Although your lessons are short they are quite enlightening. I hope at times you will tackle subjects that require more time as you had in the beginning. I do enjoy the shorter format but sometimes a subject can not be explained in such a manner. Thanks for your efforts.
Thank you for the feedback! I normally keep my videos on TH-cam relatively short, over at the membership site (www.pianopig.com) is where I create a wider variety length of videos, from 2 mins to 30 mins. The website is not yet launched yet but will be this year. Hopefully you will find the more detailed lessons you are looking for there :)
Wow! Great explanation that finally answered my questions about this progression. Now that I understand the reasons for the chord alterations (ie, that the chords are diatonic to the harmonic minor rather than the natural minor scale)I will never forget to include them. Thanks as always for making a complex concept so clear!
I use your videos to prepare for my music entrance exam. Thank you so much for explaining Jazz theory so precisely and understandable without "blablabla". You help me a lot and do an awesome job. :)
You explained it perfectly!!! I always heard this 2-5-1 in orchestral music all the time and didn't even know it was a minor 2-5-1! The 2 half diminshed chord acts as a suspension chord (the C) that resolves to a 7flat9 (to the B)! Love it!!!
Please, it is confusing! The flat sign on F note, should it be on A note instead, since A flat is also in the key signature? If there is a reason, please explain!,! Thanks, Tanya
I have just spotted that mistake! I assume you mean the Dm7(b5) chord at 1:43? Yes that should be an Ab not an Fb. You can see what it should be just by seeing what my hands are playing. I will try and fix this error - thank you for pointing it out!
Wow, great lesson as usual, minor ii v i sounds beautiful, interesting. Probably in part to it not being used and heard as frequently as the major II V I progression.
Hi there, I am sorry, never meant it as mistake. You know your stuff, so eloquently. I saw it as a misprint. Thank you for this reply. I have returned to music after 40 years of break. I thoroughly enjoy your classes. I keep listening to them again and again. Your explanations are spot on, direct to the subject, not like some, they go round and round to explain and that is cumbersome, confusing at times and tiring. If you could please send me, what fingers to use on scales with 5 and 6 sharps or flats, I will be indebted to you. Thank you so much for your genuine interest for our learning. (By the way, I would like to have your first name to address you, next time.) Kindest regards Tanya.
Thank you that is very kind, it's great to know that my videos are really helping people! That's awesome that your back after 40 years - never to old to play music! I haven't yet created a 'PianoPig' sheet for scale fingerings I'm afraid, but I can direct you to a great document that has the fingerings for all 12 major scales... left hand AND right. Here it is: www.music-theory.com/download/majorscales.pdf Hopefully that has all the information you are looking for :) Many Thanks, - Simon (for future reference) ;)
Also, wouldn't the melodic minor (ascending) be a better fit for the V chord than the harmonic minor. The V7 has to contend with a #9 tone. Wouldn't the 7th step of the melodic minor, or super-locrian scale be the preferred scale? Thank you in advance!
I dont know music theory, it gives me a headache but I play the piano, singer and songwriter. as long I know which chords and notes to play, I can improvise, so thanks for this.
Thanks a lot for your videos, they are much appreciated! In this one you simply state that for the tonic you can use either of C-maj7, C-7 and C-6 but don't explain why this is the case. I'm really curious to know why, especially given that the latter two aren't diatonic chords of the C harmonic minor scale.
The last chord in the minor 251 can normally be borrowed from various different scales (melodic minor, natural minor, etc.). The diatonic chord would be Cmin(maj7) but this is actually the least common. Try them all and let your ears tell you what you prefer 😀
Voice Leading is the guiding principle. (Resolving tension by moving a half step to the pleasing tone) In the V chord you have an Ab/D Tritone to resolve. And a F/B Tritone as well. The Ab/D Tritone is the more powerful one you need to resolve if you are staying in C minor. One solution is to expand each note of the Ab/D tritone 1/2 step to G/Eb, and also move the B down a 1/2 step to Bb Now you have a C-7 Another solution is to move each tone up 1/2 step from Ab/D to A/Eb, and the B moves a 1/2 step to the C. Now you have a C-6 . Either way you landed on a good feeling by moving in half steps
It s the WAY this Piano Pig teacher PRESENTS his skills , and the WAY this guy EXPLAINS EACH STEP so well! Slowly and clearly, so dam good! NOT hard to follow his videos!!! His TIPS are interesting too! UNLIKE other shity teachers who have KNOWLEDGE, they just do NOT know HOW to teach, and they go so fast that they think YOU know as much as they do as a beginner when they are "shit head " WRONG! love this kind of teaching here and his other videos!!! Real good , wonderful teaching! Do more POP , and love songs of the 50 s , 60 s , 70 s , 80 s to present time! Thanks Piano Pig king!
Thank you for all the kind comments man - I appreciate the feedback... it's comments like these that give me more motivation to keep making videos :) And for future reference.... my name is Simon! But feel free to refer to me as PianoPig, Mr Pig, Dr Trotter or Sir Oinker ;)
Simon, we need to know HOW Rock N Rock people played their songs like "little Richard" , like the song Lucille." , and how did Jerry Butler did his piano playing in " For YOUR Precious Love. " & HOW did the Five Satins did the piano playing in the song - " in the Still of the Night."! Cannot rest til U give us a complete tutorial! And love to KNOW how the song is played in the Power of Love" by Celine Dion. Do it please ,do!!!! OTHERS cannot do it right by ORIGINAL sounds!
ETsonggalaxy yea we don' the want to get to familiar . I'll keep it formal with Mr. PIANO PIG. YOUR ANIMATED KEYBOARD REALLY HELPS OUT FOR ME . NOT KNOWING MUCH MUSIC THEORY
Please help me understand: The extensions that belong to a ii7(b5) are the b9, 11, and b13. I know the b9 would be maybe too dissonant in chording with the b9 relationship with root, but I often use the 11th and b13 in both chord comping and improvisation. How would the harmonic minor account for both b7 (b13 of the ii) and natural 7 (nat 13th)? Wouldn't borrowing from the natural minor scale be a better fit for the ii when accounting for its extensions?
In songs like "On The Beach" by Chris Rea, you have F minor - Gm7b5 - C7, which is very common in jazzier pop music. So is this a ii-v-i but you start on the tonic? or do you call that something else?
A lot of players make sure they are either playing the dimwt scale or auxiliary diminished scale for the 5 chord. I've met more than one good player who don't dig the minor 3rd interval in harmonic minor so they avoid that. Anyway the more choices the better.
paxwallacejazz the preferred scale to play over a “V7b5” (especially in a Im-iim7b5-V7b9) is an ascending melodic minor scale based on a root that is a half step above the root of the “V”. Example: with a G7b9 (often played rootless as G7b9b13: F,Bb,B,Eb) you play Ab ascending melodic minor scale: G, Ab, Bb, B, Db, Eb, F, G. This is also called the “G altered scale”. It is superior to harmonic minor because it has major 3rd in it, and superior to half/hole diminished scale because it has b13 (the b13 in G is Eb).
Thank you very much for this excellent explanation. I found the part on the inversions at the end particularly useful. I've been struggling to understand this for some time, and now I have a way forwards.
Question man. When you got back to the 1st chord (Cmaj7).... You mentioned 3 options... But in the last part of your video you used a Dmajor key in the 1st Chord (Cmaj7)... the 2nd tone as a major 9. What is the explanation behind it? Thanks man. took your video seriously and this really helps.
As far as I understand, in a minor key the tonic would be a minor 7th, so it would be a ii7b5 - v7 - i7, but we want the v to be a major dominant so we have to do a secondary dominant V7/i
Cheers for this, I have been researching "free piano chords sheet music" for a while now, and I think this has helped. Ever heard of - Nonason Ranincoln Genie - (do a google search )? It is a good exclusive guide for discovering how to play the piano like a pro without the normal expense. Ive heard some great things about it and my mate got great results with it.
That's why it's called the harmonic minor, we tend to build harmony from this minor scale. It just makes sense because it causes the 5 chord to be dominant. If you used the natural minor, the 5 chord would be minor
PianoPig this is exactly what I was looking for^^ I was playing a minor 251 using the natural minor scale and my ear is like huh this sounds off, sounds better as a dominant but I know the 5 is minor lol 😭 thank you for this clarification 🙏🏽
@@anirishmoron I think I understand now you've said that. It's because the natural minor scale would make the G (V) chord minor a not dominant? Tell me that's right because my brain is melting
@@myoldskool yes exactly, for example in A minor the note that makes the 5 chord minor is G (E G B). But in harmonic G is raised to G# so that makes that Eminor to an Emajor (E G# B)
You are correct! The only problem is that every chord in existence could be percieved of as about 10 other chords, so it sometimes just creates more confusion that simplicity! It also wouldn't 'technically' be a minor 251 if you were playing an Fm6. But certinaly helps to keep that at the back of your mind to help find the chord quicker! :)
It wouldn't be technically correct no. The reason for this is because when you say it has the 9th, it implies that it has all of the chord tones below (1, 3, 5, 7). Therefore, if we just said G7(b2), this would imply that the 7th is not present.
*Thank you for the **reply.Do** you have any youtube videos that actually demonstrate how to incorporate these minor chords into songs for the benefit of beginners? Also, since minor chords are forrmed on relative minor scales, is it fair to say that minor chords are generally only used in solemn songs in Western music, since the relative minor scale has a sort of Oriental or Egyptian sound to it?Thank you.*
I don't yet have a video on how to incorporate a minor II-V-I into songs for beginners yet, but I will add it to my list of TH-cam videos to make! There are actually 3 minor scales and most minor chords are built using a mix of these different minor scale. In the case of a minor II-V-I the chords are predominantly built using the harmonic minor scale rather than the natural minor (aka. relative minor). The idea that minor is sad and major is happy is very generalized. There are tonnes of happy minor songs and also the opposite. But I suppose yes, a huge amount of the solemn songs in Western music do use the minor scales to create that mood. And that oriental / Egyptian sound you talk about comes from the minor 3rd jump in the harmonic minor... you can also get that similar Eastern kind of sound when the flat 9 is present, in scales such as the phrygian scale. I hope this answered your questions :)
That's the Dorian scale, not the minor scale you just wrote, the minor scale would have an Ab as well. We certainly couldn't use the Dorian scale since the II chord would just be a minor 7 without the flat 5. It's just much easier to think of it being built from the harmonic scale since all the notes we need are already there without having to cross-reference relative majors and parallel minors. Hope this helps!
it;s easier if I explain it in C MAJOR/A min Im just going to push UP one note at a time G#.....F#, G#........then D#, F#, G# ( lydian b3 or melodic #4) I... ii II iii III V v V vi VI vii VII Ocitve Am Bdim C M Dm Em FM GM Am Bdim Caug Dm E7 FM G# dim Amin B min Caug D7 E7 F# dim G# dim Amin B7 C aug D# dim Emaj7 F# dim G# dim A HARMONIC MAJOR A Maj B dim C#7 D min E7 F aug G# dim Natrual min Harmonic min Melodic min Harmonic MAJOR..........( the melodic min #4 =IV mode) There's other Harmonic scales... Harmonic min b2 Melodic min b2 Harmonic min b5 Melodic min b5 Harmonic min#4 Melodic min #4 anyways...you can alter the II chord ...from dim to min7 to Dominant Its just pushing UP A minor will still be the PARENT or TONIC..as your reference piont if you're counting from A.... It donst matter...use the MAJOR INTERVAL as the REFERENCE interval It's the same process for MODEs/chords ( the major;s scale is always use as the reference) becuase you can modulate to A MAJOR too... I if you do C MAJOR....sort of see it as C ION anyways...the II chord if you count from B....using different scales. Those are the TERMs of modes...simply identifying the mode's interval in reference to the major's scale interval. B loc loc maj6 Dorian b2 Mix b2 Half FULL Min7 Dominant If you use A harmonic MAJOR it's B dorian b5......hence the possible FULL diminished ( R, b3, b,5, 6) but you can also modulate DOWN from C MAJOR toward C min as you also Push from A minor towards A MAJOR A lot of modes/chords will intersect. If you learn how to do it both ways...it'll be MAGIC But try to comprehend it in One key at a time...at first. becuase you can shift to multilple keys...back and forth. There's different ways ( which is cool..so you can write different songs/ progression) The II, V, I...or I, IV , V..is just the basic...( you have to start somewhere) Ab Eb Eb, Ab Eb, F#, Ab............ Eb, Ab, Bb ect The II IV vi VII ( as in b6 degree) when you count of A min...the G7 is in the b7 degree NOT Maj7 degree People BUTCHER the romans system The chord degree has nothing to do with what types of chords they are. These are ALL POSSIBLE FULL DIMINISHED. Whether its A Harmonic MAJOR or A harmonic Minor It'll overlap with .... C Harmonic MAJOR or C Harmonic minor as a reference.....B. D. F. G#/Ab ( That's why you need to see it in C Major/Amin) People butcher..that G# or A b The C Harmonic MAJOR sounds DIFFERENT it dont have Maj6 or A note as in G mix b2... NOT G# loc b4, bb7 When you transfer that to other keys..if you the wrong symbol. it's not going to sound the same...The chords might overlap but the MELODY will sound different.... so if you play II, V I.....in C Harmonic MAJOR D dim.....G7 C MAJOR or you can play play other chord such as the IV ( F minor) IV, V, I or I ,IV, V C MAJOR....F min G7 if you play C Harmonic MAJOR or min. it 's D dorian b5 or D loc maj6 A Harmonic Major or min D lydian b3 or D dorian #4 example the III ( maj3) chord of A Harmonic MAJOR its Phrygian b4.....you can stack it like this 1, b3, 5. b7......1, b4. 5, b7......1, b4, b6 or the vi (b6) degree....the F F lydian F Lydian #2 F lydian #2, b7 ( A harmonic min b5) the b7 is the Eb The iii = C b3, #5 It'll overlap like that...C min ish..yes??? or C Harmonic MAJOR = F l ydian b3 C melodic min = F lydian b7 or A Harmonic MAJOR = F lydian aug #2 Lydian = Ion #4 You sort of warp the lydian mode. ( Modulate) The other 8 parallel scales...dont have keys signatures... simply becuase you can use it different ways.
you can look at it like this....PUSH UP from A minor towards A MAJOR in I, IV, V.....counting from the A note....or A minor A min...........D min E min A min D min E7 ( Harmonic minor) The G# note...makes the E min into E7 The second half a scale from the perfect 5th to octive...is a perfect 4th interval. you're basically just Creating 3 into 4.....or 7 into 8. aka LEADING TONE as in....G# into A A min.......D7.........E7 ( melodic minor) F#, G# the II chord is B min7 ( dorian b2) II V I B min.....E7....into A min or you can play double harmonic D# F#, G# B7 into E7 into A min verse D min G7 into C Maj but it dosnt really matter....you can play Dominant chord into MAJ or Minor The II, IV, vi . VII. the Vi = b6 chord degree are all Possible FULL DIMINISHED using the harmonic MAJOR or Harmonic minor C Harmonic MAJOR = D dorian b5 C Harmonic minor = D loc maj6 A Harmonic min = D dorian #4 A Harmonic MAJOR = Lydian b3 or like this.......G7 into C MAJOR or C min E7 into A MAJOR or A min if you count from the SECOND arpeggio of a G7 or dominant chord. it's just DMINISHED chord example......G B. D F G7....B dim E G# B D E7 G# dim D F# A C D7 F# dim
@@kyrlics6515 what part of there;s more than just one type of minor scale did you not get???? A Melodic min.......the II chord = B minor or min7 ( dorian b2) V = E7 as in Mix b6 I = A min or A min/Maj7 A lydian b3 ( melodic min #4 This way you can play the II as B Maj or B 7 V E Maj or E Maj7 I A Min or A dim This way when you play A harmonic min b2 or melodic min b2 You can play the Bb as Maj , maj7, dominant So you can Modulate DOWN to D min/FMaj G Min/Bb MAJOR C min/ Eb MAJOR.. You can also play A Harmonic min b5 or Melodic min b5 Or even A minor b5..... That would be the Eb note from.......C whalla C Minor.lmao That would be A dim....B dim into C Major or C minor or G min A dim Bb Major A lydian ish???? ( vi of harmonic minor is Lydian #2) Or E Harmonic MAJOR G# = Phrygian b4.....whalla G# into C# Minor.lol Or you can play.....Bb Maj7.....C7 to D min or F Major or you can play Bb7 C7 into F melodic min ( F minor) Or you can go like this.....do the CYCLE of Dominant when I say cycle down to the 4th....that's what I mean. Its just a Jazzy of a ma roo of doing the II, V, I and repeat Use ALL DOMINANT chords..... B7 to E7...then to A7 A7 D7 to G7 G7 C7 to F7 F7 Bb7 to Eb7 Eb7 Ab7 to Db Db7 Gb7 to B7,,,and repeat.lol or you can reverse the process or you can do it in Major or Min chord Like this.....it's going to go counter clockwise on the circle of 5th People use the term CYCLE down to the 4th..just to help you to go counter clock wise C F Bb Bb Eb Ab Ab Db Gb Gb B A D G C so those dominant chords are the V of MAJOR's TONIC. Notice those are all of the same ROOT note????
I'm essentially using the 'minor 7' option. But using that option doesn't mean you have to play a standard root position minor 7, you can still add chord extensions and make it a rootless voicing.
I think a better Answer is that we can play almost any minor chord in these chord progressions minor6, m7, m9, m11, m13 with all the dominant 7th chords that can be altered in any variations. G7, G9, with other extensions like b9, +11, 13, b13 etc etc. However, since these chords in "this video lesson" are being taken from the HARMONIC Minor Scale, it's going to force certain chord sounds to happen. Yet, we can do this all day long using Dorian minor, Phrygian minor, Melodic minor, and Natural minor scales too! And every chord progression in a "specific Minor 2-5-1" will sound amazing in some way, having its own music vibes & moods for certain atmospheres you want to create. There's No Rules to what chords you can play, as long as it sounds MINOR for a "minor 2-5-1 pattern/progression", and as long as you use the correct minor scale for those specific chords coming from each Minor Scale you choose to play LOL! I know, it's bananas trying to grasp all of that... Hahaha! Music Theory sometimes makes our heads explode into a giant headache, but it sure is FUN learning new things and new ways to play that Keyboard and Piano!!! 😂😂😂😂💀
You could do all sorts of things! You could do that yes, you could also turn the minor 1 into a dominant chord leading you around the cycle of fourths.
PianoPig thanks so much! I appreciate your openness, I’ll be trying this as soon as I get home. That’s really interesting the way minor and major parallel each other in terms of the cycle of fourths and fifths
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Brilliant tutorial - I've been struggling to get my head around the minor ii-v-i and you've made it understandable. Thanks so much!
Clear, intelligent, elegant. Thank you again for a perfect lesson.
Although your lessons are short they are quite enlightening. I hope at times you will tackle subjects that require more time as you had in the beginning. I do enjoy the shorter format but sometimes a subject can not be explained in such a manner. Thanks for your efforts.
Thank you for the feedback! I normally keep my videos on TH-cam relatively short, over at the membership site (www.pianopig.com) is where I create a wider variety length of videos, from 2 mins to 30 mins. The website is not yet launched yet but will be this year. Hopefully you will find the more detailed lessons you are looking for there :)
Wow! Great explanation that finally answered my questions about this progression. Now that I understand the reasons for the chord alterations (ie, that the chords are diatonic to the harmonic minor rather than the natural minor scale)I will never forget to include them. Thanks as always for making a complex concept so clear!
I use your videos to prepare for my music entrance exam. Thank you so much for explaining Jazz theory so precisely and understandable without "blablabla". You help me a lot and do an awesome job. :)
This was one of the most helpful videos I've ever watched. Thank you so much 🙏🏽
It's my pleasure! 😀
This is good.. Could you do a video of how the placement sounds within a song?
Could you, please explain what you mean by placement? Sounds interesting.😎
This lesson is excellent. Great information, well presented, well paced.
Great explanation for this newbie! Just what I needed. Thank you! 🙏
I called this this a 7-3-6 before the video. I get it, tho. Thanks
You explained it perfectly!!! I always heard this 2-5-1 in orchestral music all the time and didn't even know it was a minor 2-5-1! The 2 half diminshed chord acts as a suspension chord (the C) that resolves to a 7flat9 (to the B)! Love it!!!
6:19 sounds so nice
Is it just me but does this chord progession sound like the PianoPig intro?
1:36 in and you answered my question. Thanks.
Thx for illustrating the common inversions
I play the m7b5 followed by the dominant 7th. alt. followed by M7th. The alt. 7th gives you everything you need.
Totally dig it bro, thanks a lot 🙏🏼
Love from India 🇮🇳
Yet another Wonderful video. Thanks alot
Excelente maestro, gracias por este video. Al fin logre entender los 2-5-1 menores. Dios le bendiga, un fuerte abrazo de un Venezolano en Medellin
Please, it is confusing! The flat sign on F note, should it be on A note instead, since A flat is also in the key signature? If there is a reason, please explain!,! Thanks, Tanya
I have just spotted that mistake! I assume you mean the Dm7(b5) chord at 1:43? Yes that should be an Ab not an Fb. You can see what it should be just by seeing what my hands are playing. I will try and fix this error - thank you for pointing it out!
Wow, great lesson as usual, minor ii v i sounds beautiful, interesting. Probably in part to it not being used and heard as frequently as the major II V I progression.
Tychoooooo
@@_4lec Haha, sorry I'm not Tycho but yes I pinched his little circle thingy 😅
Thank you so much, I really needed this.
Outstanding. Clearly explained without all the stupid bullshit on so many other sites. Thanks very much. Well done.
ii V i! The cornerstone of any harmonious standard....
Wow! That is beautiful.
Hi there, I am sorry, never meant it as mistake. You know your stuff, so eloquently. I saw it as a misprint.
Thank you for this reply. I have returned to music after 40 years of break.
I thoroughly enjoy your classes. I keep listening to them again and again. Your explanations are spot on, direct to the subject, not like some, they go round and round to explain and that is cumbersome, confusing at times and tiring.
If you could please send me, what fingers to use on scales with 5 and 6 sharps or flats, I will be indebted to you.
Thank you so much for your genuine interest for our learning.
(By the way, I would like to have your first name to address you, next time.)
Kindest regards
Tanya.
Thank you that is very kind, it's great to know that my videos are really helping people! That's awesome that your back after 40 years - never to old to play music!
I haven't yet created a 'PianoPig' sheet for scale fingerings I'm afraid, but I can direct you to a great document that has the fingerings for all 12 major scales... left hand AND right.
Here it is: www.music-theory.com/download/majorscales.pdf
Hopefully that has all the information you are looking for :)
Many Thanks,
- Simon (for future reference) ;)
Great one. i think it's always cool to start by the i though ! the v ad great tension before resolving to the im7
1:05
Comment of the year! 🤣🤣🤣
@@aaronbarber6238 Aladdin will agree with you
Also, wouldn't the melodic minor (ascending) be a better fit for the V chord than the harmonic minor. The V7 has to contend with a #9 tone. Wouldn't the 7th step of the melodic minor, or super-locrian scale be the preferred scale? Thank you in advance!
THANK YOU
Well explained
I dont know music theory, it gives me a headache but I play the piano, singer and songwriter. as long I know which chords and notes to play, I can improvise, so thanks for this.
Finally, indeed. Nice video
if you suck at music theory, is there a tool where you can enter the notes you play and it tells you what key and what chords they are?
Try ‘Chord Analyser’......
Thanks a lot for your videos, they are much appreciated!
In this one you simply state that for the tonic you can use either of C-maj7, C-7 and C-6 but don't explain why this is the case. I'm really curious to know why, especially given that the latter two aren't diatonic chords of the C harmonic minor scale.
The last chord in the minor 251 can normally be borrowed from various different scales (melodic minor, natural minor, etc.). The diatonic chord would be Cmin(maj7) but this is actually the least common. Try them all and let your ears tell you what you prefer 😀
"Try them all and let your ears tell you what you prefer"
Voice Leading is the guiding principle. (Resolving tension by moving a half step to the pleasing tone)
In the V chord you have an Ab/D Tritone to resolve. And a F/B Tritone as well. The Ab/D Tritone is the more powerful one you need to resolve if you are staying in C minor.
One solution is to expand each note of the Ab/D tritone 1/2 step to G/Eb, and also move the B down a 1/2 step to Bb Now you have a C-7
Another solution is to move each tone up 1/2 step from Ab/D to A/Eb, and the B moves a 1/2 step to the C. Now you have a C-6
.
Either way you landed on a good feeling by moving in half steps
there's a typo at 1:48, the flat symbol appears to be on F instead of A
I noticed that too. I was confused.
It s the WAY this Piano Pig teacher PRESENTS his skills , and the WAY this guy EXPLAINS EACH STEP so well! Slowly and clearly, so dam good! NOT hard to follow his videos!!! His TIPS are interesting too! UNLIKE other shity teachers who have KNOWLEDGE, they just do NOT know HOW to teach, and they go so fast that they think YOU know as much as they do as a beginner when they are "shit head " WRONG! love this kind of teaching here and his other videos!!! Real good , wonderful teaching! Do more POP , and love songs of the 50 s , 60 s , 70 s , 80 s to present time! Thanks Piano Pig king!
Thank you for all the kind comments man - I appreciate the feedback... it's comments like these that give me more motivation to keep making videos :)
And for future reference.... my name is Simon! But feel free to refer to me as PianoPig, Mr Pig, Dr Trotter or Sir Oinker ;)
Simon, we need to know HOW Rock N Rock people played their songs like "little Richard" , like the song Lucille." , and how did Jerry Butler did his piano playing in " For YOUR Precious Love. " & HOW did the Five Satins did the piano playing in the song - " in the Still of the Night."! Cannot rest til U give us a complete tutorial! And love to KNOW how the song is played in the Power of Love" by Celine Dion. Do it please ,do!!!! OTHERS cannot do it right by ORIGINAL sounds!
i tottaly agree :3 he explains each step so slowly well and detailed :)
ETsonggalaxy yea we don' the want to get to familiar . I'll keep it formal with Mr. PIANO PIG. YOUR ANIMATED KEYBOARD REALLY HELPS OUT FOR ME . NOT KNOWING MUCH MUSIC THEORY
Please help me understand: The extensions that belong to a ii7(b5) are the b9, 11, and b13. I know the b9 would be maybe too dissonant in chording with the b9 relationship with root, but I often use the 11th and b13 in both chord comping and improvisation. How would the harmonic minor account for both b7 (b13 of the ii) and natural 7 (nat 13th)? Wouldn't borrowing from the natural minor scale be a better fit for the ii when accounting for its extensions?
I noticed I can play deminished on the 2. Now I'm looking for a bass backing track with this rogression
In songs like "On The Beach" by Chris Rea, you have F minor - Gm7b5 - C7, which is very common in jazzier pop music. So is this a ii-v-i but you start on the tonic? or do you call that something else?
Very good indeed.
Thx for video. So helpful 👍👍👍
My pleasure!
Very. Good. Tutorial. Well. Explained. Roger.
6:18
Sounds like a ii-V-I in a key of E-flat major
definitely not, maybe similar, but definitely doesn’t sound like that
A lot of players make sure they are either playing the dimwt scale or auxiliary diminished scale for the 5 chord. I've met more than one good player who don't dig the minor 3rd interval in harmonic minor so they avoid that. Anyway the more choices the better.
paxwallacejazz the preferred scale to play over a “V7b5” (especially in a Im-iim7b5-V7b9) is an ascending melodic minor scale based on a root that is a half step above the root of the “V”. Example: with a G7b9 (often played rootless as G7b9b13: F,Bb,B,Eb) you play Ab ascending melodic minor scale: G, Ab, Bb, B, Db, Eb, F, G. This is also called the “G altered scale”. It is superior to harmonic minor because it has major 3rd in it, and superior to half/hole diminished scale because it has b13 (the b13 in G is Eb).
Please dont call us dimwits for using that scale!
Why is the 5 chord a dominant seven? In the scale of c minor, the fifth chord is g minor :/ then why are we playing it as g dominant 7?
kartikeya srivastava harmonic minor
Very helpful 👍👍👍 tq🙏🙏
Sou brasileiro mas asistu tuas aulas, muito boa !!!!
Eu tambem
Thank you. Fine and clear explanation.
GOLD
Why not write the Cm9 with no root as an Ebmaj7? Also, what scales are you supposed to use on the Cm7 or the Cm6?
Thank you very much for this excellent explanation. I found the part on the inversions at the end particularly useful. I've been struggling to understand this for some time, and now I have a way forwards.
But 6:05 is an E flat major 7 not a Cm7? Would you not play C in the bass to make it obvious that it is the root.
why harmonic minor instead of natural minor ? does the diminished 2 chord make it harder to use
Question man. When you got back to the 1st chord (Cmaj7).... You mentioned 3 options... But in the last part of your video you used a Dmajor key in the 1st Chord (Cmaj7)... the 2nd tone as a major 9. What is the explanation behind it? Thanks man. took your video seriously and this really helps.
Very nice explanation. Very useful. Thank you for sharing.
No worries :)
Thanks yes very helpful :)
Please make more tutorial about jazz Bebop Piano... thanks
nice!!!
Love you much
Great videos. My playing has improved exponentially since watching them. Can the 2, 5, 1 chord progression be played in a natural minor scale?
As far as I understand, in a minor key the tonic would be a minor 7th, so it would be a ii7b5 - v7 - i7, but we want the v to be a major dominant so we have to do a secondary dominant V7/i
random question: in a chord progression, if the key is minor but the chord is major, do you label it with a capital or lowercase?
Cheers for this, I have been researching "free piano chords sheet music" for a while now, and I think this has helped. Ever heard of - Nonason Ranincoln Genie - (do a google search )?
It is a good exclusive guide for discovering how to play the piano like a pro without the normal expense. Ive heard some great things about it and my mate got great results with it.
dont trust this, is probably a bot sharing malware
Hey man I have a question here, why do you use the harmonic minor scale to build the diatonic chords instead of using the natural minor scale?
That's why it's called the harmonic minor, we tend to build harmony from this minor scale. It just makes sense because it causes the 5 chord to be dominant. If you used the natural minor, the 5 chord would be minor
PianoPig this is exactly what I was looking for^^ I was playing a minor 251 using the natural minor scale and my ear is like huh this sounds off, sounds better as a dominant but I know the 5 is minor lol 😭 thank you for this clarification 🙏🏽
@@Piano_Pig But the key notation in the music sheet shows the B flatted. If this is the harmonic scale shouldn't the B be natural?
Are you the same person who does the lessons for fret jam? You sound soooo similar
No I'm not haha
Nice!
Thanks a lot for your simplicity and helpfull.
It's my pleasure Alain :)
PianoPig why do we use the Harmonic Minor rather than the other minors for this?
Paul Grass because thats how u get the tritone, in this case the B note, if not, the V chord would be minor
I guess to know more about rootless voicing, u have to understand the inversion chord first, correct?
Check out my video on rootless voicings! th-cam.com/video/w2V_1NkiK3c/w-d-xo.html
what is the first chord on your intro????? i need it
Here you go: th-cam.com/video/x8J9CzSXrUE/w-d-xo.html
@@Piano_Pig Honestly, you are just awesome. thank you!
Well thanks a lot!
for minor we need always to use the harmonic minor scale for it?
i think so
I though the jazz modes came out of the melodic minor ?
WOW! This is fun
I LOVE minor 251s, they are so awesome!
Thank you so much for sharing this info!!!
why the harmonic minor scale?
Because these exact chords (mainly the dominant V chord) don't appear diatonically anywhere else
@@anirishmoron I think I understand now you've said that. It's because the natural minor scale would make the G (V) chord minor a not dominant? Tell me that's right because my brain is melting
@@myoldskool yes exactly, for example in A minor the note that makes the 5 chord minor is G (E G B). But in harmonic G is raised to G# so that makes that Eminor to an Emajor (E G# B)
what software you use to show the piano notes?
Midiculous
Dm7b5 aka Fm6 🙃
You are correct! The only problem is that every chord in existence could be percieved of as about 10 other chords, so it sometimes just creates more confusion that simplicity! It also wouldn't 'technically' be a minor 251 if you were playing an Fm6. But certinaly helps to keep that at the back of your mind to help find the chord quicker! :)
why is the II chord a m7b5 when there is no b5 in the second mode of the melodic minor scale?
Because the chord is built from the harmonic minor, not the melodic minor.
I was wondering what minor 2 chord to play if the tune is based on the melodic minor scale.
Well, the 2nd chord of the melodic minor scale is just a minor 7. I'm not quite sure if that's what you're asking though?
Hi,
Is it acceptable to use these 2 type of voicing in 1 song to have varations?
Absolutely!
No, this is unacceptable
Very unacceptable. IMPOSSIBLE almost.
thanks for the sample haha
*Hello, can the G7(b9) be also called the G7(b2), since A is the 2nd tone in the G octatonic scale?*
It wouldn't be technically correct no. The reason for this is because when you say it has the 9th, it implies that it has all of the chord tones below (1, 3, 5, 7). Therefore, if we just said G7(b2), this would imply that the 7th is not present.
*Thank you for the **reply.Do** you have any youtube videos that actually demonstrate how to incorporate these minor chords into songs for the benefit of beginners? Also, since minor chords are forrmed on relative minor scales, is it fair to say that minor chords are generally only used in solemn songs in Western music, since the relative minor scale has a sort of Oriental or Egyptian sound to it?Thank you.*
I don't yet have a video on how to incorporate a minor II-V-I into songs for beginners yet, but I will add it to my list of TH-cam videos to make! There are actually 3 minor scales and most minor chords are built using a mix of these different minor scale. In the case of a minor II-V-I the chords are predominantly built using the harmonic minor scale rather than the natural minor (aka. relative minor). The idea that minor is sad and major is happy is very generalized. There are tonnes of happy minor songs and also the opposite. But I suppose yes, a huge amount of the solemn songs in Western music do use the minor scales to create that mood. And that oriental / Egyptian sound you talk about comes from the minor 3rd jump in the harmonic minor... you can also get that similar Eastern kind of sound when the flat 9 is present, in scales such as the phrygian scale. I hope this answered your questions :)
Thankss! ツ
No problem!
Why is the minor 251 built on the harmonic minor scale and not just the minor scale (CDEbFGABb)?
That's the Dorian scale, not the minor scale you just wrote, the minor scale would have an Ab as well. We certainly couldn't use the Dorian scale since the II chord would just be a minor 7 without the flat 5. It's just much easier to think of it being built from the harmonic scale since all the notes we need are already there without having to cross-reference relative majors and parallel minors. Hope this helps!
it;s easier if I explain it in C MAJOR/A min
Im just going to push UP one note at a time
G#.....F#, G#........then D#, F#, G# ( lydian b3 or melodic #4)
I... ii II iii III V v V vi VI vii VII Ocitve
Am Bdim C M Dm Em FM GM
Am Bdim Caug Dm E7 FM G# dim
Amin B min Caug D7 E7 F# dim G# dim
Amin B7 C aug D# dim Emaj7 F# dim G# dim
A HARMONIC MAJOR
A Maj B dim C#7 D min E7 F aug G# dim
Natrual min
Harmonic min
Melodic min
Harmonic MAJOR..........( the melodic min #4 =IV mode)
There's other Harmonic scales...
Harmonic min b2 Melodic min b2
Harmonic min b5 Melodic min b5
Harmonic min#4 Melodic min #4
anyways...you can alter the II chord ...from dim to min7 to Dominant
Its just pushing UP
A minor will still be the PARENT or TONIC..as your reference piont
if you're counting from A....
It donst matter...use the MAJOR INTERVAL as the REFERENCE interval
It's the same process for MODEs/chords ( the major;s scale is always use as the reference)
becuase you can modulate to A MAJOR too...
I
if you do C MAJOR....sort of see it as C ION
anyways...the II chord
if you count from B....using different scales.
Those are the TERMs of modes...simply identifying the mode's interval
in reference to the major's scale interval.
B loc loc maj6 Dorian b2 Mix b2
Half FULL Min7 Dominant
If you use A harmonic MAJOR
it's B dorian b5......hence the possible FULL diminished ( R, b3, b,5, 6)
but you can also modulate DOWN from C MAJOR toward C min
as you also Push from A minor towards A MAJOR
A lot of modes/chords will intersect.
If you learn how to do it both ways...it'll be MAGIC
But try to comprehend it in One key at a time...at first.
becuase you can shift to multilple keys...back and forth.
There's different ways
( which is cool..so you can write different songs/ progression)
The II, V, I...or I, IV , V..is just the basic...( you have to start somewhere)
Ab Eb Eb, Ab Eb, F#, Ab............ Eb, Ab, Bb
ect
The II IV vi VII ( as in b6 degree)
when you count of A min...the G7 is in the b7 degree NOT Maj7 degree
People BUTCHER the romans system
The chord degree has nothing to do with what types of chords they are.
These are ALL POSSIBLE FULL DIMINISHED.
Whether its A Harmonic MAJOR or A harmonic Minor
It'll overlap with ....
C Harmonic MAJOR or C Harmonic minor
as a reference.....B. D. F. G#/Ab
( That's why you need to see it in C Major/Amin)
People butcher..that G# or A b
The C Harmonic MAJOR sounds DIFFERENT it dont have Maj6 or A note
as in G mix b2... NOT G# loc b4, bb7
When you transfer that to other keys..if you the wrong symbol.
it's not going to sound the same...The chords might overlap
but the MELODY will sound different....
so if you play II, V I.....in C Harmonic MAJOR
D dim.....G7 C MAJOR
or you can play play other chord such as the IV ( F minor)
IV, V, I or I ,IV, V
C MAJOR....F min G7
if you play C Harmonic MAJOR or min.
it 's D dorian b5 or D loc maj6
A Harmonic Major or min
D lydian b3 or D dorian #4
example the III ( maj3) chord of A Harmonic MAJOR
its Phrygian b4.....you can stack it like this
1, b3, 5. b7......1, b4. 5, b7......1, b4, b6
or the vi (b6) degree....the F
F lydian
F Lydian #2
F lydian #2, b7 ( A harmonic min b5)
the b7 is the Eb
The iii = C b3, #5
It'll overlap like that...C min ish..yes???
or C Harmonic MAJOR = F l ydian b3
C melodic min = F lydian b7
or A Harmonic MAJOR = F lydian aug #2
Lydian = Ion #4
You sort of warp the lydian mode. ( Modulate)
The other 8 parallel scales...dont have keys signatures...
simply becuase you can use it different ways.
@@chansomanmusic I cant fix stupid..
There's 5-ea black keys. Learn how use them. ..one at a time.
@@chansomanmusic Play the G#...then F#, G#...then D#, F#, G#....Ya FFFFken MORON :-P
Because you need the juice you get from creating the tritone with the b6 ---> Ab/D
Why do you add the 7th all of a sudden? Confused?
you can look at it like this....PUSH UP from A minor towards A MAJOR
in I, IV, V.....counting from the A note....or A minor
A min...........D min E min
A min D min E7 ( Harmonic minor)
The G# note...makes the E min into E7
The second half a scale from the perfect 5th to octive...is a perfect 4th interval.
you're basically just Creating 3 into 4.....or 7 into 8.
aka LEADING TONE
as in....G# into A
A min.......D7.........E7 ( melodic minor) F#, G#
the II chord is B min7 ( dorian b2)
II V I
B min.....E7....into A min
or you can play double harmonic D# F#, G#
B7 into E7 into A min
verse
D min G7 into C Maj
but it dosnt really matter....you can play Dominant chord into MAJ or Minor
The II, IV, vi . VII. the Vi = b6 chord degree
are all Possible FULL DIMINISHED
using the harmonic MAJOR or Harmonic minor
C Harmonic MAJOR = D dorian b5
C Harmonic minor = D loc maj6
A Harmonic min = D dorian #4
A Harmonic MAJOR = Lydian b3
or like this.......G7 into C MAJOR or C min
E7 into A MAJOR or A min
if you count from the SECOND arpeggio of a G7 or dominant chord.
it's just DMINISHED chord
example......G B. D F G7....B dim
E G# B D E7 G# dim
D F# A C D7 F# dim
@@oneeyemonster3262 wat da hell
@@kyrlics6515 what part of there;s more than just one type of minor scale did you not get????
A Melodic min.......the II chord = B minor or min7 ( dorian b2)
V = E7 as in Mix b6
I = A min or A min/Maj7
A lydian b3 ( melodic min #4
This way you can play the II as B Maj or B 7
V E Maj or E Maj7
I A Min or A dim
This way when you play A harmonic min b2 or melodic min b2
You can play the Bb as Maj , maj7, dominant
So you can Modulate DOWN to D min/FMaj
G Min/Bb MAJOR
C min/ Eb MAJOR..
You can also play A Harmonic min b5 or Melodic min b5
Or even A minor b5.....
That would be the Eb note from.......C whalla C Minor.lmao
That would be A dim....B dim into C Major or C minor
or G min A dim Bb Major
A lydian ish???? ( vi of harmonic minor is Lydian #2)
Or E Harmonic MAJOR
G# = Phrygian b4.....whalla G# into C# Minor.lol
Or you can play.....Bb Maj7.....C7 to D min or F Major
or you can play Bb7 C7 into F melodic min ( F minor)
Or you can go like this.....do the CYCLE of Dominant
when I say cycle down to the 4th....that's what I mean.
Its just a Jazzy of a ma roo of doing the II, V, I and repeat
Use ALL DOMINANT chords.....
B7 to E7...then to A7
A7 D7 to G7
G7 C7 to F7
F7 Bb7 to Eb7
Eb7 Ab7 to Db
Db7 Gb7 to B7,,,and repeat.lol
or you can reverse the process
or you can do it in Major or Min chord
Like this.....it's going to go counter clockwise on the circle of 5th
People use the term CYCLE down to the 4th..just to help you to go counter clock wise
C F Bb
Bb Eb Ab
Ab Db Gb
Gb B A
D G C
so those dominant chords are the V of MAJOR's TONIC.
Notice those are all of the same ROOT note????
Awesome
i like this
I like that you like this
God loves you!!!
u said that we have 3 options for the one chord (m7,mM7,m6), how come you played a rootless m9 at the end?
I'm essentially using the 'minor 7' option. But using that option doesn't mean you have to play a standard root position minor 7, you can still add chord extensions and make it a rootless voicing.
I think a better Answer is that we can play almost any minor chord in these chord progressions minor6, m7, m9, m11, m13 with all the dominant 7th chords that can be altered in any variations. G7, G9, with other extensions like b9, +11, 13, b13 etc etc.
However, since these chords in "this video lesson" are being taken from the HARMONIC Minor Scale, it's going to force certain chord sounds to happen.
Yet, we can do this all day long using Dorian minor, Phrygian minor, Melodic minor, and Natural minor scales too!
And every chord progression in a "specific Minor 2-5-1" will sound amazing in some way, having its own music vibes & moods for certain atmospheres you want to create.
There's No Rules to what chords you can play, as long as it sounds MINOR for a "minor 2-5-1 pattern/progression", and as long as you use the correct minor scale for those specific chords coming from each Minor Scale you choose to play LOL!
I know, it's bananas trying to grasp all of that... Hahaha! Music Theory sometimes makes our heads explode into a giant headache, but it sure is FUN learning new things and new ways to play that Keyboard and Piano!!! 😂😂😂😂💀
that's Eb and F dim
6:18
6:26
Durandal O Armads? I felt it too
Ruddy masochistic, 🔥🔥🔥 S & M from struggling with a keyboard 🔥 😈😈😈
So what about changing keys? Would you turn the Minor 1 into an m7b5 and continue stepwise?
You could do all sorts of things! You could do that yes, you could also turn the minor 1 into a dominant chord leading you around the cycle of fourths.
PianoPig thanks so much! I appreciate your openness, I’ll be trying this as soon as I get home. That’s really interesting the way minor and major parallel each other in terms of the cycle of fourths and fifths
spicy
Are you litomatoma from a pubg channel?
pig here
2:15 my first thought? That sounds yucky
Out of context, sure... but when you put into the context of a minor 251 it sounds awesome :)
Skip!
My ear is screaming at your I chord being a minor major 7 because it doesn't resolve very well