Well, one good lesson saves so many hours of filtering out useless information which is everywhere. Key concept explained perfectly with the best example possible....
Sorry…I think you’re confusing me with my good friend Teddy Primack who did in fact have a Kawai dealership in Brooklyn 40 years ago. Perhaps we met at his store.
You are Correct. It was Teddy Primack. Found the receipt .... 1984. Long time ago. I had taked a couple of lessons from you not long after that.... Mutual friend of Steve Russo. Glad to see your doing well Rick. I doubt youll remember me, Charlie.. Hawthorne NY.@@pianopowerlessons
good lesson! A question I have is - is there a difference (in either theory or reality) in calling a chord a V of a II or just a VI of the original I ?
Yes…there is a difference in both theory and reality, because in any Major key, the chord built on the sixth step of the scale is by definition, a Minor triad. For example, in the key of CMajor, by naming or referring to the triad on its sixth step as ‘VI’ instead of ‘vi’ implies that you have changed that triad to (A-C#-E)…a Major triad that does not naturally occur in C Major. Therefore, you have changed its function (or how it operates within that key) to that of a V chord that gravitates or pulls powerfully toward the ii chord DMinor. Hope that helps!
Are there other ways you can get to a different key in addition to dominant chords? Are there chords you can add in between the dominant or instead of a dominant to get to a different key? Thank you! Secondary dominants are still really cool.
Yes Sam. You have to rely on your ‘ear’ and your imagination until you arrive at something that is truly inspiring. Some examples of key changes that aren’t triggered by a Dominant Seventh chord… -What’s the Use by Mac Miller has a fantastic and unexpected leap to another tonality at 3’21” into the tune… music.th-cam.com/video/uLMYENQJLSk/w-d-xo.html&si=l-qWre98Wdq3DptT -Self Care by Mac Miller has one of the most extraordinary key changes I’ve ever heard, also at 3’21” into the tune… music.th-cam.com/video/rn4mVQswfNg/w-d-xo.html&si=KoomXSQbA1myh_0O -You’re Gonna Lose That Girl by the Beatles has a magical transition into the bridge at the 55” mark using a unique progression. As John sings and holds onto the word ‘Lose’ the underlying chords are f#minor, DMajor and Gmajor completing the modulation from EMajor to GMajor via EMajor’s ii chord (f#minor). Apparently, there was an unconscious awareness of the fact that the difference between f#minor (f# a c#) and DMajor (f# a d) is only one note, allowing him to make this seamless transition. In this case, yes, DMajor is certainly V of GMajor, but look at the imaginative way that he gets you there! Now that he’s in GMajor, he has to get you back to the original verse in EMajor which is no less astonishing. The bridge is 7-bars…G I C I G I G I G I C I F I And from that last FMajor chord he simply slides a half step down to EMajor to resume the Verse. music.th-cam.com/video/vqpEZuv29qE/w-d-xo.html&si=vT2ODJbMeCnFEyXN
An analysis of diminished 7th chords, how they function and the scales that go along with them will be next topic of discussion in Unit IV. Please stay tuned.
Lots of ways, but here are a few. Given any dim-7 chord: - Lower any note to create a dom-7. - Raise any 3 notes to create a dom-7. Given a target new key, go to the 2-minor then the dom-7 of the target. You can expand that further by using "fifth fall". Start with any chord in the scale of the new key, and keep falling by a fifth until you reach the new tonic. With fifth fall, every chord resolves to a fifth below: Alpha notation: C, F, B-dim, Em, Am, Dm, G, C. Arabic notation: 1, 4, 7, 3, 6, 2, 5, 1. Roman notation: I, IV, Vii, iii, vi, ii, V, I.
Well, one good lesson saves so many hours of filtering out useless information which is everywhere. Key concept explained perfectly with the best example possible....
Thank you Adrian. I really appreciate it!
Great practical lesson! And enjoyed the explanation of the overtone series! 🎹
Thank you!
Wow, you said things I've never heard before about overtones. Merci beaucoup.
You’re welcome Lawrence!
Wow! Those connecting dominant sevens sounds very similar to lines a tenor saxophone player uses. So soothing🙏🏾.
Glad you enjoyed listening to them!
Very nice, thanks.
You’re welcome
Very good and beautiful 😍 🤩 👌 ❤️
Thank you. Much appreciated!
Very deep lesson but at the same time very easy on the fingers!
Thank you Francesco!
Is this Rick Procup from Bklyn NY
Sold Kawai pianos about 35 years ago?
Sorry…I think you’re confusing me with my good friend Teddy Primack who did in fact have a Kawai dealership in Brooklyn 40 years ago. Perhaps we met at his store.
You are Correct. It was Teddy Primack. Found the receipt .... 1984. Long time ago. I had taked a couple of lessons from you not long after that.... Mutual friend of Steve Russo. Glad to see your doing well Rick. I doubt youll remember me, Charlie.. Hawthorne NY.@@pianopowerlessons
@@CRV1958 Send me your number Charlie and I’ll give you a call.
Really interesting chord changes! Thank you! 🙏. Sounds like Bach used that somehow.
You’re welcome!
good lesson! A question I have is - is there a difference (in either theory or reality) in calling a chord a V of a II or just a VI of the original I ?
Yes…there is a difference in both theory and reality, because in any Major key, the chord built on the sixth step of the scale is by definition, a Minor triad. For example, in the key of CMajor, by naming or referring to the triad on its sixth step as ‘VI’ instead of ‘vi’ implies that you have changed that triad to (A-C#-E)…a Major triad that does not naturally occur in C Major. Therefore, you have changed its function (or how it operates within that key) to that of a V chord that gravitates or pulls powerfully toward the ii chord DMinor. Hope that helps!
@@pianopowerlessons thank you it sure does make sense
@@oshada You’re welcome
Are there other ways you can get to a different key in addition to dominant chords? Are there chords you can add in between the dominant or instead of a dominant to get to a different key? Thank you! Secondary dominants are still really cool.
I recommend looking into diminished 7th chords! Very versatile chords, but quite dissonant.
Yes Sam. You have to rely on your ‘ear’ and your imagination until you arrive at something that is truly inspiring.
Some examples of key changes that aren’t triggered by a Dominant Seventh chord…
-What’s the Use by Mac Miller has a fantastic and unexpected leap to another tonality at 3’21” into the tune…
music.th-cam.com/video/uLMYENQJLSk/w-d-xo.html&si=l-qWre98Wdq3DptT
-Self Care by Mac Miller has one of the most extraordinary key changes I’ve ever heard, also at 3’21” into the tune…
music.th-cam.com/video/rn4mVQswfNg/w-d-xo.html&si=KoomXSQbA1myh_0O
-You’re Gonna Lose That Girl by the Beatles has a magical transition into the bridge at the 55” mark using a unique progression. As John sings and holds onto the word ‘Lose’ the underlying chords are f#minor, DMajor and Gmajor completing the modulation from EMajor to GMajor via EMajor’s ii chord (f#minor). Apparently, there was an unconscious awareness of the fact that the difference between f#minor (f# a c#) and DMajor (f# a d) is only one note, allowing him to make this seamless transition. In this case, yes, DMajor is certainly V of GMajor, but look at the imaginative way that he gets you there! Now that he’s in GMajor, he has to get you back to the original verse in EMajor which is no less astonishing. The bridge is 7-bars…G I C I G I G I G I C I F I
And from that last FMajor chord he simply slides a half step down to EMajor to resume the Verse.
music.th-cam.com/video/vqpEZuv29qE/w-d-xo.html&si=vT2ODJbMeCnFEyXN
An analysis of diminished 7th chords, how they function and the scales that go along with them will be next topic of discussion in Unit IV. Please stay tuned.
Lots of ways, but here are a few.
Given any dim-7 chord:
- Lower any note to create a dom-7.
- Raise any 3 notes to create a dom-7.
Given a target new key, go to the 2-minor then the dom-7 of the target.
You can expand that further by using "fifth fall". Start with any chord in the scale of the new key, and keep falling by a fifth until you reach the new tonic.
With fifth fall, every chord resolves to a fifth below:
Alpha notation: C, F, B-dim, Em, Am, Dm, G, C.
Arabic notation: 1, 4, 7, 3, 6, 2, 5, 1.
Roman notation: I, IV, Vii, iii, vi, ii, V, I.