I am a pianist and I still learn alot from ur lessons ........ These are not only for guitar these are music theory lessons.....😍😍😍...... Love from India
It's always a great idea to learn about music from other instruments too. Music is a language after all, so we are learning to communicate better with other instruments. ^-^
I have found that diferent instruments emphasize different aspects of music theory. For example, I IV V on a keyboard look very different from key to key, thus emphasizing the note side of Music Theory. Whereas on the guitar, they look the same in pretty much all keys emphasizing the degree side/relationship side of Music Theory.
The way you describe these theories on whiteboard are much more easier to understand. Thank you for your short and sweet tutorial sir....God bless you....
Mr Zillo ( Hope i got that right? ) I'm so damn happy you are on the planet. I've been investing a fair bit of time this year trying to demystify the scary world of UNDERSTANDING Slash chords... Again, in your totally 'Crystal clear way' you have untied the 'Misunderstanding Knot' in my head.... Nice work.... I feel I get it now.... My friend, your approach is awesome..... you've reignited my passion and interest in applicable music theory..... the "NUTS and BOLTS' of practical theory I left in the shadows... I've applied what i've learned to my bass playing... man, it really gives me the harmony under control.... Thank you!!!!!!..... someone once told me: " It's not what you know, it's what you understand"
6:40 may i just add that this is such cool concept, because bass sits on C note, the Dm chord doesn't feel like a true ii chord yet, it feels like some weird floaty sus4add9 chord which can be amazing passing chord between C into proper Dm with D on bass to make progression more interesting, i learned so much from this and taking my own notes already
This kind of info must of been actively kept from aspiring artists for many generations. Sad but only in a dull light. Respect the dead. Thank you. I realise the treasure of your creation. It's a cool thing broh. :D
The only time I’ve come across a third inversion in a song, it was Barenaked Ladies’ “Humor of the Situation”. The progression goes: Bb Gbaug Gm Bb/Ab Eb F7sus4 Bb F7sus4 (Bb) When played on piano, the last note on the right hand (for the top line) goes, F, Gb, G, Ab, while the rest of the notes stay stagnant. It’s a wonderful ratchet effect that comes near the end of each verse, adding more and more tension before resolving through the second line and back to the tonic to start the chorus. Great lesson, thanks so much!
It's really interesting that you wrote this line as "Bb Gbaug Gm Bb/Ab" Should it not be "Bb Bbaug Bb6 Bb/Ab"? I feel like that gets the point across a bit better personally. Correct me if I'm wrong!
Thank you Tommaso! ^-^ I've learned so much more about music theory from your channel. It's basically teaching me all of the things I couldn't get anyone else to teach me, not even the Berklee graduate I took lessons from until I got frustrated by him trying to teach me the 12 Major keys I'd already known for over 10 years. I normally avoid using the term _best_ because it's just an idea, an opinion. But as far as I know, this is the best theory channel, and I don't just watch guitar channels either because my first theory classes were on the piano (an instrument I never even owned).
Great lesson. Two of my favourites, the Four Tops' Loving You Is Sweeter Than Ever and Clapton and Winwood's recent versions of the Blind Faith number Can't Find My Way Home are both in C and have C/Bb in a descending line.
Thanks for yet another clear, concise, and useful music theory lesson. I had never heard of preparation for third-inversion chords, and, honestly, had never thought much about third-inversion chords till I watched this video. Keep up the great work!
I play both guitar and piano and this works on both. Why? Because it’s music theory. Thanks a bunch. Now a lot of what I see in tabs makes sense. Well explained.
Always interesting and inspired concepts! You never just make a video for the sake of making a video
4 роки тому
In one of my songs I used the 3rd inversion this way... (all chords are a whole note) C, G/B, Am, D/F# (which is outside of the key of C but is borrowed for it to work with the melody, as well as setting things up a half step from the next chord), F, then G/F which is the 3rd inversion we're talking about. The G resolves to C, but the F on the bottom gives it a sense of not letting go from that IV chord, which works because the whole section then repeats. The second time around the phrase ends not with G/F but with Fm and resolves to C.
Great channel and content, I've been watching for a couple months now. One of my favourite guitar channels and you explain things so well conceptually. Thanks very much
Third inversion G7 or G/F could be preceeded by 1st inversion Dm or Dm/F for a ii V movement. It sounds really interesting keeping the bass note the same and pivoting around it. The 3rd inversion dom7 is the only 3rd inversion I have used. I hadn't figured any others out because I had got so much use out of that one. And the maj7 one I tried sounded a bit "crunchy". As many chords do with no context. So once again, thank you for expanding my knowledge. I had almost run out of ideas for a decending cadence idea I had been working on. I will play around with some other 3rd inversions now.
Hello again! As I was watching this video it triggered a potential exercise. Chords of the key in all inversions! I just tried it. Great work out, very challenging! Thanks for the inspiration!
C - C/B - F/A - G7 sounds so pretty the way you voiced it thank you kind sir, for the knowledge. I can hear a resemblance to the famous I - vi - ii - V... like they're cousins 🤣 the way you imply the C/B is pleasing. it's set up and resolution resonates well with my soul.
When I saw this vid 1 year ago, I had been learning guitar from scratch for 1 year, and I could not make sense of your content, although I could sense it was good. Now 9 months into your wonderful Chord Mastery program, I revisit your vids and I feel very informed and accomplished. I am however astonished at the fruitless angst that arises in the comments from often irrational nomenclature disagreements. In dentistry - my occupation, there are instruments called Coupland and Cryer elevators. They are used to remove teeth. They would be better described as a straight elevator and a right angle pick elevator, but the "inventors" of these instruments succumbed to the prospect of immortality and named them after themselves. If you know how to use them, it matters not what they're called except for the purpose of storage. The vagaries of nomenclature in music lend themselves to argument, but in the end, the notes lead to other notes, sometimes pleasing, sometimes not. But even this is not absolute. I now know how to resolve a 3rd inv. chord, and so much more! Thank you Tommaso.
Wow, to me this video is another highlighter!!! Implementing these theories into your music is a powerful enrichment! Thanks a lot Tommaso. I hope I can find more time for music within this year, so I will buy your course and start studying with this material. I love your videos. Amazing how much you know and how much you have to offer in your lessons. Thanks again, god bless!
Content is great. Please tune your B string to the chord progression. ex: 6:24 , bring it down a touch. Please. Once again, thank you for the very useful and harmonious content.
The first way of putting a third inversion in a sequence is the opening on "You'll Be Back" from Hamilton, and the second o=way shows up in the chorus of "Just Around the Riverbend" from the Disney movie Pocahontas. Cool to know what exactly the music the music is doing
Using the dininish chord as a transition from minor 7th the 5th of target chord by RAISING each note of the Dim. chord 1/2 step, then Dim chord, then lower note 1/2 step gets to target..ex..F#m7, C dim, B maj...
A favorite third inversion of mine in the key of C, is to go from C to D/C especially voiced like X3555X to X3423X, it has the feel to me of the ground dropping out beneath you. Often get back home with something like F/C to Fm6/C to C for a soft landing.
All of the chord examples were played in an arpeggiated fashion. I know this makes it easier to 'hear' the passing notes, but even still, some of these chords get a bit muddy when strummed in a chord-like manner. It's almost as if you need to pluck the passing notes individually and then sound the chord to make it 'work.' - Great lesson! -
Loving your videos! Have u done one on slash chords with the bass note a whole tone higher than the chord name e.g. like Paul threw in all over The Long and Winding Road. I'd love to hear your take on that.
Thanks for a great lesson! Some of the examples sound like bits of the Bach preludes. Can you give us examples where third inversions are used in popular music? I see someone mentioned Blind Faith below.
at 8:00, you chose to do the 1st inversion of the B Dimished Triad, instead of keeping the 7th chords. To me that's really more of a 2nd inversion G7, without the tonic. So, of course it works. Do you think that doing the B half dimished would sound too weird? (Since half-dimished chords are most often used as II of II-V cadences to minor chords).
hello. i am learning from your channel so much! i just got one question here -when you spelled the triad at 5:29 why is it G Dominant 7th and not Major 7th? also, how do you spell out the C minor 7th triad like how you did with the major? hope you don't mind enlightening me. thank you.
how many sessions are there in total in the course? just to have an idea of total budget needed... it would also be nice to have an overview/list of sessions, and the topics they cover
Please send me all your questions on the course to tommaso@musictheoryforguitar.com (it's impossible for me to follow a conversation on YT comments, and these questions tend to become conversations). Thanks!
Tommaso, I don't know if you take requests from your followers, but I have one issue that I'm having hard times to understand: Borrowed chords from diatonic modes are ok for me, like bIImaj7 from phrygian, II7 from Lydian, IV7 from Dorian, minor IV from aeolian, etc. My suggestion for a video is borrowed chords from the modes of melodic and harmonic scales. For instance, how do I use 7b9, 7 11#, altered chords, etc, as borrowed chords. I think it's a very interesting object of study for us. Cheers.
@@MusicTheoryForGuitar thanks man!! You know, I'm Brazilian and we are having bad times here with the pandemic and political issues. Your place here is like an oasis for me, it makes me forget the problems for a while
@@MusicTheoryForGuitar ciao anche solo il primo accordo con C all'ottavo tasto e il resto al quinto tasto. uso l'acustica mi risulta proprio difficile, le dita non ci arrivano.
Metti il mignolo sull'8vo tasto, e usi l'indice per far un mini-barre' al 5o tasto. Se non ti riesce, allora prova a guardare questo video e dimmi se va meglio: ua-cam.com/video/qHZhwlDVMWk/v-deo.html
Greetings thanks for sharing your knowledge of music it has really helped me in my quest to become a better guitarist and musician. Would like to purchase your courses but due to the current situation and challenges with Covid19 we are unable. Do you ever offer any special promotions for your courses?
A few of my students are piano players. Of course, you need to translate some things from fretboard to keyboard, but everything is transcribed in standard notation too. A producer told me that my course made him write better MIDI guitar parts (i.e. that sound more like a guitar and less like a keyboard). I'm not sure how I feel about this last point, but that's that.
What happens when you whant to prepare specifically C/B and F/E the other way building the triad from the bass? Do I use the diatonic options or there is a little more? Anyway thankyou! great lessons!
Well, well, well... I’m from Italy ( *;}* ) and even if it’s 03:32 a.m. I couldn’t help but watch your video, you’re a great teacher! Also, someone complains about the fact you use tablatures instead of a classic music score... I say, “I don’t give a frick” since tablatures are not hard to read, indeed I never have gotten any lessons about tablatures, since I’ve been studying Piano for just three years, yet I can understand them without problems... I guess the ones that complain about that are just some “Classical music Elders” who are so attached to the “Right way to do things” (as they call it) that they would return to the XVIII Century if they could... Well, don’t mind them, keep doing what you do, because you’re great! ;}
I would be hesitant to call these chords third inversions, as they lack the dissonant second between the seventh in the bass and the root note, which is played an octave higher.
@@MusicTheoryForGuitar Well, in German the third inversion of a dominant seventh chord is called "Sekundakkord" which means, the first interval in the chord is a second. But it is possible, that other countries use a different concept.
That's a relic from the Baroque 'continuo notation'. In that notation there is no distinction between a 2nd and a 9th (that distinction was made later historically), i.e. it does not matter in what octave you place the 'second'.
@@aylbdrmadison1051 oh yeah it was cute in the beginning for me too. But then I spent hours and hours with his lessons because he's a great teacher, but I just can't stand his English :-) auguri :)
Another thing: I only know your name by "Hellllo Internets - So Nice To See You!" I have looked on your ABOUT page and also on your website...to no avail. "Hi, my name is Greg. Pleased to meet you. What's yours?"
@accompanist603 : Not exactly true. The very first thing I learned in music theory class were tetra chords. Tetra chords are basically half a scale each: the first chord is from root to fourth and the remaining notes of the scale are the second tetra chord. Combining these two tetra chords gives you an entire key or scale. en.wikipedia.org/wiki/Tetrachord
@@cloudambient it is not standard terminology (yet), but naming chords after modes helps to establish deeper tonal context which goes beyond the mere major/major tonality. We will be hearing more of Ionian chord or Lydian chord and so on, it will one day become modern standard, it really helps to understand modes and the difference between modal and cadential progression.
@@aylbdrmadison1051 identifying what a tetrachord is doesn't mean "ionian chords", "Dorian chords" (or any other mode" exists. Also a tetrachord is a term for a series of four notes, not a "chord" in its traditional sense of stacked notes.
Both would be best, but asking for _"just"_ the notes, ignores the name of this channel: _MusicTheoryForGuitar._ Tommaso often does write out the notes though too, in particular in places where the interval distance is more important to understand or explain. But most often tab is best for teaching chords on guitar, since the same notes can be found in many different places, much more than say a violin or mandolin. If I remember correctly, there was/is a method of tab for the lute too, and it was invented and used long before the guitar was all that popular. Undoubtedly because it also had many more notes (of the same octave) that could be played in different places.
ok, as a little test to myself (I'm lying in bed and not near an instrument to check) I thought I'd have a go at transcribing the intro of that tune just by ear - here goes: ii / 3rd - I / 3rd - ii - vi7 - ii / 3rd - I / 3rd - ii - V How'd I do?
I agree. Especially if you’re unfamiliar with inversions; hearing someone say “G slash F” sort of implies that they are synonymous names (which is confusing) and doesn’t imply their voicing like “over” does. Nonetheless, the content in the video is awesome.
That's interesting. I naturally read them as "over", but in past videos people complained because apparently it's standard to read them as "slash", so I changed. I'm not an English native speaker, so on these things I have to rely on what people tell me... Oh well, it's the Internet, when 3 people have 4 different opinions ;-)
![CRAZY Dominant Chords A La Jacob Collier [Music Theory]](http://i.ytimg.com/vi/sSesMppKaNg/mqdefault.jpg)
I am a pianist and I still learn alot from ur lessons ........ These are not only for guitar these are music theory lessons.....😍😍😍...... Love from India
It's always a great idea to learn about music from other instruments too. Music is a language after all, so we are learning to communicate better with other instruments. ^-^
I have found that diferent instruments emphasize different aspects of music theory.
For example, I IV V on a keyboard look very different from key to key, thus emphasizing the note side of Music Theory. Whereas on the guitar, they look the same in pretty much all keys emphasizing the degree side/relationship side of Music Theory.
Ohh where do you live in india??
@@onedavidonegopal Tamil Nadu
Cool ideas... thank you so much for sharing these concepts. Artists can expressively color music through opportunistic use of more harmonic options.
In the circle of life
Dm/C
It's the wheel of fortune
F
It's the leap of faith
G/F
It's the band of hope
C/E A
Till we find our place
Yes! :)
The way you describe these theories on whiteboard are much more easier to understand. Thank you for your short and sweet tutorial sir....God bless you....
I normally don't like creators who ask viewers to like/subscribe and click off instantly but I stayed. My brain just expanded man
As a creator, I'm curious why you typically don't like people who ask viewers to like/subscribe?
Mr Zillo ( Hope i got that right? ) I'm so damn happy you are on the planet. I've been investing a fair bit of time this year trying to demystify the scary world of UNDERSTANDING Slash chords... Again, in your totally 'Crystal clear way' you have untied the 'Misunderstanding Knot' in my head.... Nice work.... I feel I get it now.... My friend, your approach is awesome..... you've reignited my passion and interest in applicable music theory..... the "NUTS and BOLTS' of practical theory I left in the shadows... I've applied what i've learned to my bass playing... man, it really gives me the harmony under control.... Thank you!!!!!!..... someone once told me: " It's not what you know, it's what you understand"
6:40 may i just add that this is such cool concept, because bass sits on C note, the Dm chord doesn't feel like a true ii chord yet, it feels like some weird floaty sus4add9 chord which can be amazing passing chord between C into proper Dm with D on bass to make progression more interesting, i learned so much from this and taking my own notes already
Amazing and so helpful! Providing people with the means to access their own inner creativity is a special type of generosity; thank you! 🙏🏻
This kind of info must of been actively kept from aspiring artists for many generations. Sad but only in a dull light. Respect the dead. Thank you. I realise the treasure of your creation. It's a cool thing broh. :D
The only time I’ve come across a third inversion in a song, it was Barenaked Ladies’ “Humor of the Situation”.
The progression goes:
Bb Gbaug Gm Bb/Ab
Eb F7sus4 Bb F7sus4
(Bb)
When played on piano, the last note on the right hand (for the top line) goes, F, Gb, G, Ab, while the rest of the notes stay stagnant. It’s a wonderful ratchet effect that comes near the end of each verse, adding more and more tension before resolving through the second line and back to the tonic to start the chorus.
Great lesson, thanks so much!
Hear Tom Jobim Águas De Março(Waters of march) 3rd inversion it’s very common
Try it Bb- Gaug- Gm/Bb- Bb/Ab- Eb-F7sus4-F/A- Bb
And Bb- Gbaug- Gm Bb/Ab Eb F7sus4 F/A Bb
It's really interesting that you wrote this line as "Bb Gbaug Gm Bb/Ab"
Should it not be "Bb Bbaug Bb6 Bb/Ab"? I feel like that gets the point across a bit better personally. Correct me if I'm wrong!
After the Thrill is Gone by the Eagles has some 3rd inversions. C C/B Am in the verses, and G G/F# Em as the transition from verse to chorus.
Thank you Tommaso! ^-^ I've learned so much more about music theory from your channel. It's basically teaching me all of the things I couldn't get anyone else to teach me, not even the Berklee graduate I took lessons from until I got frustrated by him trying to teach me the 12 Major keys I'd already known for over 10 years. I normally avoid using the term _best_ because it's just an idea, an opinion. But as far as I know, this is the best theory channel, and I don't just watch guitar channels either because my first theory classes were on the piano (an instrument I never even owned).
Great lesson. Two of my favourites, the Four Tops' Loving You Is Sweeter Than Ever and Clapton and Winwood's recent versions of the Blind Faith number Can't Find My Way Home are both in C and have C/Bb in a descending line.
Thank you so much for this lesson. It helps me understand better regarding the 'Third Inbersion'
Thanks for yet another clear, concise, and useful music theory lesson. I had never heard of preparation for third-inversion chords, and, honestly, had never thought much about third-inversion chords till I watched this video. Keep up the great work!
I play both guitar and piano and this works on both. Why? Because it’s music theory. Thanks a bunch. Now a lot of what I see in tabs makes sense. Well explained.
Always interesting and inspired concepts! You never just make a video for the sake of making a video
In one of my songs I used the 3rd inversion this way... (all chords are a whole note) C, G/B, Am, D/F# (which is outside of the key of C but is borrowed for it to work with the melody, as well as setting things up a half step from the next chord), F, then G/F which is the 3rd inversion we're talking about. The G resolves to C, but the F on the bottom gives it a sense of not letting go from that IV chord, which works because the whole section then repeats. The second time around the phrase ends not with G/F but with Fm and resolves to C.
Great channel and content, I've been watching for a couple months now. One of my favourite guitar channels and you explain things so well conceptually. Thanks very much
Third inversion G7 or G/F could be preceeded by 1st inversion Dm or Dm/F for a ii V movement. It sounds really interesting keeping the bass note the same and pivoting around it.
The 3rd inversion dom7 is the only 3rd inversion I have used. I hadn't figured any others out because I had got so much use out of that one. And the maj7 one I tried sounded a bit "crunchy". As many chords do with no context. So once again, thank you for expanding my knowledge. I had almost run out of ideas for a decending cadence idea I had been working on. I will play around with some other 3rd inversions now.
Seriously freaked out. Now today I was working specifically through 3rd inversion chord progressions and this comes up on my suggestions.
Hello again! As I was watching this video it triggered a potential exercise. Chords of the key in all inversions! I just tried it. Great work out, very challenging! Thanks for the inspiration!
Here is a consultation question. Why is the minor i chord in the real book always notated as a triad?
C - C/B - F/A - G7 sounds so pretty the way you voiced it
thank you kind sir, for the knowledge.
I can hear a resemblance to the famous I - vi - ii - V...
like they're cousins 🤣
the way you imply the C/B is pleasing. it's set up and resolution resonates well with my soul.
C, Dm/C, G/B, C sounds like the first chord progression in the Prelude in C from Bach’s Well Tempered Clavier.
When I saw this vid 1 year ago, I had been learning guitar from scratch for 1 year, and I could not make sense of your content, although I could sense it was good. Now 9 months into your wonderful Chord Mastery program, I revisit your vids and I feel very informed and accomplished. I am however astonished at the fruitless angst that arises in the comments from often irrational nomenclature disagreements. In dentistry - my occupation, there are instruments called Coupland and Cryer elevators. They are used to remove teeth. They would be better described as a straight elevator and a right angle pick elevator, but the "inventors" of these instruments succumbed to the prospect of immortality and named them after themselves. If you know how to use them, it matters not what they're called except for the purpose of storage. The vagaries of nomenclature in music lend themselves to argument, but in the end, the notes lead to other notes, sometimes pleasing, sometimes not. But even this is not absolute. I now know how to resolve a 3rd inv. chord, and so much more! Thank you Tommaso.
2nd chord in verse of Stevie Wonder's 'You Are The Sunshine Of My Life': F♯/E (3rd inversion F♯7 - resolving to root pos. D♯m7)
Very nice. Love all the detailed examples. Will definitely be able to start using this lesson right away. Thank you! 🤘
This was an amazing lesson. Thank you so much. I'm definitely ordering your book. You are a very good teacher.
I love the way John McLaughlin used 3d inversion chords during the Mahavishnu Orchestra days. Powerful Stuff
Thanks for another great tutorial
Great stuff, you explain things very clearly. This lesson and one I saw yesterday on diminished chords go together nicely. Thanks!
7:04 Ave Maria by Bach/Gounod
2nd chord in verse of ABBA's 'Waterloo': E/D (3rd inversion E7 - resolving to 1st inv. A7)
Great job I am very illiterate when it comes to music but you've explained it so well that I understand. Thanks
Wow, to me this video is another highlighter!!! Implementing these theories into your music is a powerful enrichment! Thanks a lot Tommaso. I hope I can find more time for music within this year, so I will buy your course and start studying with this material. I love your videos. Amazing how much you know and how much you have to offer in your lessons. Thanks again, god bless!
Excellent, thanks! Hope I can use this!
You taught me more than anyone
Content is great.
Please tune your B string to the chord progression.
ex: 6:24 , bring it down a touch. Please.
Once again, thank you for the very useful and harmonious content.
I did not know. Thanks for teaching this.
Damn someone finally exposing my secret technique... it was a good run.
your videos are so interesting! i really love how you explain things.i play bass and have learned so much from your channel. thanks!
In your example involving G7/F
The neapolitan chord would work well to prepare as well. As F would be the bass in the first inversion of the C# chord.
Yes
The first way of putting a third inversion in a sequence is the opening on "You'll Be Back" from Hamilton, and the second o=way shows up in the chorus of "Just Around the Riverbend" from the Disney movie Pocahontas. Cool to know what exactly the music the music is doing
could you make some exercises for practicing these theories?
I wish I'd seen your videos 50 years ago.
Every class of yours is great 👍👍👍
Hello prof l really enjoy it great tutto many thanks
Using the dininish chord as a transition from minor 7th the 5th of target chord by RAISING each note of the Dim. chord 1/2 step, then Dim chord, then lower note 1/2 step gets to target..ex..F#m7, C dim, B maj...
A favorite third inversion of mine in the key of C, is to go from C to D/C especially voiced like X3555X to X3423X, it has the feel to me of the ground dropping out beneath you. Often get back home with something like F/C to Fm6/C to C for a soft landing.
THIS IS AMAZING LESSON MAN.....THANK YOU
All of the chord examples were played in an arpeggiated fashion.
I know this makes it easier to 'hear' the passing notes, but even still, some of these chords get a bit muddy when strummed in a chord-like manner. It's almost as if you need to pluck the passing notes individually and then sound the chord to make it 'work.' - Great lesson! -
Have a bass or a piano reinforce the bass line one octave below, and you can strum them too.
Alway interesting lessons here! Thanks for sharing.
Loving your videos! Have u done one on slash chords with the bass note a whole tone higher than the chord name e.g. like Paul threw in all over The Long and Winding Road. I'd love to hear your take on that.
¡¡Muchas Gracias!! tus videos están buenísimos :D
Thanks for a great lesson! Some of the examples sound like bits of the Bach preludes. Can you give us examples where third inversions are used in popular music? I see someone mentioned Blind Faith below.
at 8:00, you chose to do the 1st inversion of the B Dimished Triad, instead of keeping the 7th chords. To me that's really more of a 2nd inversion G7, without the tonic. So, of course it works. Do you think that doing the B half dimished would sound too weird? (Since half-dimished chords are most often used as II of II-V cadences to minor chords).
You can easily resolve the G/F (G7) with its sub dominant which is D
nice 3rd inversion lesson:)
hello. i am learning from your channel so much! i just got one question here -when you spelled the triad at 5:29 why is it G Dominant 7th and not Major 7th?
also, how do you spell out the C minor 7th triad like how you did with the major?
hope you don't mind enlightening me. thank you.
Thanks for the video ! I also made the subtittle in french for share it can you allowed this ?
I'd love it! How do I do that?
Great lesson! Is there a way of making a diminished chord the tonal center, or they just too ambiguous?
Grazie man.....grazie....
Very helpful
how many sessions are there in total in the course? just to have an idea of total budget needed... it would also be nice to have an overview/list of sessions, and the topics they cover
Please send me all your questions on the course to tommaso@musictheoryforguitar.com (it's impossible for me to follow a conversation on YT comments, and these questions tend to become conversations). Thanks!
Tommaso, I don't know if you take requests from your followers, but I have one issue that I'm having hard times to understand:
Borrowed chords from diatonic modes are ok for me, like bIImaj7 from phrygian, II7 from Lydian, IV7 from Dorian, minor IV from aeolian, etc.
My suggestion for a video is borrowed chords from the modes of melodic and harmonic scales. For instance, how do I use 7b9, 7 11#, altered chords, etc, as borrowed chords.
I think it's a very interesting object of study for us.
Cheers.
It's a good question - with a very long answer. I'll mull it over.
@@MusicTheoryForGuitar thanks man!!
You know, I'm Brazilian and we are having bad times here with the pandemic and political issues.
Your place here is like an oasis for me, it makes me forget the problems for a while
scusami una curiosita' come fai a prendere gli accordi a 6:33 ? sono su due chitarre ? o usi il capo. grazie
Sono su una chitarra sola e non uso il capo. Qual'e' l'accordo che ti da problemi?
@@MusicTheoryForGuitar ciao anche solo il primo accordo con C all'ottavo tasto e il resto al quinto tasto. uso l'acustica mi risulta proprio difficile, le dita non ci arrivano.
Metti il mignolo sull'8vo tasto, e usi l'indice per far un mini-barre' al 5o tasto. Se non ti riesce, allora prova a guardare questo video e dimmi se va meglio: ua-cam.com/video/qHZhwlDVMWk/v-deo.html
@@MusicTheoryForGuitar grazie va molto meglio seguendo il video
Greetings thanks for sharing your knowledge of music it has really helped me in my quest to become a better guitarist and musician. Would like to purchase your courses but due to the current situation and challenges with Covid19 we are unable. Do you ever offer any special promotions for your courses?
4:47 So, F -> G/F works
Would Dm/F -> G/F NOT work?
Would Dm ->G/F NOT work?
Hi, really interesting video. Could this course be useful and understandable by keyboard players too? Thanks in advance
A few of my students are piano players. Of course, you need to translate some things from fretboard to keyboard, but everything is transcribed in standard notation too. A producer told me that my course made him write better MIDI guitar parts (i.e. that sound more like a guitar and less like a keyboard). I'm not sure how I feel about this last point, but that's that.
Great!
What happens when you whant to prepare specifically C/B and F/E the other way building the triad from the bass? Do I use the diatonic options or there is a little more?
Anyway thankyou! great lessons!
Tommasso,
Hey there, I’m interested in your ‘complete chord mastery’ course. How long is the course if I do the ‘gold level’ ?thanks!
Please direct all course questions to tommaso@musictheoryforguitar.com
i want to learn using of scale in chord...examples mode...theory
www.musictheoryforguitar.com/scalesandmodesguitarlessons.html
For any question, write me at tommaso@musictheoryforguitar.com
Well, well, well... I’m from Italy ( *;}* ) and even if it’s 03:32 a.m. I couldn’t help but watch your video, you’re a great teacher! Also, someone complains about the fact you use tablatures instead of a classic music score... I say, “I don’t give a frick” since tablatures are not hard to read, indeed I never have gotten any lessons about tablatures, since I’ve been studying Piano for just three years, yet I can understand them without problems... I guess the ones that complain about that are just some “Classical music Elders” who are so attached to the “Right way to do things” (as they call it) that they would return to the XVIII Century if they could...
Well, don’t mind them, keep doing what you do, because you’re great! ;}
Is there ones for second inversion?
I have a question, Bdim play wothout Ab note, I think it's just only G7, why does it call Bdim?
#1- C7, ending on, #8 - C7, (back-Door ) how does that sound?
Naming the inversions this way only confuses me as I've accustomed calling these the third, fifth, and septime inversion.
7:04 “Bach” would like to know your location...
Bach can come over for coffee anytime :)
For me, it's fine just for the first 2 inversions, the 3rd inversion is still hard to listen and play, great lesson though
That's why I explain how to use 3rd inversions in a chord progression. And honestly, 3rd inversions are much easier on the ear than 2nd inversions.
Take a deep breath and relax
Where you bring and comes this kinda brain??
how to even grab this chord?
I would be hesitant to call these chords third inversions, as they lack the dissonant second between the seventh in the bass and the root note, which is played an octave higher.
The only thing that matter on inversion is the bass note. The 'order' of the other notes does not matter.
@@MusicTheoryForGuitar Well, in German the third inversion of a dominant seventh chord is called "Sekundakkord" which means, the first interval in the chord is a second. But it is possible, that other countries use a different concept.
That's a relic from the Baroque 'continuo notation'. In that notation there is no distinction between a 2nd and a 9th (that distinction was made later historically), i.e. it does not matter in what octave you place the 'second'.
Thanks for your insight.
3rd
... inversion ;-)
How does one play the _last_ inversion then?
the magic, the miracle, check this amazing chord of the gods, the third inversion...
I should hire you to write my video titles :)
MusicTheoryForGuitar pls don’t , they would bring less views
"The 7th of the chord resolves down." VERY cool!
I totally love your lessons, but please omit w when you pronounce "write" :)
I love his accent.
Believe me, I'm twying :) :) :)
@@aylbdrmadison1051 oh yeah it was cute in the beginning for me too. But then I spent hours and hours with his lessons because he's a great teacher, but I just can't stand his English :-) auguri :)
Wow.
Another thing:
I only know your name by "Hellllo Internets - So Nice To See You!"
I have looked on your ABOUT page and also on your website...to no avail.
"Hi, my name is Greg. Pleased to meet you. What's yours?"
Tommaso Zillio
Hi Greg, my name is Tommaso, and you can find more about me here: www.musictheoryforguitar.com/abouttommasozillio.html
Escalazooooo
Root:G
First Invesion:G/B
Second Inversion:G/D
Third Inversion:G/F Seventh Minor
Third Inversion:G/F# Seventh Major
Funny, the third inversion of a mixolydian chord sounds like a lidyan chord 1 step down
There is no such thing as a mixolydian or lydian chord. Mixolydian and lydian are modes/scales. Not chords.
@accompanist603 : Not exactly true. The very first thing I learned in music theory class were tetra chords. Tetra chords are basically half a scale each: the first chord is from root to fourth and the remaining notes of the scale are the second tetra chord. Combining these two tetra chords gives you an entire key or scale.
en.wikipedia.org/wiki/Tetrachord
@@cloudambient it is not standard terminology (yet), but naming chords after modes helps to establish deeper tonal context which goes beyond the mere major/major tonality. We will be hearing more of Ionian chord or Lydian chord and so on, it will one day become modern standard, it really helps to understand modes and the difference between modal and cadential progression.
@@aylbdrmadison1051 identifying what a tetrachord is doesn't mean "ionian chords", "Dorian chords" (or any other mode" exists.
Also a tetrachord is a term for a series of four notes, not a "chord" in its traditional sense of stacked notes.
@@1000BrokenKeys Heading toward my Master's in music theory and composition. I'm telling you that what you're saying is nonsensical.
Love it - except I cannot read tab, just give us the notes!
Both would be best, but asking for _"just"_ the notes, ignores the name of this channel: _MusicTheoryForGuitar._ Tommaso often does write out the notes though too, in particular in places where the interval distance is more important to understand or explain. But most often tab is best for teaching chords on guitar, since the same notes can be found in many different places, much more than say a violin or mandolin.
If I remember correctly, there was/is a method of tab for the lute too, and it was invented and used long before the guitar was all that popular. Undoubtedly because it also had many more notes (of the same octave) that could be played in different places.
Girrrrrazo
Why can't you put the major 7 in the bass?
In the video I DO put the maj7 in the bass.
@@MusicTheoryForGuitar oh geez!!! LOL I'm sorry didn't register with me. I'll go back and watch again I love your videos.
These chords make me hear the intro to “Video Killed The Radiostar.” Am I wrong?
ok, as a little test to myself (I'm lying in bed and not near an instrument to check) I thought I'd have a go at transcribing the intro of that tune just by ear - here goes: ii / 3rd - I / 3rd - ii - vi7 - ii / 3rd - I / 3rd - ii - V
How'd I do?
7.04 sounds like Bach...
I needa some pizza afta this..Ahh mama mia
!
*
Hi I’m sorry to be that guy, if you see this generally people would call it a “G over F” instead of “g slash f”. Once again sorry to be that guy
I agree. Especially if you’re unfamiliar with inversions; hearing someone say “G slash F” sort of implies that they are synonymous names (which is confusing) and doesn’t imply their voicing like “over” does. Nonetheless, the content in the video is awesome.
That's interesting. I naturally read them as "over", but in past videos people complained because apparently it's standard to read them as "slash", so I changed. I'm not an English native speaker, so on these things I have to rely on what people tell me... Oh well, it's the Internet, when 3 people have 4 different opinions ;-)
MusicTheoryForGuitar the world is a wacky place indeed, I love you videos my man
These saccharine progressions are just not working for me. Too little spice