Відео

👍😎 Thank you very much! Thank you for playing along! Have fun!

Thank you! Yes, 1-6m-4-5 so to speak! 👍😎 I have used this great 4 chord sequence on many tracks, in different keys and in different grooves and styles. Have fun and thank you for playing along!

@reinholdtracks ผมเล่นมาหลายปีเเล้ว แต่ไม่เก่ง พอเล่นได้กับ 1-6-4-5 ในทุกๆ คีย์ ถ้าเป็นรูปแบบอื่น ยังต้องฝึกทำความคุ้นเคยกันอีกมาก ขอให้คุณจงมีแต่ความสุข ด้วยรัก และเคารพ จาก ประเทศไทย(พัทยา)

🦋 Thank you very much for your kind comment and for your good wishes! I am very pleased that you are enjoying my tracks! Yes, some keys are just a little more comfortable on the guitar than others. I am still practicing and trying things out myself. I wish you continued enjoyment and all the best, health, happiness and peace.

😎👍 Yes, you're right! I didn't know this "Seminole Wind" song and googled it. And yes, this song uses exactly these 4 chords, E minor, G, D and A, with one chord per bar, while in my country rock the harmonies only change every 2 bars. There are probably many other great songs based on exactly this chord sequence. I just think it's great how completely different and always new songs can be created from the same harmonic building blocks! Thank you for your comment and thank you for playing along! Have fun!

👍😎 Hello Debra, nice to hear from you! I envy you because winter is coming here! 🔥 Have fun with your mandolin! Everything is fine here - at least in our little world around us.

Thank you, as so often before! 👍😎 Your time-lapse videos with the lights of the Christmas decorations in the background are pretty funny!💡 I wish you a peaceful December and I'm already looking forward to the days getting longer again soon! ☀️ All the best, reinhold. Cheers

Thank you! 👍😎

Thank you! Correct! A major, with the C#!

👍😎 I'm glad to hear that! I'm looking forward to the link to your new song! Have fun and good luck!

👍😎 Thank you very much!

🦋🌈 Do you like this "chords in between"?

@@reinholdtracks yes like a train coming down the track you don't see coming. Exciting! 😎❤💫

👍😎 Thank you! Spring is getting closer in your place? Great!

Thank you! I am learning every day.... Cheers

I'm very happy that you're having so much fun with these Bolero tracks! Yes, I can also lose myself in these circles of fifths and the comfortable but also stimulating rhythm! Thank you for playing along!

👍😎 Thank you! The diatonic circle of fifths fascinated me so much that I made many different tracks based on this chord progression. Maybe you'd like to take a look! Have fun and thanks for playing along! ua-cam.com/play/PLPY6Rb6f6GxRNA03vjoPNxth0KHah4h53.html

I remember when I was young! 👍😎 Thank you!

😎👍 Thank you! Yes, I will do that! Please play along!

🦋Hello Ruben, thank you very much! I honestly had no idea who Mr. Vaughan was or is. I had to google it first. It happens again and again that I receive comments in which someone refers to a guitarist that I don't know. I admit that I don't know too many guitarists either. But many players seem to have a lot of fun with my tracks - so I'm doing something right! Best wishes from reinhold

😎👍 You're absolutely right, of course! But without the G sharp we wouldn't have a dominant seventh chord! The harmonic minor scale exists for the same reason. I love the diatonic circle of fifths and its variations! There's even a playlist with lots of tracks in which I've used this chord progression. Thank you for your comment and for playing along! ua-cam.com/play/PLPY6Rb6f6GxRNA03vjoPNxth0KHah4h53.html

@reinholdtracks yes sure, you're absolutely right, thanks for the comment ;) actually you still have the degree number 5 (relative to the I major) but ok it's not the dominant 7 of the minor ahah

😎👍 Thank you very much! Have fun!

😎👍 Thank you for your kind comment! I had already considered whether it might be too trivial to show these chord images in the videos. But sometimes when I'm selecting the images I find new or better-fitting chord variations. Have fun and thank you for playing along!

😎👍 Thank you very much! Have a great start into December! ❄️

👍😎 Thank you for your kind comment and thank you for playing! May peace always be with you too! Have fun!

😊​@@reinholdtracks

👍😎 Thank you!

👍😎 Thank you very much!

👍😎 Thank you so much! Yes, it's kind of cute! Have fun!

👍😎 Thank you very much! I sincerely invite you to browse and I look forward to you finding even more that you enjoy!

@@reinholdtracks yeah everytime I open youtube, I always browse to your channel.. singing on your tracks..

👍😎 Thank you very much! It's amazing what just two chords can do.

👍😎 Thank you for your analysis! I look at the chord progressions more from the perspective of the chord degrees and not so much in relation to the scales. But you are absolutely right! I hope you continue to enjoy my tracks!

🦋Thank you for playing along!

👍😎 Thank you!

👍😎 Have fun! Thank you!

😎👍 Thank you! I'm not quite sure yet whether the chord symbols make sense. But when I select them (in LOGIC) I keep finding new possibilities that I didn't know about, even for the simpler chords. You never stop learning!

😎👍Thank you! Yes, the "right" length is a difficult question! At what point does it get boring? But I sometimes play the same track 5 or 10 times, simply because it's going well or because I want to try something new. Thank you very much and keep having fun!

😎👍 Thank you! Have fun!

👍😎 Thank you! ¡Continúa divirtiéndote!

🦋🦀 Thank you! Your comments always make me happy and motivate me! Have fun!

😎👍 Thank you very much! Sure, making a track longer is easy. I still don't know what the "right" length is. But I will make longer tracks in the future, ok?

😎👍 Thank you very much and thank you for playing along! Yes, that's exactly why I make these tracks!

😎👍 Thank you! The Nashville numbers often make it easier to understand a chord progression - and especially to transpose it!

Yes please, go for it! 👍😎

Thank you for your comment and for your thoughts. Is it possible that two different terms are being mixed up? As I understand it, it is like this: The key determines the tonic and whether the whole song is in major or minor. The scale used in each case determines the position of the semitones. Key and scale are two different criteria that affect different issues. In a "blues in F" - although you can certainly distinguish between a major blues and a minor blues - the melody note E will hardly ever appear above the F major or F7 chord, but it might appear above the C7 chord. "mixolydian" is not a key and the term "in the key of G major" does not define a scale. Does this make sense? In any case: thank you for playing along! Have fun! 👍😎

@@reinholdtracks Thanks for your reply. There are 24 keys in music - 12 major and 12 minor. Therefore, technically, the G Mixolydian mode is in the key of C major! However, this usage can be confusing, so we just say, I'm in so and so mode (or scale). So, these chords are in the Key of C major, not G major (as it doesn't have F#). I have seen people refer to modes as the key (perhaps to communicate better). I checked with ChatGPT, Copilot, and Gemini, and they seem to concur. Thanks for your wonderful tracks!

Thank you again for your considerations and thank you for playing along my tracks!! Yes, you make many correct points. Let me summarize my view of things again: The key of a piece of music determines the relationships between the chords. The key in particular determines which chord is the tonic. This necessarily determines which chord is the subdominant and which chord is the dominant. Depending on whether the key is given as major or minor, the tonic chord is either a major or a minor chord. You can imagine the key as a house and the tonic as the foundation of this building. The different scales, on the other hand, are more like the bricks or building blocks that make up this house. There are many different scales, such as Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian and a multitude of other scales. Depending on which note we start with, very different scales are created, because the relative position of the semitones also shifts due to different starting points. The scale that appears at a very specific time and at a very specific point in the piece of music is therefore a very variable property, while the key of the piece ensures stable cohesion and, above all, determines where the tonic is and whether this tonic chord is a major or a minor chord. In a "Blues in F major", you can use the notes of the F mixolydian scale for the tonic chord F major. But this does not change the key of F major, even if F mixolydian actually arises on the 5th degree of the B flat major scale and the note E flat does not appear at all in the pure F major scale. Yes, keys and scales are closely interwoven and interact - but they describe and determine different aspects or properties of the notes and chords and their relationships with one another.

@@reinholdtracks My point is quite simple: usually, say a song is in the key of X major, then it wouldn't have its harmonic structure (chords) with notes outside the notes of an X major key (in a diatonic construct). But, of course, there are exceptions. To make things interesting (and create tension), the melody section can wander outside the box. This especially happens a lot in blues. As you say, blues in X" (no need to even specify major or minor if one is using all dominant 7th chords in harmony) is not a diatonic construct (even in its harmonic structure), and therefore, we can use X major or minor pentatonic scales, X Dorian, etc, or any other non-diatonic notes as "colour" notes - in fact that is what makes blues so interesting for me. Anyway, this was a good discussion.

You are correct. Though g major scale can obviously be used over this, the chord progression itself are the notes from the g mixolydian.

👍😎 Thank you!

👍😎 Have fun!

👍😎 Great, thank you! I am looking forward to your new song!

@ Ty for the music! Love country and love ballads

👍😎 Thank you & thank you for playing along! Have fun!

👍😎 Thank you, have fun!

This is truly one of the nicest compliments I've ever received for a backing track! Thank you very much! Это действительно один из самых приятных комплиментов, которые я когда-либо получал за минусовку! Большое спасибо! (translated by Google)

🦋 I don't quite understand your question. What can I do for you?

It's in the key of C really. That's what D dorian is and why C and Am work. Dorian is the second mode. So D is the second note of C scale. But I'm just a one note at a time bass guy.

👍😎 Thank you for your comments and your thoughts! I understand it like this: The key of a piece determines which chord is the tonic. The other degrees such as subdominant and dominant inevitably arise from this. The respective scale or scale determines the position of the semitone steps within a scale. The "Dorian" property of a scale means that the semitone steps occur between the second and third degrees and between the sixth and seventh degrees. This makes "Dorian" a minor scale, but a major chord is created on the fourth degree (subdominant). In this track, it is the G major chord with the note B that represents the Dorian character, together with the fact that the track is in minor and there is also a minor chord (A minor) on the 5th degree. I only used A major for the turnaround so that a strong dominant sounds on the 5th degree. In short: The key determines the tonic, the scale determines the position of the semitones. Thank you again and thank you for playing along! 🦋 Have fun!

@@reinholdtracks Well, lots to learn on my part, and I really appreciate your backing tracks.