug your work in putting the graphics up. They really helped me to "see" what you were discussing. thanks for the video!
That's why I put effort into them. Without the graphics it becomes a lot more abstract. I try to explain things the way I see them in my head.
I like the graphic above the keyboard illustrating the shifts between scale degrees
Thanks! That took me a while to prepare ...
I use this alot. I basically think about it as tertiary harmony. The keys C major and A major are separated by Major third and they share the common tones, A and E which change function as the key changes. In C they are active tones. In A they are Stable tones.
Beautiful chord progressions and voicing. Thank you for the idea 💡
You're welcome.
For a change to something radical sounding you should modulate from the A minor scale to a series of chords where they're all major #5 and see what you get from that. Actually the late jazz player, Mulgrew Miller does this in his rendition of "Body and Soul" in the in the first several measures and then when that pattern repeats later again returns to this modulation.
Great lesson. You can, of course, take this idea to the next degrees of that symmetric tonic system, i.e. you can go from Am to Cm, or Am to F#m then to Ebm, etc. The more even transitions seem to come from adjacent steps through this symmetric system, i.e. Am to Ebm requires some more finesse to make it work, but Am to Cm (sounds best of course if you approach via G) and Am to F#m are relatively smooth. For that matter, you can rotate through any symmetrical system to similar effect (i.e. go from Am to C#m to Fm, or Am to Fm).
Ok, let's change the key but don't tell the singer you're modulating!
haha lol
Better than when the singer changes key without telling the instrumentalists.......Did you hear the one where the accompanist stops, throws up his hands in frustration and exclaims "I play on zee vite keys, I play on zee black keys, but you, you sing in zee slits!"
@@kathleenegbert1989 😅
A good example is “After The Love Has Gone” by Princess, the middle 8 does this type of modulation.
There is no a# in F#m
49jubilee What? A major doesn't mean A#, and there's no A# in F#m or A major
@Julian Diaz Maybe I can solve the "mystery". In the graphic above the keyboard, the F# minor scale is shown to have an A# (oops!), so maybe that's what the guy was referring to. The graphic appears around 3 minutes in. :) th-cam.com/video/gvRvXDgBcT4/w-d-xo.html
I was about to say.
Yeah, I came here to say the same thing. :)
Ok b flat, yeah yeah. You understood it Jesus give him a break guys lmao
Honestly, The opening progression brings me to tears every single time I listen to it. So beautiful. I'm getting there Mangold, I'm on my way there thanks to you.
Thank you Annissa for your kind words.
Can't wait to try it. Thank you MP.
Frankly. I play guitar and I dont know one key on piano from another but that was an awesome lesson. Clear, immediately useful and inspiring. Thanks. I just subscribed
Excellent done. I will follow your examples and work it through. Thumbs up.
Thanks Tor. I really appreciate all the nice comments you & the other viewers leave on my videos.
Very cool modulations professor. Trainning good here😊
I love the way it sounds
Cool!
It is essentially switching between A minor and major ;)
That is another way of looking at it :)
It's a very simple basic thing in jazzing up things. But when you make a TH-cam video, each basic thing has to be called a _secret_. ;)
I think you might consider the trick of playing the relative minor scale of a minor scale, so you could do that from A minor to F# minor but even from F#minor to D#minor in the same piece. should be just consider as another way or tool to modulate.
Yes since f# is the relative minor of A major .
You could say that he is switching between parallel keys A major an A minor ., but with the only exception that they don't share the same tonic
In my opinion yes and no lol. Since A is no longer 1, F# is. I could be wrong but that's what I got from this video.
I've seen this technique also applied between major and minor scales moving from the major scale to the minor 3rd. I'm no theory guru by no means. Thanks for sharing.
Merci for these videos. These techniques are out of my pay grade...for now. But your explanations are based on logical ideas based on music theory and help throw another bone to learn chords and scales.
Some people might miss a major concept here.. This is new to me and I love the idea, but it seems the magic of it is because YOUR RIGHT HAND STAYS IN A MINOR. If I'm not mistaken, as I watch your right hand, it's NOT MODULATING, and that's what makes it special.
Exactly, the chord tones in A min become extensions over F# min - providing color.
I love this switch up to the new key. Taking notes :D
Are those notes in or out of key? ...
Great trick!!!!🙏🏾🙏🏾🙏🏾
Great video: tangible, bite sized concept with clear repeated examples to apply to playing today.
Thanks!
Thank you Mangold for another great lesson
So much easier to follow in later videos with the spilt screen keyboard. I'll be hitting that pause button!
Yep ... I might redo some of my older videos in the new format.
@@MangoldProject Just to be clear. love your work! Just so much easier with the newer format.
My biggest help in understanding notes and progression is to think of everything in flats. Correlate minor to major and you've just taken away half of thought. A minor is c major. G flat minor is a major. Now apply circle of 5ths.
i don't know everything you're talking about, but your technique has my subscribed. I hope i'll learn a few tricks from you, as each and everyone of them is important to me and to my short bag of tricks.
That is amazing, thank you.
Excellent information and demonstration! Thank You!
You're welcome!
Thank you, thank you! Love ❤️ this!
This sounds so good. Excelent ideas! Thanks for sharing!
You're welcome Jorge.
Great video mate but I think by mistake you wrote an A# on the F# minor scale instead of a regular A note other than that great explanation thanks for sharing...cheers
Thank you, sounds beautiful! The graphic has an A# for a "F# minor scale"?
I think ur right, it should be A not A#. Otherwise, perfect video!
km4hr Yeah it should be A, not A# F#minor is the relative minor of A major.
:( The thing that frustrates me the most about this video is the chord voicings! The progression and theory sounds so beautiful but I can't reproduce it right now because the voicings are hard to keep up with
I have many videos on chord voicings you should check out. But I'll take your advice to heart and spell out voicings more clearly in future videos.
If you want to learn how to play piano like a pro then visit this website here: HootPiano.info
Hey Adam slow it down to 25% or 50% speed at critical times...
This kind of thing is a real art. He will often play upper extensions so your chords might have a 9th or 11th thrown in. You get to know how to space out the left hand voicings, avoid duplicates and cluster dissonant notes
So glad I found you again. I subbed. Thanks bro!
Welcome aboard.
Thank you for sharing... really needed something like this to practice.
You got it :)
I have to say that I absolutely love your videos! I learn so much with them.. I attend to your classes eeevery day :) keep doing videos like this!
YOU ARE OPEN MY EYES THANK YOU
Thanks. You have a very clear accent. Knowing the basic English language, it's easy for me to understand you
Doin' my best.
very cool. I'm going to try this right away.
Mind blown 🤯Thank you!! 🎹
really beautiful
really dig the progression at 6:50
LucidVoid coulda looped it for a dope beat
Errata in top of vídeo: F# Minor scale => no A#, but natural A.
Observation: excelent vídeo! Thank you! 👏🏽👏🏽👏🏽👏🏽👏🏽
Where did you learn all this stuff? I don't know where I'd go to learn ANYTHING before youtube. The college music schools don't even teach it. It's crazy.
You had another video that expands the chord tool box to the relative minor scale. I saw a website where the author mentioned borrowing chords from the parallel minor. What do you think of this? Obviously, that would mean learning C and Cm instead of C and Am. Which is more important to be able to know and use? I'm already ready to throw in the towel and just focus on melody writing, then trying to come up with the best option of all chords available in the universe instead of trying to overthink it. It's chord selection that's slowing me down, so I figured I'd come here to try and learn how to narrow it down. Which videos of yours show how to harmonize a song once the melody is written, or how to come up with both at the same time?
I reverse engineered the playing of my favorite pianists (Lyle Mays mostly).
Awesome. Beautiful sound.
Nice trick Mangold thanks. Love it 👍👍
This will be all I practice till I have it in the bag. So worth it hahaha beautiful sound!
This is wonderful! Well explained
Thanks.
very nice i'll practice that for sure, it sounds jazzy :)
What sweet brother!!!👏👏👏
What an incredible tutorial. I've always wondered how to play that sort of movement. Now I know...and knowing is half the battle. The other half, for me at least, is to apply it in practice on my instrument of choice, which is guitar. Thanks for sharing your vast knowledge. I hope to see more videos on various modulation techniques very soon as these are extremely valuable tutorials.
After studying a bit, I've noticed that you're modulating to the closest chord of the new minor key, as in the Em - F#m (except in the case of the F#m - Dm, which is major 3rd down...btw, the F#m could be substituted by an F#7#9). Am I correct? Also, how would you write a modulation such as this using the numbering system ( ie ii - V7 - I )? For my last question, what type of chord are you playing for the Gmaj? Since the progression is in Cmaj, G would be the V; but it doesn't sound like you're playing a dominant chord. Is it some sort of 11 chord?
James Robinson
“Just going to play something.”
Plays a brilliant jazz masterpiece.
Reminds me of the Sims
Thanks for the tutorial. Sounds nice.
Thank you Asher!
Thank you so much, very easy to understand!
Very interesting concept. Really sounds Jazzy, and reminds me of classical composers like Brahms and Debussy, most of there romantic work. Appreciate you sharing!!!
thank you for taking me to another level!
My pleasure Zachary.
youtube lessons have come a long way over the last few years. really good 👍
Thanks. You've probably evolved as well which is why you view lessons differently. "No man ever steps in the same river twice, for it's not the same river and he's not the same man."
oh my!I was searching for something like this
a huge thanks!!
Good to know. Have fun with it :)
Very creative. Thank you.
Great lesson
Beautiful!
F-sharp minor does not have an A-sharp. The graphic is wrong at 2:46
@@BryWMac Take a tiny piece of black tape, paste it over that # while watching this video and you'll be just fine.
Great tutorial!
Excellent, thank you!
Great trick, thanks for the tip.
Thanks for your effort!
You're welcome!
thanks i'll try this when I get a chance
Reminds me of Avishai Cohen, great work !
man, I haven't practised in a long time and I haven't watch your video in years! Prodigal son, I'm back. I'll turn on the bell icon too
Welcome back.
Impressive !!! Thank you !
thank you! subscribed!
Welcome aboard :)
Its like moving from A minor to A major because F sharp is the relative minor of A major
That's a very interesting observation. I never thought of it that way. Thank you for sharing.
yup, that's it - in jazz harmony it's called modal interchange. your diatonic chords which you can use in major are I: Cmaj7 II: Dmin7 III: Emin7 IV: Fmaj7 V: G7 VI: Amin7 VII: Bmin7(b5)
you are now free to add the following (originating from the c minor scale!) chords in your improvisation whenever you want ---> you take chords out of a different mode (aeolic in c: c d eb f g ab bb c) ---> modal interchange
I: Cmin7 II: Dmin7(b5) bIII: Ebmaj7 IV: Fmin7 V: Gmin7 bVI: Abmaj7 bVII: Bb7
Totally ok to just mix these chords (one originating from major mode (ionic) the other from minor (aeolic)!
Cheers
only talking about diatonic chords in the key of C! ofc
Right on, and that's an interesting way to think about it, basically he's playing off the vi of C major diatonic triad series (Amin) (as musicfromhenja points out) and the vi of A (F#min) as the key centers, then also playing vi, ii, iii, IV, and V of C and A. Very creative way to use and abuse the major diatonic triad/tetrad progression ;-). However the sound you're getting is largely due to the key center sounding minor. There is a minor diatonic triad/tetrad series but it's not as versatile as the major because the chords get unpleasant. Thanks for the new sound and the creative insights.
You certainly have good taste Sir!
Why, thank you. I do my best :)
So can we relate each chord to a function?
Can i get what right hand chords playing what left hand chords are playing!! If it is possible show the chords .I mean Aminor (right hand) f#(left hand) like that
Excellent - really very helpful when you teach us such simple ways to improve our sound - thank you 😀