Just recently I have started to leave comments on these videos, but only when I am enthused; I am indeed enthused, by Tim's style and professional approach as an instructor; it is so helpful. I believe I can make great strides with your instruction, and I am struck by your giving, free sharing attitude, how wonderful; you must be a great guy.
Literally the same concept, take a minor triad across the 12 possible bass notes to see what color it creates, generally there are more open and fit in more places than major triads.
Apalepeks You are correct that contain the same pitch inventory as D7 AND the other comment regarding coming from G7 is also true. But that “ color “ does effectively shift things ... in major scales if there are two major chords separated by a whole step (as is this case ) the lower functions as IV ( Lydian ) the higher one as dominant (D7, in this case ) of the key ( G major , in this case )... the “ tension “ of having raised C’s fourth ( the D7’s third , and thusly G major’s 7th) is the point of the the excercise. You end up showing these trap doors to or from other places ; displacing “ homebase “ . To drive the point further, if you landed on Cmaj7#11 for the one chord of this progression for the sake of color, & used Generic Modality Compression ™️, you could “ color the color “ by playing, say , a D#( that’s right- keeping it enharmonically correct) diminished triad and a E minor triad to imply twist the harmony beneath you to mean E harmonic minor : Not one note would be wrong .
@@ronmurray3338 you're that bored that you had to jump into a conversation from a year ago? A conversation that nobody was talking to you... you're a sad individual, but thank you so much for your witty and well timed comeback..
2:55 - I just blew your mind look
HA - exactly!
hahahahaha excellent
Just recently I have started to leave comments on these videos, but only when I am enthused; I am indeed enthused, by Tim's style and professional approach as an instructor; it is so helpful. I believe I can make great strides with your instruction, and I am struck by your giving, free sharing attitude, how wonderful; you must be a great guy.
...gracias querido Tim x transmitir tus conocimientos....abzo
Clear, clinical, technical and conceptual perfection and beautiful lines. So helpfully explained. What a treat.
Thanks, Tim. Huge fan, love your site! Cheers
The best teacher N artist ...simply the best... Keep providing this pieces of your infinite musical knowledge Tim to the world
Tim Miller, the best, fantastic guitarist. Thank you men.
Amazing. Thank you.
Thanks Tim.
Awesome lesson! Thanks!
Lezione fantastica, grazie Tim.
Excellent and concise lesson, thanks a lot Tim you just made my major stuff a lot more hip!
a rare individual, very inspiring
So great! More lessons please!!
Thank you Mr. Miller, sounds great!!
How about a lesson on adding colour to minor chords ?
Same principle, work it out. flat 3rd flat 7th
When are you releasing "Adding Color to minor Chords"?
Literally the same concept, take a minor triad across the 12 possible bass notes to see what color it creates, generally there are more open and fit in more places than major triads.
This is brilliant! Thanks very much!
Thank you sir!
This is an aah-ha moment where You enlightened me about a question I didn’t know I was asking? Sheer JOY when I picked up my axe and tried it.
2:56 - You look underlines the power of this concept.
wrong, its @2:54
isn't D triad over C ,just a different way to spell D7? If named from the tonic (C) ,it spells C6/9 #11 instead of Cmaj7 #11... or am I mistaken?
Apalepeks I think you’re correct.
No it depends on context - it is perceived as a C major chord (with colour tones) because it is preceded by a G dom 7
Apalepeks
You are correct that contain the same pitch inventory as D7 AND the other comment regarding coming from G7 is also true. But that “ color “ does effectively shift things ... in major scales if there are two major chords separated by a whole step (as is this case ) the lower functions as IV ( Lydian ) the higher one as dominant (D7, in this case ) of the key ( G major , in this case )... the “ tension “ of having raised C’s fourth ( the D7’s third , and thusly G major’s 7th) is the point of the the excercise. You end up showing these trap doors to or from other places ; displacing “ homebase “ . To drive the point further, if you landed on Cmaj7#11 for the one chord of this progression for the sake of color, & used Generic Modality Compression ™️, you could “ color the color “ by playing, say , a D#( that’s right- keeping it enharmonically correct) diminished triad and a E minor triad to imply twist the harmony beneath you to mean E harmonic minor :
Not one note would be wrong .
💖💖💖💖💖💖💖💖💖💖💖💖💖💖💖
if i ever want an ugly looking guitar - now i know exactly the one- thanks dude
Replace guitar with child and you get the exact same words your mom told to your dad.
@@RicardoUrquizaMusic what are you, the instructor's lover? Have a sense of humor, keyboard killer.
@@DroneCorpse good one bro. I'm sure you're a real hit with the 7th graders.
@@Cleveland_Chris , wait until you're in 7th grade, maybe you'll grow up.
@@ronmurray3338 you're that bored that you had to jump into a conversation from a year ago? A conversation that nobody was talking to you... you're a sad individual, but thank you so much for your witty and well timed comeback..
I enjoy this fellow’s writing….. points off for the fashionable non headstock guitar. Sorry.
LOL The way you wrote that almost sounds like you actually believe that your opinion means something to anyone. Hilarious!
It might, it might!