I'm a jazz/country/gospel clarinet/sax player in a small country church (mouthful, lol). One day the pianist was sick and couldn't show up for church so the organist took over the piano (--no organ that day). I played my usual part--lead or back up chords, pads, etc. I never play for the altar call as I view that as a very personal time for the person coming up front in need of prayer and is no place for any horn work, so I stay out, seated down in the congregation and let only the piano and organ play this very emotional music. Having said all that, With no organ player that day, I remembered my own chording knowledge and experience as an organ salesman years ago, I saw that I could possibly slide in and play chords on the organ to support the piano in the future. So, since then, I've been working on chord progs in all the common keys they use in church on my keyboard at home. Therefore, THIS video is an absolute goldmine of new knowledge to enhance my organ playing should I need to suddenly fill that gap when I'm not playing horn. These cadences are also valuable knowledge to play on my horns as well in arpeggiated form! I really like the graphics on the video and your slower pace. You do, however, speak very softly so you could use a little more volume in your videos. Your practice tips are all very true. Thank you so much for sharing your knowledge with this old horn player (50+ yrs).
Thank you so much for sharing your story, It’s awesome that you stepped up play and still want to continue to learn to grow. Hopefully I can continue to help. What are some piano/music theory topics that you’re interested or may need help in?
Hey. Commenting for the algorithm but whew, I really do love your videos. As beginner who's powered through dozens of theory videos and now has a basic understanding of all the keys and chord qualities, its so nice to stumble across your videos that provide such tangible and lovely sounding examples to as you say, 'get it under the fingers'. Thank you.
Thank you so much for your kind words! I started the same way, just a beginner scouring UA-cam for hours to try to learn as much as I can. Get it under the fingers might be a new catch phrase of mine lol. Thanks again.
The b6-b7-1 progression can come from the Melodic Major (although frequently descending) which is the major scale with a b6 and b7 like Mixolydian b6 from the Melodic minor. It is worth noting the whole tone progression ascending in major works to resolve to any chord with a major triad or using some thing like a mu chord.
@@AnthonyCollierMusic no disrespect intended. I just want to be able to say I can play gospel like that but don't have to. But, these chord progressions are sweet!
I've been looking for these sounds for a very long time, and thank you, thank you, thank you. Please demonstrate its application in a song. Thanks once again.
A comment like this means more to me and the start of my channel than you will ever know. So thank you! Yes I can DEFINITELY make a video showing the application in different songs. So please subscribe to stay tuned.
Wow this is really awesome. I love the way every one of these sounded. In the future could you explain where you are getting the progressions (I.e why Ab, why major, etc..)? It would be helpful for me as I have no formal training and am trying to learn jazz. Thanks for the great video.
Thank you so much! I’m really glad you enjoyed the lesson. I will definitely try to make a video like that in the future (I just didn’t want to make this video to long lol)
One reason for the Ab working over C I think is that a link is that it matches the negative harmony scale of C. Instead of going up WWHWWWH (whole and half steps) you go down with the same distances. This gives you the Ab major scale. Anything from that scale is thus related to things you do in the C scale. And relationships between blocks of notes is what makes music work.
The b6 is a chromatic mediant. That''s any scale that is a major third away from the tonic. I've heard some progressions using a chain of chromatic mediants, they sound good together even though they aren't "related".I'm trying to learn the ukulele fretboard and I'm using the circle of fifth progression. IV vii° iii vi ii V I You might also start adding roman numerals since it transmits lots of information.
Thank you for that bro. Yea I’ve been thinking about that lately. I think I’ll make the change next video. I thought what I was doing was “more simple” but yea, the Roman numerals transmit more information like you said.
This is a really cool way to think about the outside notes - so musical. I put them all into Band in a Box and have been vibing on them all day, getting them in them bones. It's all going to go through 12 keys. It will do me so much good. I think a lot of these changes fall into relative minor borrowed chords. Love the simple breakdown with just chords, it's clear for learners and advanced players (me), we just need the chords and are away improvising anyways. Do you have any more? All the ways to get back to C? Any more please? Would like you to treat more turnarounds this way.
This is such a wonderful comment, thank you so much! It means a lot that you like what I’m doing. I’m trying to push out content as fast as I can, so definitely stay tuned. And because of you, a video for turnarounds will be on my list.
Option 1: take each chord of the progression and extend them (aka add the 7th or 9th or even a 13 to your chord) Option 2: add quick chords between your existing chords (a dominant 2 between the 1 and 5… Also, maybe a diminished 7th chord built on the b6 to get you to the 6
For b3 4 1 progression you write B dominant but play F7 is that intentional? I was a bit confused here(e.g are you saying the tritone sub also works here 🤷♂), but I get the overall idea.
Hey! If you liked the video, please consider giving me a like and a subscribe!
And Let me know which option was your favorite. 👀🤔
I'm a jazz/country/gospel clarinet/sax player in a small country church (mouthful, lol). One day the pianist was sick and couldn't show up for church so the organist took over the piano (--no organ that day). I played my usual part--lead or back up chords, pads, etc. I never play for the altar call as I view that as a very personal time for the person coming up front in need of prayer and is no place for any horn work, so I stay out, seated down in the congregation and let only the piano and organ play this very emotional music. Having said all that, With no organ player that day, I remembered my own chording knowledge and experience as an organ salesman years ago, I saw that I could possibly slide in and play chords on the organ to support the piano in the future. So, since then, I've been working on chord progs in all the common keys they use in church on my keyboard at home. Therefore, THIS video is an absolute goldmine of new knowledge to enhance my organ playing should I need to suddenly fill that gap when I'm not playing horn. These cadences are also valuable knowledge to play on my horns as well in arpeggiated form! I really like the graphics on the video and your slower pace. You do, however, speak very softly so you could use a little more volume in your videos. Your practice tips are all very true. Thank you so much for sharing your knowledge with this old horn player (50+ yrs).
Thank you so much for sharing your story, It’s awesome that you stepped up play and still want to continue to learn to grow. Hopefully I can continue to help. What are some piano/music theory topics that you’re interested or may need help in?
Hey. Commenting for the algorithm but whew, I really do love your videos. As beginner who's powered through dozens of theory videos and now has a basic understanding of all the keys and chord qualities, its so nice to stumble across your videos that provide such tangible and lovely sounding examples to as you say, 'get it under the fingers'. Thank you.
Thank you so much for your kind words! I started the same way, just a beginner scouring UA-cam for hours to try to learn as much as I can. Get it under the fingers might be a new catch phrase of mine lol. Thanks again.
Would love to see more from your channel.
I’m working on it now. I think you’ll like the next one
The b6-b7-1 progression can come from the Melodic Major (although frequently descending) which is the major scale with a b6 and b7 like Mixolydian b6 from the Melodic minor. It is worth noting the whole tone progression ascending in major works to resolve to any chord with a major triad or using some thing like a mu chord.
This lesson is a Gem🔥🔥
Thank you 🙏🏾
Looking forward to more,,,
Hopefully, I’ll have one out by tomorrow or Friday 🙏🏾
loved this video. Thank you for creating this it was exactly what i was looking for to make more interesting progressions :)
I’m so glad you enjoyed it! Thank you. 🙏🏾
A very simple and clear explanation of a creative way to look at the ll-V-I dulldrums and get some movement out of it. Thank you.
You’re very welcome! I’m glad you enjoyed the lesson.
These all sound good. Thanks for giving 'em straight before going all Pretty Simple Music at the end of the video.
lol thanks. I think 🤔 lol
@@AnthonyCollierMusic no disrespect intended. I just want to be able to say I can play gospel like that but don't have to. But, these chord progressions are sweet!
@tzodearf2596 oh yea bro! Definitely didn’t take it that way. It’s all good. I’m glad you enjoyed.
Thank You so Much
You're most welcome!
Great info Anthony. You are a natural teacher! Thanks for taking the time to share your knowledge!
Thank you so much 🙏🏾. I appreciate this.
b3 4 1 was definitely new to me really cool
I use it ALL the time!
Thanks. 5 were new to me. Your teaching style and tempo is agreeable, too.
Thank you so much! I’m glad I was able to show you something new!
Thank you for this awesome lesson. Do you also plan to cover the Minor 2-5-1 progressions?
I didn’t even consider it until you said this 🤔🤔 I will look into it lol
I've been looking for these sounds for a very long time, and thank you, thank you, thank you. Please demonstrate its application in a song. Thanks once again.
A comment like this means more to me and the start of my channel than you will ever know. So thank you! Yes I can DEFINITELY make a video showing the application in different songs. So please subscribe to stay tuned.
i like your content keep going
Thank you for the encouragement bro!
Looove this! 😆🙌🏾 yeah bro!!!
Thank you for coming all the way over here 😂😂
Great video, looking forward to see more
Thank you! Yea definitely stay tuned 👍🏾
Wow this is really awesome. I love the way every one of these sounded. In the future could you explain where you are getting the progressions (I.e why Ab, why major, etc..)? It would be helpful for me as I have no formal training and am trying to learn jazz. Thanks for the great video.
Thank you so much! I’m really glad you enjoyed the lesson. I will definitely try to make a video like that in the future (I just didn’t want to make this video to long lol)
@@AnthonyCollierMusicyes, I’m sure it would be a long one if you explained for 9 different progressions. Looking forward to trying these out!
One reason for the Ab working over C I think is that a link is that it matches the negative harmony scale of C. Instead of going up WWHWWWH (whole and half steps) you go down with the same distances. This gives you the Ab major scale. Anything from that scale is thus related to things you do in the C scale. And relationships between blocks of notes is what makes music work.
My brotha got the knowledge!!
The b6 is a chromatic mediant. That''s any scale that is a major third away from the tonic. I've heard some progressions using a chain of chromatic mediants, they sound good together even though they aren't "related".I'm trying to learn the ukulele fretboard and I'm using the circle of fifth progression. IV vii° iii vi ii V I
You might also start adding roman numerals since it transmits lots of information.
Thank you for that bro. Yea I’ve been thinking about that lately. I think I’ll make the change next video. I thought what I was doing was “more simple” but yea, the Roman numerals transmit more information like you said.
@@AnthonyCollierMusic Keep your videos coming!
This is a really cool way to think about the outside notes - so musical. I put them all into Band in a Box and have been vibing on them all day, getting them in them bones. It's all going to go through 12 keys. It will do me so much good.
I think a lot of these changes fall into relative minor borrowed chords.
Love the simple breakdown with just chords, it's clear for learners and advanced players (me), we just need the chords and are away improvising anyways.
Do you have any more? All the ways to get back to C? Any more please? Would like you to treat more turnarounds this way.
This is such a wonderful comment, thank you so much! It means a lot that you like what I’m doing. I’m trying to push out content as fast as I can, so definitely stay tuned. And because of you, a video for turnarounds will be on my list.
rhank you so much for this. Do you know any way to jazz up a IV-I-V-vi progression? it's for a school project xd
Option 1: take each chord of the progression and extend them (aka add the 7th or 9th or even a 13 to your chord)
Option 2: add quick chords between your existing chords (a dominant 2 between the 1 and 5… Also, maybe a diminished 7th chord built on the b6 to get you to the 6
@@AnthonyCollierMusic you just gained a new subscriber ty
@@pablomahave5028 Ayye! Awesome. Thank you bro!
Why not use roman numerals to show the chord number and tonality?
I guess I just didn’t consider. But I definitely will now! Thanks for the input.
@@AnthonyCollierMusicThe advantage to Roman numerals is that capital means Major and lower case means Minor.
For b3 4 1 progression you write B dominant but play F7 is that intentional? I was a bit confused here(e.g are you saying the tritone sub also works here 🤷♂), but I get the overall idea.
Ahh! You found typo in my slide lol. Yes what I was playing was correct, but the 2 chord should’ve been labeled an F major/dominant