this video is unbelievably underrated. This is _by far_ the best and most direct explanation of how to construct a viable chord progression and also how to modulate keys on youtube. The genius is that somehow you don't even really talk about either of those things, they're just both naturally easy when you understand the function of pre-dominant, dominant, and tonic-ish chords in the way you explain. This video literally unlocked jazz theory for me. I just wrote two progressions that change keys that both sound so smooth. I feel like I just leveled up by an order of magnitude. Can't thank you enough for this. Something clicked!
Cheers for the Video! Sorry for chiming in, I am interested in your thoughts. Have you thought about - Riddleagan Smart Hands Remedy (Have a quick look on google cant remember the place now)? It is a smashing one off guide for learning piano fast minus the hard work. Ive heard some interesting things about it and my old buddy Taylor after a lifetime of fighting got amazing results with it.
Im an amateur pianist UA-cam recommended a video from this channel to me I watched it and never turned back The content here is so good i sometimes feel bad when i watch it for free
As an intermediate pianist, I feel like I just got dragged behind a theory speedboat by a waterski rope, and I loved every second of it. Seriously great content. Easily applicable and understood. I'll just need to watch it a few hundred times until I can soak it all in and understand it.
You said "Leave questions and comments" Comment: I haven't read such an easy way to understand chords substitutions. Maybe I was not searching well. Thank you. Question: no subscribers or my UA-cam isn't showing them? I saw a link to your video on Reddit, I hope you get a lot of views and subscribers.
Hello: Your teaching is clear to the point unobstructed by legalism; not be trivialized. Will you please do a video on the ii V I Chromatic Progression. I heard that when you are in the C Major Scale you can go to the F Note, however, you want to go Chromatically by way of the ii of IV - the V7 of the IV to the Temporary I which in this case would be the IV of the C Major Scale. Is this possible, please let me know how that is done. With respect and gratitude, please do not stop A
I'm new to music theory but hopefully my question makes sense. Does the first chord inversion and second inversion have the same tension? For example Cmaj7 is a tonic chord(inside of this scale in the video), then are the inversions of Cmaj7 also tonic chords? Thank you so much for taking your time creating these videos.
That’s a really interesting and complex question. Technically, playing an inversion can change the tension of the chord because you have different intervals between all the notes. So much so, that from a very pedantic point of view a different inversion could even change the function of the chord. For example, a second inversion tonic chord can act as a dominant function chord which resolves to the V (which is itself a dominant function for the I). This is from a strict ‘Classical Music Theory’ point of view. Jazz is a little bit less strict with these types of things. And it also depends on context. An FMaj7 by itself can have a Pre-dominant function (in the key of C) or a Tonic function (in the key of F). The function a chord takes depends on the preceding and subsequent chords. So I would say, as a general rule, all inversions of a chord have the same function subject to a given chord progression. That is, as long as a G7 resolves to a CMaj7 (regardless of inversion - though with some regard for voice leading) then the G7 will always have more tension (Dominant function) than the CMaj7 (Tonic function) and thus sound like a resolution. However, for the purposes of semantics, let’s distinguish between ‘harmonic tension’ and ‘voicing tension’. I’m going to say that ‘harmonic tension’ is the same for every inversion of a chord, because you are using the same notes - and thus the function of the chord is the same in all inversion. However, playing the chord in a different inversion will create different levels of dissonance/tension because of the intervals between the notes (so third inversion CMaj7 - B C E G - has a semitone interval between the B and C at the bottom of the chord which is very dissonant) - I will call this ‘voicing tension’ and say that this doesn’t affect the function of the chord. Not only this, but changing the inversion of a chord may make it sound like a completely different chord. Third inversion C6 = root position Am7 (A C E G). So if you play a II-V-I ending in a third inversion of a c6 chord, it will sound like a deceptive resolution to a Am7. Sorry, that was a very complex answer to a simple question - but it is actually quite a complex issue. So in short, I’m going to say that in Jazz the inversion of a chord affects its level of tension but NOT its function, because it's function is determined by the preceding and subsequent chords. Let me know if that made sense. Sorry again. I wasn't expecting the answer to be quite so long :|
I think it made a lot of sense. Thank you for such a detailed answer, I really wasn't expecting it to be more than a yes or no answer! Anyhow thank you very much for taking your time.
Hello, again when you are at the time set 5:20 I am afraid that I get a little confused. I have learned the ii V I Progression with the C Major Scale all thanks to you. But then you go to the FMajor7 G7 and then to A Minor 7. My question is that this is not a ii V I Progression but a IV V vi Progression if we are in the C Major Scale. The Video states that you start with a predominant FM7 going to a Dominant7 then to the A minor 7 (is A minor 7 the Tonic)? Please exaplain, thank you.
How would the functional harmony (tonic, pre-dominant, dominant, etc.) be assigned for Mixolydian? I believe I have it correctly. But you gave such an excellent breakdown for the Ionian/major scale, it would be cool to see the functional harmony in that way for other modes. I realize this is an older video, but I'd figure I'd ask anyway. At least thanks for this video. Nicely done!
No, there isn't. Tritone substitution means that you can substitute a dominant chord with another one wich root note is a tritone away from the chord being substituted. He explains that in this video: ua-cam.com/video/58hVo6xMg6U/v-deo.html - Dm7 can be substituted with D7 bc ... Secondary Dominant (according to table in 6:00). - D7 can be tritone substituted with Ab7 bc Ab is at a distance of a tritone from D. Hope that helps ;)
How can I remember all the substitutions and alterations presented at the end of the video? Memorization or? Does that table you had for them work for other keys similarly?
I'm afraid you have to memorise them. Many are very commonly used substitutions (like the tritone substitution). As a general rule: chord substitutions often contain the 3rd and 7th of the original chord. And yes, these substitute chords work in all keys (but obviously with the relevant II-V-I chords for that key).
When trying to find out about chord analysis I always see this diatonic list of chords (Imaj7 ii7 iii7 IVmaj7 etc.) and i’m wondering if this system of analysing chords in relation to this list is like a helpful rule of thumb or whether its a universal rule that applies to every song and every chord. In other words, does every chord in every song (in popular western music) functionally fit into this diatonic list? Or are there some chords/progressions that don’t fit?
I’m not a professional but I’ll try to share my thoughts. First of all there are functional and modal harmonies. Functional or tonal harmony means that you're outlining a major or minor scale. It's what this video about. And also functional music is much more popular than modal music. And modal harmony means that you're outlining a mode. In jazz an obvious example of a modal tune is “so what” by Miles Davis. As I understand the harmonic structure of it is basically just modulating between D dorian mode and D#dorian mode. I can mislead you here so you better watch an explanation about modal and functional harmony from a professional. So if the piece you're analysing is not modal then you can analyse it functionally adjusting the roman numerals if it's needed. For example ii V7 I in C major is Dm7 G7 Cmaj7. Let's tritone substitute the G7. We get Dm7 C#7 Cmaj7. And in roman numerals it's ii #I7 I. That's how I understand it. Hope it'll help you.
The V triad is still referred to as the 'dominant' and still has a dominant 'function' (the note B (leading tone) still pulls to the note C (tonic)). But it is a much weaker pull than if you include the F in there as well. There is no doubt that G7 is a dominant7 chord Whereas the G triad could be either a dominant functioning chord (pulling to the C) or a tonic functioning chord (songs resolved). In Jazz, we don't really use triads very often (as opposed to classical), so my examples were all with 7th chords. Hope that helped.
this video is unbelievably underrated. This is _by far_ the best and most direct explanation of how to construct a viable chord progression and also how to modulate keys on youtube. The genius is that somehow you don't even really talk about either of those things, they're just both naturally easy when you understand the function of pre-dominant, dominant, and tonic-ish chords in the way you explain. This video literally unlocked jazz theory for me. I just wrote two progressions that change keys that both sound so smooth. I feel like I just leveled up by an order of magnitude. Can't thank you enough for this. Something clicked!
This may be the clearest and most useful explanation of chord theory on the entire Internet - and believe me, I've looked!
Haha. Thanks, mate :)
Criminally undersubscribed channel.
Cheers, Kyle. I probably need to work on my marketing :)
Cheers for the Video! Sorry for chiming in, I am interested in your thoughts. Have you thought about - Riddleagan Smart Hands Remedy (Have a quick look on google cant remember the place now)? It is a smashing one off guide for learning piano fast minus the hard work. Ive heard some interesting things about it and my old buddy Taylor after a lifetime of fighting got amazing results with it.
Dude, seriously, thanks a lot for what you've been doing...
My pleasure, Gabriel :)
THIS GUY IS GOLD!!!!!!!!!!!!!
Im an amateur pianist
UA-cam recommended a video from this channel to me
I watched it and never turned back
The content here is so good i sometimes feel bad when i watch it for free
I'm scared to ask how you feel the rest of the time ;)
Thanks for the message, William. Hope you enjoy the vids.
As an intermediate pianist, I feel like I just got dragged behind a theory speedboat by a waterski rope, and I loved every second of it.
Seriously great content. Easily applicable and understood. I'll just need to watch it a few hundred times until I can soak it all in and understand it.
This is the lesson I've been searching for so long! Along with the reharmonization one. So many jigsaws fell into place finally)
Best channel ever and sadly underrated. Thanks for all the info you give you dont know how much it helped me. Thank You!!!!
I don't know how to thank u for this... Love and respect for you and what u're doing...
I've just donated a little Anton, you're the man 🎵
Another great video lesson! Many thanks.
Thanks, mate.
Fantastic explanation of jazz harmonic theory! I',m really enjoying these videos!
Man this is amazing. Your channel is super cool. Thanks a lot!
I'm working on this.
How this channel has so few subscribers is a mystery to me.
Awesome work m8!
You said "Leave questions and comments"
Comment: I haven't read such an easy way to understand chords substitutions. Maybe I was not searching well. Thank you.
Question: no subscribers or my UA-cam isn't showing them?
I saw a link to your video on Reddit, I hope you get a lot of views and subscribers.
Thanks, Stemma3. I think it's a setting I chose when I first set up the account. Just haven't gotten around the changing it back.
Hello: Your teaching is clear to the point unobstructed by legalism; not be trivialized. Will you please do a video on the ii V I Chromatic Progression. I heard that when you are in the C Major Scale you can go to the F Note, however, you want to go Chromatically by way of the ii of IV - the V7 of the IV to the Temporary I which in this case would be the IV of the C Major Scale. Is this possible, please let me know how that is done. With respect and gratitude, please do not stop A
Cool music, this stuff is all over jazz and even bach organ pieces :)
Yeah, that's right. Jazz and Baroque has quite a bit in common. Hope the organ playing and jazz practice is going well :)
Does this apply the same to other scales? Like minor, dorian, etc..
I'm new to music theory but hopefully my question makes sense. Does the first chord inversion and second inversion have the same tension? For example Cmaj7 is a tonic chord(inside of this scale in the video), then are the inversions of Cmaj7 also tonic chords?
Thank you so much for taking your time creating these videos.
That’s a really interesting and complex question.
Technically, playing an inversion can change the tension of the chord because you have different intervals between all the notes. So much so, that from a very pedantic point of view a different inversion could even change the function of the chord. For example, a second inversion tonic chord can act as a dominant function chord which resolves to the V (which is itself a dominant function for the I). This is from a strict ‘Classical Music Theory’ point of view.
Jazz is a little bit less strict with these types of things. And it also depends on context. An FMaj7 by itself can have a Pre-dominant function (in the key of C) or a Tonic function (in the key of F). The function a chord takes depends on the preceding and subsequent chords. So I would say, as a general rule, all inversions of a chord have the same function subject to a given chord progression. That is, as long as a G7 resolves to a CMaj7 (regardless of inversion - though with some regard for voice leading) then the G7 will always have more tension (Dominant function) than the CMaj7 (Tonic function) and thus sound like a resolution.
However, for the purposes of semantics, let’s distinguish between ‘harmonic tension’ and ‘voicing tension’. I’m going to say that ‘harmonic tension’ is the same for every inversion of a chord, because you are using the same notes - and thus the function of the chord is the same in all inversion. However, playing the chord in a different inversion will create different levels of dissonance/tension because of the intervals between the notes (so third inversion CMaj7 - B C E G - has a semitone interval between the B and C at the bottom of the chord which is very dissonant) - I will call this ‘voicing tension’ and say that this doesn’t affect the function of the chord.
Not only this, but changing the inversion of a chord may make it sound like a completely different chord. Third inversion C6 = root position Am7 (A C E G). So if you play a II-V-I ending in a third inversion of a c6 chord, it will sound like a deceptive resolution to a Am7.
Sorry, that was a very complex answer to a simple question - but it is actually quite a complex issue. So in short, I’m going to say that in Jazz the inversion of a chord affects its level of tension but NOT its function, because it's function is determined by the preceding and subsequent chords.
Let me know if that made sense. Sorry again. I wasn't expecting the answer to be quite so long :|
I think it made a lot of sense. Thank you for such a detailed answer, I really wasn't expecting it to be more than a yes or no answer! Anyhow thank you very much for taking your time.
Hello, again when you are at the time set 5:20 I am afraid that I get a little confused. I have learned the ii V I Progression with the C Major Scale all thanks to you. But then you go to the FMajor7 G7 and then to A Minor 7. My question is that this is not a ii V I Progression but a IV V vi Progression if we are in the C Major Scale. The Video states that you start with a predominant FM7 going to a Dominant7 then to the A minor 7 (is A minor 7 the Tonic)? Please exaplain, thank you.
How would the functional harmony (tonic, pre-dominant, dominant, etc.) be assigned for Mixolydian? I believe I have it correctly. But you gave such an excellent breakdown for the Ionian/major scale, it would be cool to see the functional harmony in that way for other modes. I realize this is an older video, but I'd figure I'd ask anyway. At least thanks for this video. Nicely done!
Och. I'm thinking the Pre-Dominant → Dominant → Tonic function does not apply to modes well. Only diatonic major/minor.
Is there a mistake in the table at 6:00? How can you use tritone substitution of Dm7 if it doesn't have a tritone in it?
No, there isn't. Tritone substitution means that you can substitute a dominant chord with another one wich root note is a tritone away from the chord being substituted.
He explains that in this video: ua-cam.com/video/58hVo6xMg6U/v-deo.html
- Dm7 can be substituted with D7 bc ... Secondary Dominant (according to table in 6:00).
- D7 can be tritone substituted with Ab7 bc Ab is at a distance of a tritone from D.
Hope that helps ;)
How can I remember all the substitutions and alterations presented at the end of the video? Memorization or?
Does that table you had for them work for other keys similarly?
I'm afraid you have to memorise them. Many are very commonly used substitutions (like the tritone substitution).
As a general rule: chord substitutions often contain the 3rd and 7th of the original chord.
And yes, these substitute chords work in all keys (but obviously with the relevant II-V-I chords for that key).
When trying to find out about chord analysis I always see this diatonic list of chords (Imaj7 ii7 iii7 IVmaj7 etc.) and i’m wondering if this system of analysing chords in relation to this list is like a helpful rule of thumb or whether its a universal rule that applies to every song and every chord. In other words, does every chord in every song (in popular western music) functionally fit into this diatonic list? Or are there some chords/progressions that don’t fit?
I’m not a professional but I’ll try to share my thoughts.
First of all there are functional and modal harmonies.
Functional or tonal harmony means that you're outlining a major or minor scale. It's what this video about. And also functional music is much more popular than modal music.
And modal harmony means that you're outlining a mode. In jazz an obvious example of a modal tune is “so what” by Miles Davis. As I understand the harmonic structure of it is basically just modulating between D dorian mode and D#dorian mode.
I can mislead you here so you better watch an explanation about modal and functional harmony from a professional.
So if the piece you're analysing is not modal then you can analyse it functionally adjusting the roman numerals if it's needed.
For example ii V7 I in C major is Dm7 G7 Cmaj7. Let's tritone substitute the G7. We get Dm7 C#7 Cmaj7. And in roman numerals it's ii #I7 I.
That's how I understand it. Hope it'll help you.
if a chord needs a tritone to be considered a dominant chord, does that mean it doesn't make sense to call the V triad dominant?
exactly. it is a major triad. you have to add the 7th to make it dominant. there is no dominant triad
The V triad is still referred to as the 'dominant' and still has a dominant 'function' (the note B (leading tone) still pulls to the note C (tonic)). But it is a much weaker pull than if you include the F in there as well.
There is no doubt that G7 is a dominant7 chord
Whereas the G triad could be either a dominant functioning chord (pulling to the C) or a tonic functioning chord (songs resolved). In Jazz, we don't really use triads very often (as opposed to classical), so my examples were all with 7th chords.
Hope that helped.