I appreciate the simplicity of your "how to" teachings. You manage to show a clear and simple ways to learn complex chords. Than you very much Mangold.
You have many great videos, but this particular video (in conjunction with the other two of this series) is a master class in phrasing / voicing. I'm going through this chord by chord, working it out on the piano and trying my own variations.
Merci beaucoup. The first two voicings are perfect for me right now. I'll come back again once I've earned my chops. You've given me lots to chew on. Speaking of which, your cat looks well fed.
You’re an awesome teacher. I taught myself how to play guitar by ear and have always wanted to understand theory. Thanks to you that might just be possible lol.
the major-major-minor voicing was absolutely brilliant! It actually gave me an idea for the bridge section of a song I was having some trouble with. Hopefully that progresssion will fit right in the mix.
Excellent tutorial about chord voicing. I practice it a bit and is quite please with the progression with the extended chords (9th, 13th). Many thanks!
You guys should try adding C#dim7(from Cmaj9, just make the B and D flat, keeping the E and G the same) on the right hand and A with your left in Voicing #1. It gives the voicing a nice feeling resolving to the 2(which is Dm9). Lol but that's just my opnion. *Thanks Mangold!*
Great stuff. I just bought the book "secret back door to piano playing (piano chord book) so thid video is perfect for my learning. Learning the 12 major and minor chords is very helpfull and interesting. I have been just learning pieces up to now
I appreciate the simplicity of your "how to" teachings. You manage to show a clear and simple ways to learn complex chords. I enjoy learning these voicings then working on them and transposing. Lee
Excellent video again! ....... anyone know what's happening at 10:04 ---- where the C# (aka D-flat) is being used? I can't see the written notes mentioning C# or D-flat. Thanks!!
What piano style would you utilize 13's and 9's in? Is it jazz? I only ask because simply receiving these chords as part of this progression limits what you can do in improvisation.
Great lessons. Some time ago I watched your video on ii V 1 and I believe you mentioned any 4 note chord will work as the V provided you resolve to the 1. I would like to watch that video again. Could you advise which video this was. Many thanks. Ray
In the next video, can you go over improvisation techniques with these chord progressions. I'm interested in learning which scales/which degrees of the scales would sound good as a melody over the harmony of these chords.
Thank you for your video. But I have one or two questions. What exactly is a 13 chord? In your first voicing I'm missing the D in the g13. And i don't really understand in jazz what exactly defines what chord you are playing. Very often the chord is built with 5 different notes. You could easily build many other chords out of these notes. Is it maybe crucial what the left hand is playing?
A 13th chord need only contain 3rd, 7th and 13th degrees to qualify as 13th; all others are optional. This is true of tensions in general (e.g. an 11th chord needs 3rd, 7th and 11th, but not 9th). As for "harmonic ambiguity" which you speak of, the context plays a big role. Try this: ua-cam.com/video/VbxNIDhGMoU/v-deo.html
@@MangoldProject Thank you very much for your reply. This video is exactly what I was looking for. I have played a lot of classic in my life, so the Jazz harmonic is still a little mysterious for me at the moment. But thanks to you I´m digging in to it.
Hello: would you please do a video of a chromatic ii - V - I progression. Let us say in the C Major the ii of IV would be G the V of IV would be C. Please let me know, thank you
when you were playing melodies in your right hand (4:12 and a few other places) it seemed like you were sticking to the A blues scale for the most part. was that intentional/ was it related to the 2-5-1 or the voicings at all? thanks for the lesson.
good to know thanks. also, maybe I haven't seen them, but do you ever/will you ever post you playing a few songs? some original stuff would be great, but so would classic standards. thanks!
Great video, I'm mostly self taught and have never taken lessons, so I have to figure things out for myself on some occasions, but I just have one question! I understand the 2-5-1 progression on the bass side, but what about the right hand? Is there any particular reason you play Certain notes? For example I noticed that for the first c note, you complemented it nicely with a Fmaj7 (it sounds great) but is there a trick to finding these kinds of sounds together or just your opinion?
Dear Mangold.... I was wondering how did you determine the extended chord for each chord?. I mean did you just play the nearby chord from the previous chord that sounds fit? Like when you play the Dm9 ( D F A C E) and then you lowered the C key for 1 semitones to B which is result G13 ( G F A B E), is it just made up by some sort of feeling or practice or is there some kind of pattern?. Please answer my questions. Sorry for my english....
There are no rules, but usually the "shortest distance" between two chords sounds good. So you'd like for the two chords to share as many notes as possible.
Ok thank you, so is the "5" always in the key that the song is in? Like for instance if I made a song in the key of B major, would the "5" in a 2-5-1 progression be in the key of B major and correspond to the B major scale instead of the F# major scale?
Yes. However, just to make your life a bit more complicated, it is not uncommon for chords "outside" the scale to make their way into a progression. For example, thing of a progression in C major which goes: C to E7 to Am. The E7 contains notes which are not part of the C major scale but still sound good! In that case, you can think of it as a secondary dominant of Am (so there is some "logic" behind it).
G13 = 1, 3, 5, b7, 9, 13 The flatted 7 of G major is F "The study of Chord Formulas would be helpful if you have those type of questions", The chord progression is in the key of C Major
hi, can someone explain to me how a 13th chord is build? (like the g13 in the video) because i want to make the chord also with other notes so i need to know how it is constructed (sorry for bad english)
@@christofferhoward6568 I think you're missing some terminology. D7 = D F# A C. Dmaj7 = D F# A C#. Db7 = Db F Ab B. Dbmaj7 = Db F Ab C. Does that help?
the 6-4-1-5 or 1-5-6-4 is the pop pattern, just like the blues pattern it is commonly used in many styles of music. the 2-5-1 on the other hand is, as far as i know, mostly used in jazz and is the pattern i hear the most in jazz. every experienced jazz musician knows the 2-5-1 and when improvising might say "let's just play a 2-5-1"
MangoldProject Okay you’re playing the 2 (D) in your left hand shouldn’t you be playing a D chord in your right instead of playing a F A C E for instance? Why nothing similar to a D chord?
No. It's a called a "rootless chord voicing" - it omits the root, because the left hand already covers that. The combined LH+RH notes constitute the Dm9 (the RH alone is "just" Fmaj7). You can take it one step further. If you're playing with a bass playing, and he's playing a D bass while you're playing an Fmaj7 with your LH (and soloing with your RH), that's still considered a Dm9 :).
chicolofi months late so hope u figured it out but it’s how you play the notes. For example C major is C,E,G but you can play it as G,E,C or E,C,G or any way you want based on the notes in the chord
I appreciate the simplicity of your "how to" teachings. You manage to show a clear and simple ways to learn complex chords. Than you very much Mangold.
Instablaster
You have many great videos, but this particular video (in conjunction with the other two of this series) is a master class in phrasing / voicing. I'm going through this chord by chord, working it out on the piano and trying my own variations.
Merci beaucoup. The first two voicings are perfect for me right now. I'll come back again once I've earned my chops. You've given me lots to chew on. Speaking of which, your cat looks well fed.
Yes!! so glad this is out! awesome video, and your cat coming in the shot was beyond adorable!
My cats are my easter eggs :)
You’re an awesome teacher. I taught myself how to play guitar by ear and have always wanted to understand theory. Thanks to you that might just be possible lol.
Such a beautiful progression at the end
the major-major-minor voicing was absolutely brilliant! It actually gave me an idea for the bridge section of a song I was having some trouble with. Hopefully that progresssion will fit right in the mix.
soooo great, especially the voice #5. I'm so looking forward to your next part. Thanks million times!!
👍🏾👍🏾👍🏾 MY PROFESSOR
Man Ive been waiting for this since part A came out.... I really appreciate and enjoy the content of the videos that you put out. Thank you sir
Thanks Jonathan.
Excellent tutorial about chord voicing. I practice it a bit and is quite please with the progression with the extended chords (9th, 13th).
Many thanks!
Extremely clear and helpful. Thanks again!
Rootless voicing. It is awesome to now know the name for it, and its purpose! Makes perfect sense.
Brilliant! Maybe show us the little licks you were playing with the right sometime, but this has been great.
YOU ARE awesome senor! muchas gracias!
Awesome! Can't wait for part c 😊
You guys should try adding C#dim7(from Cmaj9, just make the B and D flat, keeping the E and G the same) on the right hand and A with your left in Voicing #1. It gives the voicing a nice feeling resolving to the 2(which is Dm9). Lol but that's just my opnion. *Thanks Mangold!*
Very nicely done. You are an excellent teacher. I appreciate your attention to detail and how you progress through the lesson.
Great stuff. I just bought the book "secret back door to piano playing (piano chord book) so thid video is perfect for my learning. Learning the 12 major and minor chords is very helpfull and interesting. I have been just learning pieces up to now
I appreciate the simplicity of your "how to" teachings. You manage to show a clear and simple ways to learn complex chords. I enjoy learning these voicings then working on them and transposing. Lee
Thank you sir I've been looking for this lesson for a long time. Please post more lessons about passing chords or some pattern to end song in C major.
Love your music(improvisation)!!
Excellent video again! ....... anyone know what's happening at 10:04 ---- where the C# (aka D-flat) is being used? I can't see the written notes mentioning C# or D-flat. Thanks!!
Amazing and clear explanation! Bravo!
can u please do a video about how to use chords along with notes when u transition form one chord to another and in between the chords!
i ve been struggling With 2 5 1 Right Hand Chords, Thank you so much
This video series a 251 Is Amazing. thank you..kiss from italy😊
Very useful and helpful thanks for taking the time to post it
Love this sound!
What piano style would you utilize 13's and 9's in? Is it jazz? I only ask because simply receiving these chords as part of this progression limits what you can do in improvisation.
These tutorials are clear. You ate a great teacher.
Tasted like chicken.
Lol. Oops
Thank you!
I was just listening to "So What" and Wondering what where those chords in the beginning.. Thank You !
Awesome. Heard a little Maroon 5 Sunday Morning in there
Great lessons. Some time ago I watched your video on ii V 1 and I believe you mentioned any 4 note chord will work as the V provided you resolve to the 1. I would like to watch that video again. Could you advise which video this was. Many thanks. Ray
I don't recall ever saying that ...
In the next video, can you go over improvisation techniques with these chord progressions. I'm interested in learning which scales/which degrees of the scales would sound good as a melody over the harmony of these chords.
This video is so informative in so many ways,,, thnx alot.
Thank you for your video. But I have one or two questions.
What exactly is a 13 chord? In your first voicing I'm missing the D in the g13.
And i don't really understand in jazz what exactly defines what chord you are playing. Very often the chord is built with 5 different notes. You could easily build many other chords out of these notes. Is it maybe crucial what the left hand is playing?
A 13th chord need only contain 3rd, 7th and 13th degrees to qualify as 13th; all others are optional. This is true of tensions in general (e.g. an 11th chord needs 3rd, 7th and 11th, but not 9th).
As for "harmonic ambiguity" which you speak of, the context plays a big role. Try this:
ua-cam.com/video/VbxNIDhGMoU/v-deo.html
@@MangoldProject Thank you very much for your reply. This video is exactly what I was looking for. I have played a lot of classic in my life, so the Jazz harmonic is still a little mysterious for me at the moment. But thanks to you I´m digging in to it.
6:27 Voicing 3
Perfect explanation! Have a nice Sunday! :)
p.s. Found hard voicing #4. :/ Totally new for me...
thank you
You are a good teacher. Thanks for the hardwork. It will be great if you can provide a music sheet 😀
How do you know what to play in the left
Wonderful.
2:40 Vocing 2
I hope you know how helpful this is kind sir {for all musicians}. new here gave you a sub and some thumbs for the series 👍👍👍👍
Superb! as always. . Thanks for sharing. Really helpful
thank you so much
Nice👍🎶
Thank you. Say hello to your kitty.
Hello: would you please do a video of a chromatic ii - V - I progression. Let us say in the C Major the ii of IV would be G the V of IV would be C. Please let me know, thank you
when you were playing melodies in your right hand (4:12 and a few other places) it seemed like you were sticking to the A blues scale for the most part. was that intentional/ was it related to the 2-5-1 or the voicings at all? thanks for the lesson.
Just a musical preference and a habit. No special reason and/or connection to the 2 5 1.
good to know thanks. also, maybe I haven't seen them, but do you ever/will you ever post you playing a few songs? some original stuff would be great, but so would classic standards. thanks!
thank you very much! Very helpful
I'm afraid it is over my head. I am not ready for this advanced cord explanation.
OOO, this is why i couldnt find part b before
Good. Thank you.
there is no doubt great.
Great video, I'm mostly self taught and have never taken lessons, so I have to figure things out for myself on some occasions, but I just have one question! I understand the 2-5-1 progression on the bass side, but what about the right hand? Is there any particular reason you play Certain notes? For example I noticed that for the first c note, you complemented it nicely with a Fmaj7 (it sounds great) but is there a trick to finding these kinds of sounds together or just your opinion?
Fmaj7 with the D note*****
I was playing a Dm9 which can be voiced as D (LH) + F A C E (RH).
I'm a self taught too and those notes he plays in the right hand are just chords note , it's as simple as that , 1,3,5,7,9,13
Dear Mangold....
I was wondering how did you determine the extended chord for each chord?. I mean did you just play the nearby chord from the previous chord that sounds fit?
Like when you play the Dm9 ( D F A C E) and then you lowered the C key for 1 semitones to B which is result G13 ( G F A B E), is it just made up by some sort of feeling or practice or is there some kind of pattern?. Please answer my questions.
Sorry for my english....
There are no rules, but usually the "shortest distance" between two chords sounds good. So you'd like for the two chords to share as many notes as possible.
Thanks...
Hey, I really appreciate your videos. I have a quick question tho. When you play G13 why are you able to use F when it's not in the G major scale?
If it's the "5" then it's in the key of C major (which contains F).
Ok thank you, so is the "5" always in the key that the song is in? Like for instance if I made a song in the key of B major, would the "5" in a 2-5-1 progression be in the key of B major and correspond to the B major scale instead of the F# major scale?
Yes.
However, just to make your life a bit more complicated, it is not uncommon for chords "outside" the scale to make their way into a progression. For example, thing of a progression in C major which goes: C to E7 to Am. The E7 contains notes which are not part of the C major scale but still sound good! In that case, you can think of it as a secondary dominant of Am (so there is some "logic" behind it).
MangoldProject thanks a lot! You were super helpful
G13 = 1, 3, 5, b7, 9, 13 The flatted 7 of G major is F "The study of Chord Formulas would be helpful if you have those type of questions", The chord progression is in the key of C Major
hi, can someone explain to me how a 13th chord is build? (like the g13 in the video) because i want to make the chord also with other notes so i need to know how it is constructed (sorry for bad english)
Watch my Piano Quickie series.
MangoldProject Ok thanks for the quick response😊
Why is there a C in the D7#9#11 chord that was played in voicing #4?
Isn't C the flattened 7th degree of the D7? i.e. D7 = D F# A C
Yeah but why isn’t it called Db7#9#11?
@@christofferhoward6568 I think you're missing some terminology. D7 = D F# A C. Dmaj7 = D F# A C#. Db7 = Db F Ab B. Dbmaj7 = Db F Ab C. Does that help?
MangoldProject ooooh thank you now I get it
HI, NICE VIDEO. PLEASE HOW DO I CONSTRUCT A Dm9, G13 AND Cmaj9 chords/
Watch my Piano Quickie series (search for it here on UA-cam).
where is the link?
ua-cam.com/video/KoPAcVnAi68/v-deo.html
Sounds like "Sunday morning by "Marion 5 ☺️
I was thinking the same thing.
Exactly.
Where is part C?
Paul Gilfeather It's up now
Fantastic, great work!
"This can only be achieved by memorisation"...I thought all I had to do was watch a few videos 😁
Thank sir
Thanks 🙏 so much.........
Awesome
Man did you heard about music notation
1:06 Voicing 1
Look at the video's description ...
MangoldProject helpful for people on mobile
12:24
I was wondering, why is it considered the most important progression? I'm curious. I thought the most popular progression was 6-4-1-5.
the 6-4-1-5 or 1-5-6-4 is the pop pattern, just like the blues pattern it is commonly used in many styles of music. the 2-5-1 on the other hand is, as far as i know, mostly used in jazz and is the pattern i hear the most in jazz. every experienced jazz musician knows the 2-5-1 and when improvising might say "let's just play a 2-5-1"
ah makes sense. Thanks for explaining :D
How come your right hand doesn’t have a D in it..... I’m not quite understanding
Timestamp please.
MangoldProject Okay you’re playing the 2 (D) in your left hand shouldn’t you be playing a D chord in your right instead of playing a F A C E for instance? Why nothing similar to a D chord?
I meant give me a time stamp. The precise time in the video where this occurs.
MangoldProject @1:30
No. It's a called a "rootless chord voicing" - it omits the root, because the left hand already covers that. The combined LH+RH notes constitute the Dm9 (the RH alone is "just" Fmaj7).
You can take it one step further. If you're playing with a bass playing, and he's playing a D bass while you're playing an Fmaj7 with your LH (and soloing with your RH), that's still considered a Dm9 :).
I missed the definition of "voicing".
I don’t know too much but I can assume the types of output u have on the chord, like minor, major,7/9
chicolofi months late so hope u figured it out but it’s how you play the notes. For example
C major is C,E,G but you can play it as G,E,C or E,C,G or any way you want based on the notes in the chord
I get what you mean but I can't play it.
The cat lol
nice cat
excellent,,,,b ravo
So complicated
Hi C:
sounds like a lofi hip hop sample
Difficult 🥵
BEAUTIFULLY DONE AND EXPRESSIVE ALWAYS HAPPY TO EAR FROM YOU 🎆🎋MANGOLD PROJECTS VERY GOOD WHAT YOU JUST TEACH 🎋🎆mariemadeleine🎇pleximalab cosmetics
None
None?
MEOW
8:17 Voicing 4
2 Voicing 2:35 1 Voicing 1:10