Well not as much rules as tools. I think that's part of paul is trying to illustrate here. Theory isn't there to hinder us with arbitrary limitations, but to be used as a tool to help us along in writing great music.
Yeah man, that thing is built to resolve back to C. F and Ab both resolving down a half step, whilst the Eb resolves back up to E. Could even mix it up and resolve it down to D to make a C add9, or leave it in place for some yummy #9 chord action.
True, but frameworks and themes that you can put in your toolbox are essential. Without them, whatever they may be, a player is just flailing in the dark
@therainman777 you are missing the point. Music is not Kurt Cobain, and most of his music did not sound good, but people enjoy dissonance and distortion , that doesnt mean he was making "good" music. I listen to death metal and styles that people consider "noise" ,when the truth ia that the music is waaaay better in composition and musicality. Fame is not equal to good music. The point here is for those who want to understand music and want to develope a more profound skill it is important to understanding music and its theory. Anyone can build a home...but we still find the best architects and builders to find a good home.... Anyone can make a sandwish...but we lookup to chefs for their skill.... If you are happy at the level of kurt, thats great, this video is not for you buddy
@@Str1ng5 "when the truth ia that the music is waaaay better in composition and musicality" not necessarily, it's just more classical in style (in the obsolete romantic classical style that even serious composes consider trite)
The very moment you realise there are actually no limits in music, you start to dig deeper and deeper and this whole journey is amazing. I'd love to see you showing us more and more advanced concepts because you are wonderful teacher. Best regards
In short, the major third of the B major chord is D#. The transition from B major to E minor features the chromatic step from the D# (major third of B chord) to E (root of the E minor chord.) That half-step movement sounds like a tension-resolution movement to our minds when it resolves to the home chord (the "one" chord of the key).
@@brushstroke3733 Yes, that is basically what makes a so called "harmonic-" or "melodic minor". In viennese classical music (Mozart, Beethoven, Haydn, Salieri) that was very popular among composers, as it added the chromatic tension movement to the minor scale. A good example where this can be seen is Mozart's Rondo alla Turca (one of his most popular compositions), which alternates frequently between a minor (tonic) and E 7 (Dominant-Sept in MAJOR). It uses the harmonic minor scale, because that also adds an augmented second, which gives the whole composition a very mid-eastern/turkish feel.
Sometimes you talk too fast for me Paul...my old brain doesn’t record as fast as it used to🤷🏻♂️. I need to read so I can absorb better or repeat info.
Dude, this is why I LOVE your videos... You've made me feel a lot better about the stuff I write... I'm always niggled and annoyed that the chords I use often times don't "fit in the key", and I'm left totally confused because they still "sound right to me"... For the longest time this left me embarassed to play my own songs in front of other muso's in case it wa a problem with my ear or hearing... I used to always be ready with the excuse "They're jazz chords" on the tip of my tongue in case anyone said anything, but nobody ever did... Now I know better thanks to you... I love your channel, and your chilled out, laid back style is just awesome... You are the quintessential Dutchman... Never change my friend...
He is one of the best UA-cam content providers in my opinion. An outstanding teacher as well as incredible production. If he does it all on his own I’m not sure but if he does that would be impressive.
It's not only the guitar part that's so good but also the edit of the videos. Paul really is the best out here and has the most enjoyable videos. So glad I've found this channel:)
Yeah... what note/chord sounds like home is a good way to describe the key. The key is also sometimes called the "pitch axis" or "tonal center" and the "home note" is also called the "tonic" or the "root". Root equals home base - the most stable note in the key, etc. Anyway, it's just a thought.
I feel like you just came up out the pyramid and handed over the Rosetta stone. This is a game changer. I have recorded a ton of great little nuggets and wrote it out and analyzed the hell out of it. Usually there's one puzzle piece that doesn't seem to quite fit. And that's entirely the point; to establish a pattern and then throw in a twist. That's what we notice. Fantastic videos. There are a ton of great teachers out there and you're work is WAY up toward top. Quirky, innovative, relevant, and fun. Puts a smile on my face every time. Thanks man.
Concise and clear. Teaching experience shows man... think you made it the whole time without saying “leading tone” which I’ve found confuses many students. Appreciate it!!!
Same. There's something soft, jazzy, and bittersweet about the maj7 on its own, which pairs well with the punchier edge of the minor 3rd movement. Looking at the notes, the progression is similar to modulating between major and minor. For example Cmaj7 (C E G B) to Ebmaj7 (Eb G D Bb) lowers the major 3rd (E to Eb) and the major 7th (B to Bb) both of which are satisfying in upward or downward direction. A Cmaj7 to Cm9 (C Eb G Bb D) captures similar qualities while keeping C as root.
If the first chord sonically feels like the I chord, then perhaps it feels right because of how pentatonics work. Other than that, you have one common tone and two leading tones between each move, and the chords themselves are comprised of two stacked major thirds, separated by a minor third, depending on the voicing Edit: you could also think of a Maj7 chord as two perfect fifths separated by a major 3rd, so 5th stacking comes into play
I think it's using Parallel Minor scale chords for example the diatonic chords of C major and C minor are interchangable. Diatonic chords of C major C major D minor E minor F major G dominant 7 F minor B Diminished Diatonic chords of C minor C minor D diminished E flat major F minor G minor A flat major B flat major Just mix and match them
Make them water off a duck's back. Don't forget that - as we speak - 40% of the USA still adores Donald Trump and even claim the Washington madness is by his OPPONENTS.... And Putin's approval rate in Russia consistently hovers around 80%. So we know the world is full of really bonkers crazies. Getting a few downvotes on an excellent piece like this seems like small fry!
Paul is the only man I know who hang on perfection to match the color of his sweater, his radiator and the picture frame on the radiator. I love this man ! great explanations and beautiful video
For those who are still confused: B major in E minor sounds good because the d# in B major is half step lower than the root of the key E minor which is called leading tone that makes a nice resolution back to the root (tonic). I hope I didn't confuse you even more xD
This is one of a few videos you have posted that have really transformed the way I understand the relationship between keys and chord progressions. I think that the first was the one describing using borrowed chords to replace minor chords in the diatonic scale with major chords -- a transformation that you described as being at the heart of rock music, as I recall. Thanks. It makes me glad that I am subscribed to your channel. I have also just subscribed to your Patreon page -- the first time I have ever taken this step.
I like adding an E7 chord while playing in cmaj it feels like a guest to the other chords and I also stop for a sec after I play it so it gives the listeners time to feel that I have done somthing different in the song 😅❤️
yes! i also enjoy throwing that chord in my chord progressions. I looked into it a bit and i think the reason it sounds nice is because it shares two notes with Bdim which is in the key of Cmaj.
Paul I have to say, I have watched loads of guitar videos on UA-cam. And you sir have got the personality and knack of teaching that is second to none. Your tone is very relaxing. Keep up the good work my friend. Regards Frank
impossible to overstate how much I love your videos. you always answer questions I've had for ages, and you answer so clearly. plus, your dad jokes are on point. just wonderful work, my man.
Your interpretation is just of another level.... I learn many stuffs from your videos.. you are a great inspiration ..! Thanks for this videos ..! it really helps ..! And obviously Happy New Year ..!
This was super helpful, been struggling to figure out how I “should” be using chords in a key and this really nailed it for me; use them to build up the structure but break it when you need to fit the mood.
The examples you played really proved your point. That's one of my favourite videos of yours (and I've watched many)... I think you helped a lot of people today :) Cheers.
You uploaded an unedited hidden version on UA-cam, so you can really pause it and answer yourself, to then re-edit the answer and upload the final version... Brilliant :D
The B major would be the chord formed from the E harmonic minor scale. Because the only 1 semitone from the 7th and the tonic sounds more as a resolution. So D turns to D# and so B minor turns to B major
“Dude, I totally miss you”- Tenacious D One of the first songs I ever learn to play and coincidentally it is in the key of E minor. They use B7 to land back on a minor as a home key. Check it out
What a great video. I have definitely caught myself sticking too rigidly to the chords that are diatonically in the key. But we're missing out on so much when we do this. Thank you for uploading!
Paul's illuminating the difference between the diatonic scale harmonization of a KEY and the "resolution to home" as the important factor in defining of a KEY is relevant and awakening. I have had this question every time I notice non-diatonic chords in a song and it has always puzzled and mystified me. It is quite a relief to have it clearly explained the several ways that non-diatonic chords exist in a key. Amazing! Thank you and hat's off to you Paul. I will continue to appreciate videos like this wherein you clarify common misconceptions!
The primary reason the dominant "V" chord is major in a minor key is because it has a stronger presence and pull towards the tonic due to the raised third, which is the leading tone that always wants to go back home to the tonic. For centuries the foundation of music has been built around the relationship between tonic and dominant chords.
Yep, if you're playing in a minor key then the major V chord is standard practice. That's what is taught in classical music theory, you play the 7 (the third of the 5 chord) as being a half step below 1 in order to make the cadence stronger. The 5 goes up or down to the nearest 1 or stays as 5, the 7 goes up a semi tone to 1, and the 2 can go up 3 or down to 1. If the 7 has to go up a whole tone to reach 1, then it's not quite as satisfying. The thing about guitar, though, is that people tend to abstract things in a way that these rules aren't very visible. If somebody us playing an Em chord, that person probably doesn't even know which notes are which. When people switch from one chord to another without consciously using certain inversions, then they are not really "properly" using the voice leading upon which the idea of chord changes is largely built around. E.g. someone might play a V chord and then transition to a i chord, but maybe the 7 voice in the V chord went down to 5 or disappeared entirely instead of going up to 1. This isn't necessarily a problem, per se, but it is something worth considering.
Hey Paul, right at the end you said the same thing I've personally lived by, my music writing career etc, no rules with music, push the rules and boundaries, change structures up from usual standard formats eg, time sigs!, on the beat, off the beat, experiment. Improvise a lot over of all types of music. New is exciting and different, You will also find YOU and how you want to play in the making! I'm almost 20yrs playing, still loving it.
Hi Paul. I would really just like you to know that I had played guitar for almost 20 years before I ever watched one of your videos and I didn't know what you were talking about for a lot of things. But listening to you and falling asleep during the video or actually actively listening to you pushed me to learn my major and minor scales. I still don't have the drive to learn the modes exactly right, but I have noticed that some of the licks that I use inserting songs are modal. Honestly I don't know if I would have learned this much Theory type stuff if it wasn't for you and your videos. If I had money to donate you I so would and I feel bad for not being able to so I will leave you with this. All I have to give his gratitude and I am giving you all the Gratitude right now. Thank you so much Paul
Okay, but B in the key of Em IS diatonic if we consider the harmonic and melodic minor scales... I understand that the talk is about "opening minds without being too theoretical", that's a really nice idea and it makes complete sense for some musics and chord progressions, but historically the harmonic scale has precisely been "created" and used, or rather borrowed to the Arab Andalusians (if we consider European music of course), to use a dominant chord in a minor key to create that beautiful "tension/resolution" effect. But HM sounded too "exotic" or "colorful" (Andalusian Cadence speaks for itself) with the big jump between the 6th and the 7th, so the melodic minor scale was born as an "adjustment" that seemed a bit more "elegant" without the said jump. And the key is, if we think diatonic, the 3 minor scales are interchangeable (for example, in Baroque music, Harmonic Minor was generally ascendant and Natural Minor descendant). And I guess that, to explain a chord progression and how to use it, it's - in my opinion at least - better to understand first where it comes from. And that B in the key of Em (in the context of that cadence at least) comes from the European diatonic thinking, so I think it makes sense to explain it like that. Then of course, way later (or earlier too for modal music), other ways of thinking or hearing music (secondary dominants, tritone substitution, chromaticism, modal and more) were used, and for sure we can find some B in Em in these too, but it operates different rules that dont really explain properly the use of a dominant chord that goes to a first degree in a minor key , at least (one more time) in the Andalusian Cadence context as it is a diatonic cadence and the fondation of that video. These are just "different flavors". Hope not appearing too pretentious or pedantic as I like your videos and talk a lot! :-)
True except that there's more than one meaning to "diatonic," and one common meaning is a 7-tone scale that has the same pattern as the major scale only shifted. Another meaning I think I've heard is a 7-tone scale that has only half- or whole-tone intervals. Paul seems to be using one of these definitions. I was unaware of the definition you're using but learned about it just now, so thanks.
"Very often, diatonic refers to musical elements derived from the modes and transpositions of the "white note scale" C-D-E-F-G-A-B. In some usages it includes all forms of heptatonic scale that are in common use in Western music (the major, and all forms of the minor)." - en.m.wikipedia.org/wiki/Diatonic_and_chromatic
Great video!!! C - D7 - Fm - G - Dm - E7 - C is a progression I made up while watching. To me it sounds nice and that's what I end up learning from this video. It isn't about rules it's about guidelines but the most important guideline is your taste/ear
If think one could add that this chord sequence is centuries old aka Andalusian cadence (en.m.wikipedia.org/wiki/Andalusian_cadence) popular in flamenco music.
around 8:50 you say the right thing to know for a non-professional songwriters and arrangers! waiting 4 an interesting video about that )) staying tuned!
When I write songs it's more like this. Ooh this chord sounds cool. Oh if I play THIS chord with that chord it sounds cool too. And if I play THESE notes on top of these chord in this way that sounds cool. Oh and if I mix them all up this way they sound even better!. Huh? Whats the Key? That doesnt fit Music theory? Oh well. It sounds cool. Lol.
Man every time I watch ur vids I always get captivated by how you can play the chords, the guitar so freely and so improvi-sy. I hope I'll get to that level one day
This video contains some SERIOUS understanding of filming, editing, and basic videography skills. I am a guitarist, but I have also dabbled in video, and the editing on this is fantastic. Very standout-ish!
@therainman777 No, it's perfect... his teaching never seems to answer a question iis slippery and goes in a circle. Clearly he knows a lot about music and can make some very clever points, but can he make it simple...? No...
This does clear things up a bit, because I always tried to figure out the chords of a song by which key it is in and then using the diatonic chords, and most of the time there is that one chord that differs from the rest which make me frustrated as in "how can this chord fit if it is not in the key". This cleans things up a bit.
Would LOVE more theory related videos. Been feeling so stuck on diatonic chords because I figured it was a "rule" but this helped sooo much in expanding my ideas!!
One comment about a favourite chord sub. Years ago playing the tune "Comin' Home Baby", in a kind of funk soul style. I was looking for an alternative chord to replace the IVminor chord, particularly for the solos. I found that the a bVI7 (dominant) gave me the sound I was looking for. So, in the key of G minor it goes from the Gmin(or Gmin7) to Eb7 instead of Cmin. I still like this sound many years later if asked to accompany somene on this tune. Thanks again for a clear and concise explanation in this video, Paul. All the best for 2021!
Add all the chords from the parallel minor key to your available options. So if you are playing in C major, add all the chords from C minor to your jam. Suddenly you will hear the sound of rock and roll come alive. Appetite for Destructiin, here you come!
Minor 4 chord... major b7 .... major 3 resolve to the 6th then dominant to come back to 1. Neapolitan chord? Modulate to minor for a bar and tjen back? Maybe some weird passing chords. Make it extra weird and dissonant. Be creative!
I feel spoiled by Paul's lessons. After 25 years of guitar without understanding why stuffs are working, I'm starting to get a grap ... just starting. Thanks Paul.
I'm in the same situation. I'm still very weak in theory. Usually it's either too easy or not relevant to my progress when I find a new video... Anyways, whatever I do, I feel I have a lot of huge things missing and am making no progress.
The music sense made sense and the video edit HELD my attention when i could have lost focus. I wanted to let you know; good video work too. Thanks again.😊
Well, if you didn't understand nothing, that would mean that you understood something, but probably are not sure about what exactly. What I learned from this video (in a nutshell) is that you can play anything as long as it sounds good.
@@Timberwolf69 That's basically the takeaway. Also that music theory describes, it doesn't dictate what you can do. Also if your "sounds good" playing is usually very basic, you can use music theory to spice things up, so it goes both ways.
Glad I watched this post. Used to front a band with really great musicians as the singer/songwriter. I wrote intuitively. I was always jealous of how the guys who understood music theory kind of knew where I was heading, or had the “perfect” suggestion of how to the resolve a new Bridge? -- As I have learned a little more theory, I have questioned my own chord choices for songs, for this very reason. I like your explanations key = home.
Amazing explanation. Thanks so much. I searched this topic on Google tons of time but couldn't find anything clear as this video. You always get my respect Paul. Cheers for your career and future.
Please give an example with actual chord names. It doesn't work the way you described it with Numbers because the bVI chord is the V chord in a minor key to. You described the Tonic as "i" (e.g. Am), which would be a minor Chord because it is not written with Caps. The VI Chord in a minor key is a major chord (e.g. F Major in the Key of A minor). So if you would make that Chord a half step lower (bVI) it would be the "V" chord of The minor key (E Major (functions as a dominant chord Leading Back to the "i")).
My goodness, your videos have become so incredibly masterful. Beautiful, seamless editing, comfortable demeanour and you have very unscripted-esque scripted segments, which are so smooth.
This guy has the ability to make simple things sound really complicated and yet make them extremely intriguing, thrilling and interesting even though you end up even more confused at the end of his videos.. it's genius
I know this video is older, and a few people have touched on this: however, here’s where my brain goes: The B major is simply providing a maj7 off the Em, giving a nice chromatic walk up from the previous D chord, landing nicely at home. This has always been an easier way for me to think about “chords not in the key”… they’re usually there intentionally with some nice melodic chromatic walk up or down playing on some part of a previous chord to guide us back. Anyway, love your content, just the way my brain works. Way less confusing to me than modes or dominants or borrowed chords or whatever else! Cheers!
Thanks for explaining this distinction of “key” center & diatonic scale. I was foggy on these concepts & this brought some needed clarity. Very helpful video!
@@shadowx2750 maybe I'm just overreacting. Cause when i barely knew how to play at all, i used to see one of my friends just knowing what chords to play on the spot. Now that i see it again, it was just a bunch of 4 chords pop songs, but nonetheless, she was still doing better than me who is already trynna practice lead guitar
Not your ears bro - it's your brain. And there's nothing wrong with any of yours that time won't adapt to with sufficient practice. Irrefutable Fact: Music only discriminates against lack of application; meaning your have to put the hours in, and many people are way more time-poor these days, than when i was learning 25 years ago. So round up the easiest acoustic songs you can find, load the mp3s onto whatever device you have to play them on, grab the guitar, rinse and repeat. There may be one chord or so in each song that messes with you, and that's good, because your brain is actively trying to solve it, while you complete the rest of the tune. If you are frustrated, that simply means you are knocking on the door, and just about to make some progress. You can always google/youtube the chords to most songs, but that is like cheating in an exam by reading the answers out of the back of the text book to pass. Try to learn by ear, as you originally said, as the sense of satisfaction is magnified if you nut-out a song without assistance from internet. Learn all your basic chords, minors and relevant 7ths; then Maj 7ths - that will get you started. And buy yourself a sturdy capo! Lead playing can wait until you have absorbed that knowledge; once you know each note in the chord played over the solo, from there they should present themselves. It's not magic - it's mathematics. 15-30 minutes per day and you are well on the way to catching up to your friend.
Wow man. This seriously lightened a load on my songwriting. I’ve totally been falling into the rule of staying diatonic and just ‘feel’ other chords that make sense for what I want to write. BEST VIDEO EVER!
Hello Paul, Laurent from France here, 47 years old, 8 years of guitare and still struggling . I recently found your videos . BUT i find that the way you explain concepts make things easier to understand and put it on the fretboard. Too bad for me that you do not speak french, i would have liked it so much in order to not spend ages to get the point from english to french out of your videos. Anyway, KEEP UP THE GOOD JOB.
Thank you for explaining the difference between key and scale. You really crystalized the concept in my mind. Now I will go forth and compose with confidence!
@@artanddesign8561 absolutely. even the 'casual' lighting is just perfect. - as is his ability to successfully teach us aspects of music theory otherwise just boring and incomprehensible.
Very good video Paul. I'm one of those players where my theory is rudimentary but as a result, my compositions step out of the box and usually whatever singing melody im composing will guide me to the right chords which sometimes radically step away from the normal diatonic scale. rules are there to be broken so tell this to all the great classical and jazz players who came out with all that fantastic music .good job
watching this after having some trouble with understanding chord degrees from your next level llaying course! i must say though Paul, in just a week of NLP youve blown my mind away completely.
"Music theory isn't a set of rules to follow, it's there to describe the music", that's fantastic. Happy new year paul!
I wish my ap music theory teacher felt the same way
It’s helpful to follow them as rules to start out writing.
Well not as much rules as tools. I think that's part of paul is trying to illustrate here. Theory isn't there to hinder us with arbitrary limitations, but to be used as a tool to help us along in writing great music.
I've always said theory is there as a building block and not the end all be all.
can't find any better words
One of my favourite non-diatonic chords in C major is Fm7. The way it resolves back to C major is lush!
Yeah man, that thing is built to resolve back to C. F and Ab both resolving down a half step, whilst the Eb resolves back up to E. Could even mix it up and resolve it down to D to make a C add9, or leave it in place for some yummy #9 chord action.
Oh man, and that's why I love Bb7sus4 to C as well.
Paul Davids juicy!
thats because 4th minor degree is a great tension to the root
Fm maj7 to C is tasty too.
I love Paul's transitions from Him just to Him(deluxe)
Things to keep you sane during lockdown :(
deluxe vip premium version of paul
Good if you need to stretch 1 minute worth of information over 10 minutes
Just wait till you see his onlyfans
@@duschendestroyer The...The video isn't even 10 minutes.
There is only 1 'rule' in music: if it sounds good, it IS good.
True, but frameworks and themes that you can put in your toolbox are essential. Without them, whatever they may be, a player is just flailing in the dark
@therainman777 you are missing the point. Music is not Kurt Cobain, and most of his music did not sound good, but people enjoy dissonance and distortion , that doesnt mean he was making "good" music. I listen to death metal and styles that people consider "noise" ,when the truth ia that the music is waaaay better in composition and musicality. Fame is not equal to good music. The point here is for those who want to understand music and want to develope a more profound skill it is important to understanding music and its theory.
Anyone can build a home...but we still find the best architects and builders to find a good home.... Anyone can make a sandwish...but we lookup to chefs for their skill.... If you are happy at the level of kurt, thats great, this video is not for you buddy
@@Str1ng5 cringe
And for certain styles (noise, industrial, hardcore) "if it sounds bad" it's also good!
@@Str1ng5 "when the truth ia that the music is waaaay better in composition and musicality" not necessarily, it's just more classical in style (in the obsolete romantic classical style that even serious composes consider trite)
The very moment you realise there are actually no limits in music, you start to dig deeper and deeper and this whole journey is amazing.
I'd love to see you showing us more and more advanced concepts because you are wonderful teacher.
Best regards
hearing Sonic Youth was my introduction to musics boundaries being destroyed.
"When you know a few things about music but not enough to see the whole picture" I've never been described so well in my entire life.
Same
7:30 “why all this sounds good is a topic for another video”- please make this video!!!
I did more than a few of these! Check out the links on the description.
True and it's further complicated by what sounds good to one person doesn't sound good to another.
In short, the major third of the B major chord is D#. The transition from B major to E minor features the chromatic step from the D# (major third of B chord) to E (root of the E minor chord.) That half-step movement sounds like a tension-resolution movement to our minds when it resolves to the home chord (the "one" chord of the key).
@@brushstroke3733 Yes, that is basically what makes a so called "harmonic-" or "melodic minor". In viennese classical music (Mozart, Beethoven, Haydn, Salieri) that was very popular among composers, as it added the chromatic tension movement to the minor scale. A good example where this can be seen is Mozart's Rondo alla Turca (one of his most popular compositions), which alternates frequently between a minor (tonic) and E 7 (Dominant-Sept in MAJOR). It uses the harmonic minor scale, because that also adds an augmented second, which gives the whole composition a very mid-eastern/turkish feel.
Key Change
Paul Davids, the only man who paints his heater to match his sweater.
"The problem's all inside your head," Paul said to me. "The answer's easy if you take it logically."
Jason Burchett yes, Paul has such a nice gentle way of making things clearer while not making you feel,bad you didn't get it before.
50 ways ?
I sung it in my head
Sometimes you talk too fast for me Paul...my old brain doesn’t record as fast as it used to🤷🏻♂️. I need to read so I can absorb better or repeat info.
This is genius
Dude, this is why I LOVE your videos...
You've made me feel a lot better about the stuff I write... I'm always niggled and annoyed that the chords I use often times don't "fit in the key", and I'm left totally confused because they still "sound right to me"...
For the longest time this left me embarassed to play my own songs in front of other muso's in case it wa a problem with my ear or hearing...
I used to always be ready with the excuse "They're jazz chords" on the tip of my tongue in case anyone said anything, but nobody ever did... Now I know better thanks to you...
I love your channel, and your chilled out, laid back style is just awesome... You are the quintessential Dutchman... Never change my friend...
For me Paul is the MKBHD’s version of music, his production is just.. beyond outstanding
I agree completely.
He is one of the best UA-cam content providers in my opinion. An outstanding teacher as well as incredible production. If he does it all on his own I’m not sure but if he does that would be impressive.
@@whitemellon agreed!
It's not only the guitar part that's so good but also the edit of the videos. Paul really is the best out here and has the most enjoyable videos. So glad I've found this channel:)
Key being the "Place that feels like home" feels just right to say when describing hearing the key of a song.
I agree. Because it when you play, it's the pull of the song or progression, the magnetic north.
🤦♂️
@@Peter7966 Definitely!
Yeah... what note/chord sounds like home is a good way to describe the key. The key is also sometimes called the "pitch axis" or "tonal center" and the "home note" is also called the "tonic" or the "root". Root equals home base - the most stable note in the key, etc. Anyway, it's just a thought.
I feel like you just came up out the pyramid and handed over the Rosetta stone. This is a game changer. I have recorded a ton of great little nuggets and wrote it out and analyzed the hell out of it. Usually there's one puzzle piece that doesn't seem to quite fit. And that's entirely the point; to establish a pattern and then throw in a twist. That's what we notice. Fantastic videos. There are a ton of great teachers out there and you're work is WAY up toward top. Quirky, innovative, relevant, and fun. Puts a smile on my face every time.
Thanks man.
I like how Paul’s idea of his viewers is guys who wear beanies and impatiently yell at laptops 🤣
Only the pompous yelly ones. 😉
Hey!
@@CosmicHarmony58 ... no, not you. I specifically said “pompous yelly ones”. Your cool. You’re just yelly. (And only a little at that.) 😉🤙
Concise and clear. Teaching experience shows man... think you made it the whole time without saying “leading tone” which I’ve found confuses many students. Appreciate it!!!
I've always been a fan of moving from a maj7 to another maj7 a minor 3rd away, not entirely sure why it works but it sounds so chilled out to me
very interested 🤔
Same. There's something soft, jazzy, and bittersweet about the maj7 on its own, which pairs well with the punchier edge of the minor 3rd movement. Looking at the notes, the progression is similar to modulating between major and minor. For example Cmaj7 (C E G B) to Ebmaj7 (Eb G D Bb) lowers the major 3rd (E to Eb) and the major 7th (B to Bb) both of which are satisfying in upward or downward direction. A Cmaj7 to Cm9 (C Eb G Bb D) captures similar qualities while keeping C as root.
If the first chord sonically feels like the I chord, then perhaps it feels right because of how pentatonics work. Other than that, you have one common tone and two leading tones between each move, and the chords themselves are comprised of two stacked major thirds, separated by a minor third, depending on the voicing
Edit: you could also think of a Maj7 chord as two perfect fifths separated by a major 3rd, so 5th stacking comes into play
I think it's using Parallel Minor scale chords for example the diatonic chords of C major and C minor are interchangable.
Diatonic chords of C major
C major
D minor
E minor
F major
G dominant 7
F minor
B Diminished
Diatonic chords of C minor
C minor
D diminished
E flat major
F minor
G minor
A flat major
B flat major
Just mix and match them
I just love your videos, not only by how u explain things, but mostly because you use allot of FEELING instead of just tag straight to theory.
Why would people dislike this amazing, inspiring, teaching, video. Makes me mad!
Make them water off a duck's back. Don't forget that - as we speak - 40% of the USA still adores Donald Trump and even claim the Washington madness is by his OPPONENTS....
And Putin's approval rate in Russia consistently hovers around 80%.
So we know the world is full of really bonkers crazies. Getting a few downvotes on an excellent piece like this seems like small fry!
He has some interesting ideas and insights but he waffles on sometimes to the point I stop paying attention. Sorry Paul!
Paul is the only man I know who hang on perfection to match the color of his sweater, his radiator and the picture frame on the radiator. I love this man ! great explanations and beautiful video
For those who are still confused: B major in E minor sounds good because the d# in B major is half step lower than the root of the key E minor which is called leading tone that makes a nice resolution back to the root (tonic). I hope I didn't confuse you even more xD
That would have been a good thing to mention in the video.
@@LowSlowDisk he did
@@dazednconfused-r4o Did he? OK. 'Cause the whole time I kept thinking it would have been easier to understand if he had. I'll check it again. Thanks.
Good point.
uh
This is one of a few videos you have posted that have really transformed the way I understand the relationship between keys and chord progressions. I think that the first was the one describing using borrowed chords to replace minor chords in the diatonic scale with major chords -- a transformation that you described as being at the heart of rock music, as I recall. Thanks. It makes me glad that I am subscribed to your channel. I have also just subscribed to your Patreon page -- the first time I have ever taken this step.
I like adding an E7 chord while playing in cmaj it feels like a guest to the other chords and I also stop for a sec after I play it so it gives the listeners time to feel that I have done somthing different in the song 😅❤️
Same✌
Read your comment... Don't Look Back in Anger started playing in my head
It's seems to be pretty popular to replace Em with E or E7. Also love hearing melodies use that foreign g# note
yes! i also enjoy throwing that chord in my chord progressions. I looked into it a bit and i think the reason it sounds nice is because it shares two notes with Bdim which is in the key of Cmaj.
@@martimpardal learning that right now and also agree with this, tried Eminor instead of E7 and it didn’t sound as good
Paul I have to say, I have watched loads of guitar videos on UA-cam. And you sir have got the personality and knack of teaching that is second to none. Your tone is very relaxing. Keep up the good work my friend. Regards Frank
The editing in this is 👌 Not only is it cool, it legitimately made it more engaging and memorable.
impossible to overstate how much I love your videos. you always answer questions I've had for ages, and you answer so clearly. plus, your dad jokes are on point. just wonderful work, my man.
Happy new year Paul thanks for the great uploads 😁🎸
Great explanation. I never get tired of hearing an Eb or Ebmaj7 in the key of C. Love it!
Your interpretation is just of another level.... I learn many stuffs from your videos.. you are a great inspiration ..! Thanks for this videos ..! it really helps ..! And obviously Happy New Year ..!
This was super helpful, been struggling to figure out how I “should” be using chords in a key and this really nailed it for me; use them to build up the structure but break it when you need to fit the mood.
In the 60's the expression was "If it feels good do it." But in music, it has always been "if it sounds good do it."
The examples you played really proved your point. That's one of my favourite videos of yours (and I've watched many)... I think you helped a lot of people today :) Cheers.
You uploaded an unedited hidden version on UA-cam, so you can really pause it and answer yourself, to then re-edit the answer and upload the final version... Brilliant :D
But... maybe you're watching the unedited version too and everyone here is just living in my simulation for my next video.
@@PaulDavids you should rename your channel "Inception Davids" lol
@@PaulDavids So... Is that you... God?... Makes sense.
Music is so much more than following rules, it's also about the path you passionately follow through and the results that come from it.
The B major would be the chord formed from the E harmonic minor scale. Because the only 1 semitone from the 7th and the tonic sounds more as a resolution. So D turns to D# and so B minor turns to B major
Why not the E melodic minor scale?
I love this guys channel. I need to start at vid 1 and start from there.
Watching him makes me realize just how much I don't know.
“Dude, I totally miss you”- Tenacious D One of the first songs I ever learn to play and coincidentally it is in the key of E minor. They use B7 to land back on a minor as a home key. Check it out
What a great video. I have definitely caught myself sticking too rigidly to the chords that are diatonically in the key. But we're missing out on so much when we do this. Thank you for uploading!
Bb and Ab. The last one specialy just before C on way back.
Paul's illuminating the difference between the diatonic scale harmonization of a KEY and the "resolution to home" as the important factor in defining of a KEY is relevant and awakening. I have had this question every time I notice non-diatonic chords in a song and it has always puzzled and mystified me. It is quite a relief to have it clearly explained the several ways that non-diatonic chords exist in a key. Amazing! Thank you and hat's off to you Paul. I will continue to appreciate videos like this wherein you clarify common misconceptions!
The primary reason the dominant "V" chord is major in a minor key is because it has a stronger presence and pull towards the tonic due to the raised third, which is the leading tone that always wants to go back home to the tonic. For centuries the foundation of music has been built around the relationship between tonic and dominant chords.
"Leading tone" is a technical concept that could have been mentioned in the video to more thoroughly explain the the legitimacy of the progression.
Yep, I learnt it as the 'leading note'. Same thing.
Yep, if you're playing in a minor key then the major V chord is standard practice. That's what is taught in classical music theory, you play the 7 (the third of the 5 chord) as being a half step below 1 in order to make the cadence stronger. The 5 goes up or down to the nearest 1 or stays as 5, the 7 goes up a semi tone to 1, and the 2 can go up 3 or down to 1. If the 7 has to go up a whole tone to reach 1, then it's not quite as satisfying.
The thing about guitar, though, is that people tend to abstract things in a way that these rules aren't very visible. If somebody us playing an Em chord, that person probably doesn't even know which notes are which. When people switch from one chord to another without consciously using certain inversions, then they are not really "properly" using the voice leading upon which the idea of chord changes is largely built around. E.g. someone might play a V chord and then transition to a i chord, but maybe the 7 voice in the V chord went down to 5 or disappeared entirely instead of going up to 1. This isn't necessarily a problem, per se, but it is something worth considering.
Yes. That's why it's called "harmonic" minor as opposed to natural minor. To make the harmony... the cadence from V to I stronger.
Hey Paul, right at the end you said the same thing I've personally lived by, my music writing career etc, no rules with music, push the rules and boundaries, change structures up from usual standard formats eg, time sigs!, on the beat, off the beat, experiment. Improvise a lot over of all types of music. New is exciting and different, You will also find YOU and how you want to play in the making! I'm almost 20yrs playing, still loving it.
I love the fact that every Paul's video he makes about music theory looks like an awesome Discovery documentary
Hi Paul. I would really just like you to know that I had played guitar for almost 20 years before I ever watched one of your videos and I didn't know what you were talking about for a lot of things. But listening to you and falling asleep during the video or actually actively listening to you pushed me to learn my major and minor scales. I still don't have the drive to learn the modes exactly right, but I have noticed that some of the licks that I use inserting songs are modal. Honestly I don't know if I would have learned this much Theory type stuff if it wasn't for you and your videos. If I had money to donate you I so would and I feel bad for not being able to so I will leave you with this. All I have to give his gratitude and I am giving you all the Gratitude right now. Thank you so much Paul
3:42 happy new year.mp4 to you too Paul :D
Paul your aesthetic is easily the best out of all the UA-cam music channels I watch. You are an amazing man
Okay, but B in the key of Em IS diatonic if we consider the harmonic and melodic minor scales... I understand that the talk is about "opening minds without being too theoretical", that's a really nice idea and it makes complete sense for some musics and chord progressions, but historically the harmonic scale has precisely been "created" and used, or rather borrowed to the Arab Andalusians (if we consider European music of course), to use a dominant chord in a minor key to create that beautiful "tension/resolution" effect. But HM sounded too "exotic" or "colorful" (Andalusian Cadence speaks for itself) with the big jump between the 6th and the 7th, so the melodic minor scale was born as an "adjustment" that seemed a bit more "elegant" without the said jump. And the key is, if we think diatonic, the 3 minor scales are interchangeable (for example, in Baroque music, Harmonic Minor was generally ascendant and Natural Minor descendant). And I guess that, to explain a chord progression and how to use it, it's - in my opinion at least - better to understand first where it comes from. And that B in the key of Em (in the context of that cadence at least) comes from the European diatonic thinking, so I think it makes sense to explain it like that. Then of course, way later (or earlier too for modal music), other ways of thinking or hearing music (secondary dominants, tritone substitution, chromaticism, modal and more) were used, and for sure we can find some B in Em in these too, but it operates different rules that dont really explain properly the use of a dominant chord that goes to a first degree in a minor key , at least (one more time) in the Andalusian Cadence context as it is a diatonic cadence and the fondation of that video. These are just "different flavors". Hope not appearing too pretentious or pedantic as I like your videos and talk a lot! :-)
True except that there's more than one meaning to "diatonic," and one common meaning is a 7-tone scale that has the same pattern as the major scale only shifted. Another meaning I think I've heard is a 7-tone scale that has only half- or whole-tone intervals. Paul seems to be using one of these definitions. I was unaware of the definition you're using but learned about it just now, so thanks.
"Very often, diatonic refers to musical elements derived from the modes and transpositions of the "white note scale" C-D-E-F-G-A-B. In some usages it includes all forms of heptatonic scale that are in common use in Western music (the major, and all forms of the minor)." - en.m.wikipedia.org/wiki/Diatonic_and_chromatic
Great video!!! C - D7 - Fm - G - Dm - E7 - C is a progression I made up while watching. To me it sounds nice and that's what I end up learning from this video. It isn't about rules it's about guidelines but the most important guideline is your taste/ear
If think one could add that this chord sequence is centuries old aka Andalusian cadence (en.m.wikipedia.org/wiki/Andalusian_cadence) popular in flamenco music.
around 8:50 you say the right thing to know for a non-professional songwriters and arrangers! waiting 4 an interesting video about that )) staying tuned!
When I write songs it's more like this.
Ooh this chord sounds cool. Oh if I play THIS chord with that chord it sounds cool too.
And if I play THESE notes on top of these chord in this way that sounds cool.
Oh and if I mix them all up this way they sound even better!.
Huh? Whats the Key? That doesnt fit Music theory?
Oh well. It sounds cool. Lol.
I do the same thing except when I get to the part about it not fitting music theory I toss the whole thing out and feel stupid and confused...
modern music theory basically
I love the sound of the 4th chord as a minor. It is super useful :)
"There are no rules, ..." and that's the beauty of life my friends !
Man every time I watch ur vids I always get captivated by how you can play the chords, the guitar so freely and so improvi-sy. I hope I'll get to that level one day
That Tele is really a beautiful Guitar
This video contains some SERIOUS understanding of filming, editing, and basic videography skills. I am a guitarist, but I have also dabbled in video, and the editing on this is fantastic. Very standout-ish!
When you put a beanie on you change into a completely different person. I was like "who is this deep sea fisherman talking to me about music theory?"
: D D D
7:15 and above got me messed up amazed! Good job and thank you for aiding musical hearts!
I love playing diminished chords right before ending with a sharp 4, just to end of with some spice
You’re opening up a whole new world to me and I’ve played for years... thanks
Paul David’s teaching theory is like a perfectly buttery bagel
@therainman777 No, it's perfect... his teaching never seems to answer a question iis slippery and goes in a circle. Clearly he knows a lot about music and can make some very clever points, but can he make it simple...? No...
@therainman777 Paul's buttery, but he's really fun. Still weird..?
This does clear things up a bit, because I always tried to figure out the chords of a song by which key it is in and then using the diatonic chords, and most of the time there is that one chord that differs from the rest which make me frustrated as in "how can this chord fit if it is not in the key". This cleans things up a bit.
This video definitely "unlocks" some hidden information. I'll see myself out.
Don't you mean you'll "C" yourself out? ;)
Would LOVE more theory related videos. Been feeling so stuck on diatonic chords because I figured it was a "rule" but this helped sooo much in expanding my ideas!!
If you thought, that Paul didn't wish you Happy new year, then check the name of the video in 3:45
Got it ! Thanks!
Hey gud one dude...
Didn't notice at first, thanks!
3:29 I love how you much you enjoy rolling the volume up for that B chord!
Here's what I say to all those snuffs, "Who cares about theory, just play the damn thing!" LOL
Keep doing you Paul!
One comment about a favourite chord sub. Years ago playing the tune "Comin' Home Baby", in a kind of funk soul style. I was looking for an alternative chord to replace the IVminor chord, particularly for the solos. I found that the a bVI7 (dominant) gave me the sound I was looking for. So, in the key of G minor it goes from the Gmin(or Gmin7) to Eb7 instead of Cmin. I still like this sound many years later if asked to accompany somene on this tune. Thanks again for a clear and concise explanation in this video, Paul. All the best for 2021!
When it comes to non diatonic chords I essentially play just secondary dominant. I should probably broaden my horizons
Ditto! OK, Paul, broaden our horizons.
Add all the chords from the parallel minor key to your available options. So if you are playing in C major, add all the chords from C minor to your jam. Suddenly you will hear the sound of rock and roll come alive. Appetite for Destructiin, here you come!
@@brushstroke3733 sounds like good advice - thanks! I'll try it!
Minor 4 chord... major b7 .... major 3 resolve to the 6th then dominant to come back to 1. Neapolitan chord? Modulate to minor for a bar and tjen back? Maybe some weird passing chords. Make it extra weird and dissonant. Be creative!
@@petterhouting7484 thanks for all the tips :)
So much light in less than 10 minutes...wow...thanks Paul
I feel spoiled by Paul's lessons. After 25 years of guitar without understanding why stuffs are working, I'm starting to get a grap ... just starting. Thanks Paul.
I'm in the same situation. I'm still very weak in theory. Usually it's either too easy or not relevant to my progress when I find a new video... Anyways, whatever I do, I feel I have a lot of huge things missing and am making no progress.
The music sense made sense and the video edit HELD my attention when i could have lost focus. I wanted to let you know; good video work too. Thanks again.😊
Didn't understand nothing...but still liked the video. The power of good video editing??😁
Well, if you didn't understand nothing, that would mean that you understood something, but probably are not sure about what exactly.
What I learned from this video (in a nutshell) is that you can play anything as long as it sounds good.
@@Timberwolf69 That's basically the takeaway. Also that music theory describes, it doesn't dictate what you can do. Also if your "sounds good" playing is usually very basic, you can use music theory to spice things up, so it goes both ways.
Glad I watched this post. Used to front a band with really great musicians as the singer/songwriter. I wrote intuitively. I was always jealous of how the guys who understood music theory kind of knew where I was heading, or had the “perfect” suggestion of how to the resolve a new Bridge?
--
As I have learned a little more theory, I have questioned my own chord choices for songs, for this very reason. I like your explanations key = home.
I've always seen music theory as a tool to help me to create music and write it down.
Amazing explanation. Thanks so much. I searched this topic on Google tons of time but couldn't find anything clear as this video. You always get my respect Paul. Cheers for your career and future.
That Chord Progression is called the Andalusia Progression i-bVII-bVI-V.
Please give an example with actual chord names. It doesn't work the way you described it with Numbers because the bVI chord is the V chord in a minor key to. You described the Tonic as "i" (e.g. Am), which would be a minor Chord because it is not written with Caps. The VI Chord in a minor key is a major chord (e.g. F Major in the Key of A minor). So if you would make that Chord a half step lower (bVI) it would be the "V" chord of The minor key (E Major (functions as a dominant chord Leading Back to the "i")).
@@ThreeMiningHD
The bVI chord is a Half Step Above the V Chord.
The 1960s song "In The Year 2525" is a loop of this pattern.
My goodness, your videos have become so incredibly masterful. Beautiful, seamless editing, comfortable demeanour and you have very unscripted-esque scripted segments, which are so smooth.
This guy has the ability to make simple things sound really complicated and yet make them extremely intriguing, thrilling and interesting even though you end up even more confused at the end of his videos.. it's genius
Yeah , 150 , 000 of those views was the same guy trying to get his head around it
I know this video is older, and a few people have touched on this: however, here’s where my brain goes:
The B major is simply providing a maj7 off the Em, giving a nice chromatic walk up from the previous D chord, landing nicely at home.
This has always been an easier way for me to think about “chords not in the key”… they’re usually there intentionally with some nice melodic chromatic walk up or down playing on some part of a previous chord to guide us back. Anyway, love your content, just the way my brain works. Way less confusing to me than modes or dominants or borrowed chords or whatever else! Cheers!
In theory we should just be playing but reality finds us thinking of theory. Cheers Paul!!
Nicely put, I feel like I just went to a Music Counselor and my Relationship with Music just got better! Thank you Paul!
I’ve got A Major headache trying to figure this out.
Afarro BWAHAHAHAHAHAHAHA!!!!
G, I wonder if you'll B okay
I C what you did there
Thanks for explaining this distinction of “key” center & diatonic scale. I was foggy on these concepts & this brought some needed clarity. Very helpful video!
Paul, please make a new video on ear training. I feel like i'm never gonna pass the beginner level until i can determine chords by ear
you can very much pass the beginner level without that knowledge but i mean that would be a cool video
@@shadowx2750 maybe I'm just overreacting. Cause when i barely knew how to play at all, i used to see one of my friends just knowing what chords to play on the spot. Now that i see it again, it was just a bunch of 4 chords pop songs, but nonetheless, she was still doing better than me who is already trynna practice lead guitar
Not your ears bro - it's your brain. And there's nothing wrong with any of yours that time won't adapt to with sufficient practice.
Irrefutable Fact: Music only discriminates against lack of application; meaning your have to put the hours in, and many people are way more time-poor these days, than when i was learning 25 years ago. So round up the easiest acoustic songs you can find, load the mp3s onto whatever device you have to play them on, grab the guitar, rinse and repeat. There may be one chord or so in each song that messes with you, and that's good, because your brain is actively trying to solve it, while you complete the rest of the tune. If you are frustrated, that simply means you are knocking on the door, and just about to make some progress. You can always google/youtube the chords to most songs, but that is like cheating in an exam by reading the answers out of the back of the text book to pass. Try to learn by ear, as you originally said, as the sense of satisfaction is magnified if you nut-out a song without assistance from internet. Learn all your basic chords, minors and relevant 7ths; then Maj 7ths - that will get you started. And buy yourself a sturdy capo! Lead playing can wait until you have absorbed that knowledge; once you know each note in the chord played over the solo, from there they should present themselves. It's not magic - it's mathematics. 15-30 minutes per day and you are well on the way to catching up to your friend.
Half-diminished 7th chords in the Major scale. Simple change that makes a world of difference. 👌 Nice job as always Paul!
Second Viewww Second Comment!!!!!!
LOVE YOU PAULLL
You were second... BUT LOVE YOU TOO!
@@PaulDavids funny guy
😂😂😭
@@PaulDavids Dammnit...pressed the button as soon as that notification came up..
*Notification Squad Galore*
Second ain't bad
Wow man. This seriously lightened a load on my songwriting. I’ve totally been falling into the rule of staying diatonic and just ‘feel’ other chords that make sense for what I want to write. BEST VIDEO EVER!
Title: “What can I chords play”
*thumbnail
I didn’t see it that way.
Dont dead open inside
@@quailstudios I it that didn't way see, mean?
@@danguee1 Ha ha. :)
I've taken so many theory classes and this made something click in my brain. Thank you so much, subscribed.
Me reading the thumbnail: "What can I chord play?"
What chords can I play? Is what I saw.
What play can I chord?
Don't Dead Open Inside
@@quailstudios I see it too now, but when I saw it for the first time I read like that.
Hello Paul, Laurent from France here, 47 years old, 8 years of guitare and still struggling . I recently found your videos . BUT i find that the way you explain concepts make things easier to understand and put it on the fretboard. Too bad for me that you do not speak french, i would have liked it so much in order to not spend ages to get the point from english to french out of your videos. Anyway, KEEP UP THE GOOD JOB.
Paul knows how to exit the Matrix.
Thank you for explaining the difference between key and scale. You really crystalized the concept in my mind. Now I will go forth and compose with confidence!
Definition of perfectionist:- a man who paints his radiator to match his pullover..... and re-covers his settee to match his shirt.
Some people just have a high sense of design and aesthetics… Which might lead to that same type of idea about Guitar. That’s why this guy is great
@@artanddesign8561 absolutely. even the 'casual' lighting is just perfect. - as is his ability to successfully teach us aspects of music theory otherwise just boring and incomprehensible.
Very good video Paul. I'm one of those players where my theory is rudimentary but as a result, my compositions step out of the box and usually whatever singing melody im composing will guide me to the right chords which sometimes radically step away from the normal diatonic scale. rules are there to be broken so tell this to all the great classical and jazz players who came out with all that fantastic music .good job
Woman yelling at cat meme:
Woman: what chords can I play
Cat: What can I chords play
cat: “I’m sure glad they invented nylon.” 😅👍🏻
Paul, aside from your vids being ALWAYS very educational they are VERY beautiful!! I love the new studio!
"In E minor it must be B minor, not B major."
Japanese music: "Hold my sake, please."
Well cuz' Japanese musics use the third major a lot...
watching this after having some trouble with understanding chord degrees from your next level llaying course! i must say though Paul, in just a week of NLP youve blown my mind away completely.