Stick with it. The more you learn it starts to fit into place. Edit- I tried to shamelessly plug the music theory basics lectures on my own channel, but I don't know if the comment survived :P
barry harris talks about the quadrants but calls them families! he says every dominant comes from a dim7th and that it is part of a family, if we're in Cmaj: G7 comes from Abo7. because if you lower the Ab in that chord it becomes G7. lower each individual note and you get 3 more dominants, E7 (V of relative minor) Db7 (V of tritone) and Bb7 (V of what your calling the relative major, some people call it the backdoor). this makes it so that there are 3 families (if you have 4 quadrants, there are 3 groups of them). he also talks about minor 7s and -7b5s as 6 chords. A-7 being Cmajor6 and a-7b5 being C-6. This makes every ii V I actually a IV V I (he calls the ii chord a IV with a 6 in the bass). which fits perfectly with your quadrants concept. what's interesting about giant steps to me is that altho the chord progression is based on an augmented shape, the diminishes and 6s are directly connected as bridges to those key centres. the symmetrical shapes seem to be the key to everything! if we subbed out every dominant chord with the diminished family its from, and -7s with its 6 chord, you could voice giant steps like this: Bmaj7 Co7 Gmaj7 Abo7 Ebmaj7 Cmaj6 Co7 Gmaj7 etc. i find that the voice leading becomes more clear when incorporating his concepts of families. even that first change Bmaj7 to Co7. B D# F# A# changes to C Eb F# A. The outer voices close in contrary motion (B to C and the A# to A) while the middle voices remain the same. in a regular ii V to G the voices move in parallel motion but it is still 2 notes that move and 2 that stay the same (C E G A to C Eb F# A). Its cool cos it makes it so that every change that isnt a V-I has two common tones. If we understand that every Major Chord is also a minor 7, we can also start to look at progressions such as Ebmaj7 to A-7 as C-7 to C6, which makes the voice leading super clear. (relative major to tonic on your quadrant). thanks for this video. very interesting stuff ~~
Yes, the dominant 7 and diminished chords are very closely related. If you add a b9 to a dominant 7 chord you have a diminished chord. I'm intrigued by the effect that tritone pairs have on the tension of the chord, whether it be a dominant 7, a minor 6, a half-diminished, or a diminished chord. In general, I see the energy increases as the notes in the chord move farther away from one another.
Awesome. The first time I've heard about that diminished chord as a 'parent' from a lesson with Pat Martino. He' said that there are 2 parental forms from which all other chords are formed: augmented and diminished. For instance: take any note from an augmented triad down a half step and you get a major triad; take any note up a half step and a minor triad is generated. Both 'parents' are symmetrical. If you write 12-tone scale on a circle, augmented forms a triangle, and diminished forms a square. Sacred geometry ;)
@@finnnnnnnn1258 No no, that is a form of clock diagram that I've come across before, where the notes are in pitch order around the clock. Here though, the note sequence is the circle of fifths. I find that a lot harder to grasp.
@@klaasbil8459 what's elegante though is the patterns that emerge. Using the circle of fifths this really is very cool. I'm 66 and have been using the circle of fifths for a lot of years for different things, but never like this. The symmetry of the diminished and augmented chords, and the consistent patterns for any key change put a visual logic and consistency that's totally obscured in standard notation. Now we need an app that does this with midi or audio streams! I like this. As a pop and rock player, I'm always miffed by the constant key changes in jazz and this example visualized that quite well, making me dizzy chasiing the blue triangle. 8)
Mary - very interesting analysis. I am envious of your grasp of the Circle! Great content, thanks for posting and keep it up. (By the way, found your channel from your Musical-U post on this subject). Thanks again.
My head exploded... I've never seen the circle of fifths "diagramed" like that, with shapes, like hands on a clock. It was tough to follow until the diminished and augmented that can just rotate... a very interesting way to present this material.
You would never believe this but I was just today thinking I would love to see a chordal explanation of Giant Steps! I am a huge jazz fan but also a guitar player and into blues/rock/jazz and stuff like Steely Dan, Zep, Allmans, Trower, Radiohead, etc. I have been watching a couple videos on triads recently and I have a couple jazz video lessons in there as well so I guess this was the YT algo figuring out what I wanted next even before I searched for it! It’s a little like this song, slowing shifting the tonal center! I really love this analysis, especially thinking about it in augmented and diminished terms. Incredible job! Thanks!
Awesome. Its fascinating to look at this tune in the chromatic circle as well! The diminished chord and augmented chord have the same shape in these two separate spaces, watching the intervals move is like music to my eyes
The rewritten circle showing the groupings as tonic, relative major and minor, and tritone, is nothing I've seen before and it unlocks many things. It helps to bring understanding. Thanks.
Thank you very much for this video! I have no idea why I came accross this but what I know is that I was about to exactly search for something like that animation. I try for like 6 months now to wrap my mind around everything related to the circle of fiths and I already came up with the connections of the intervals and how they form chord groups... However beeing a developer and sadly not that good musician (for now! :D) I just wanted to develope some software to have an sample visualization of any chord connections around the circle (movable) but this animations work too! Thanks a lot! :D
Hey! I like how this is presented, but have you considered using Midi instruments as audio examples? You'd be able to change the speed without losing clarity & making the song sound so ugly and indistinct.
That's a good idea. It might also keep my stuff from being copyright cut. I haven't done anything with MIDI tho, so it'll be a few minutes before I can go there. Thanks for the idea!
This is a really cool video! One thing I think would have really helped me understand better as an aural learning would be showing us the notes and chords by hearing them as well as seeing them
wait this was posted recently?? i thought it was one of those old videos explaining how music actually worked i still dont understand at all tho, but i love it anyway. keep it up!!
I was confused why Eb was given as the 'relative major' of C, but then I saw that obviously A minor is the relative minor of C major, C minor is the relative minor of Eb major. Same way as saying Eb major is the relative major of C minor.
C- Eb Gb-A keys are related because their tonics form a fully diminished seventh chord. They also form the tonics of 4 dominants when the notes of C# diminished are moved down a half step. And if you add a half step between the the fifth and six degrees of each key they share the same D fully diminished chord notes between the consonant tones of the scale.
@@cedricary9633 I'm hoping that my circle animations help visualize all that. When you see a diminished chord mapped out and see it is symmetrical, to me it's much easier to work out what you could do with that knowledge.
interesting view of the harmony of giant steps in the circle of fifth. clarified everything. But maybe you can also mention the 2-5-1 to get to the key center
Even Coltrane didn’t think like this mathematical music..... for me I understand Giant steps like very simple: “ the song is created in one whole tone scale” by jumping one tone between them “B-G-Eb-B” and doing 2-5-1 progression in between
Composing the music and analyzing the music are two different ball games. The way Coltrane thinks about the music will be much different than how an analyst will analyze the music. You should understand the music in the way that is best for you! At the end of the day, we are all individual analysts, and what we get from a piece will be different from anyone else.
It's mainly just 2-5-1s modulating mainly to the Tritone....which can be seen as a giant tritone substitution.....theoretically it's one giant V-1 (with a few passing modulation.) Really simple geometric shapes really....the genius is how he can switch his ears to be comfortable in these distant surface modulation so quickly....its like speaking a language where the first word is Spanish the second is Japanese and the third is hindu but speaking it as quickly and as fluently as your native tongue.
If youre about to play a V7 I, rotate down a 3rd. If youre about to play a ii7 V7 I, rotate up. With the exception of the last two chords, which are the ii7 and V7 of the original I.
Only recently delved into circle of fifths, found this helpful and fascinating, thanks. Question: at 1:45 you refer to the chord formed on the 7 as half-diminished, but given you refer to the triads formed on the other 6 notes of the scale, shouldn't the triad of the 7 be diminished I.e. only when extended to be a 7th chord does it become half-diminished, aka m7b5?
I originally was calling the chord shapes triads, but as I've shown them here they all have four notes, so they're 7-chords, not triads. If you're looking at the chord made from the 7 note as a triad, yes, the 3 notes are diminished, since both the 3 and 5 are flatted, but the 7 note in the 7-chord is a b7, not a bb7 as it would be in a fully diminished chord, which makes the 7-chord version a half-diminished.
@@moogooch3660 Thanks for confirming: the triad on the 7 is diminished, the 7th chord on the 7 is half-diminished, or as I mentioned, also known as m7b5
What an interesting circular visual representation of seeing harmony! I never thought of it like this other than seeing the chords through a piano/score representation like Synthesia.
Ha ha, exactly like synesthesia. Because of my synesthesia I have a hard time with chord spellings. Basically, the colors of the letters and numbers do not match the colors of the tones they represent. So I've been trying for a while to come up with a way to visualize chord progressions that does not involve letters and numbers. This one was the most help to me, and I hope it will be to others.
So basically what i understand is that he is doing a cadence of 2-5-1 around the circle of fifth. A 2-5-1 is made of 2:minor chord 5: Dominant chord and 1 Major chord. It's more simple when you see it like this. So if your 2 is a C, your 5 will be a F and your 1 will be a B try to do it for every other chords. The hardest part is to play it but the concept is pretty ok ;)
Yes, you got it. Moving counterclockwise around the circle takes you through 2-5-1s, but you can start earlier and move through 3-6-2-5-1, also a popular chord progression. This way is easier for me to find the sequences than to try to spot them in the chart.
Wow!! I'm going to have to watch this a couple more times to "own" it. More and more I'm convinced that some alien species gave humans the Circle of Fifths and once we become good enough musicians, they will appear and let us jam with them.
Part of jazz is the license to make changes to the chord progressions as a new or different interpretation. I'm assuming you mean the 3 notes in the augmented chord? I checked several transcriptions before settling on this one and they all represented them as M7s to start.
@@moogooch3660 I guess I'm not seeing it right, I want to say it looks like he borrows the D7 resolves to GM7. Then the same with Bb7 resolves to EbM7, then goes back an uses the Am7 ii, D7 V, GM7 I..but he also does the same with Gb7, borrowing 3rds..an then goes around with the m, 7, Maj7 2-5-1 ?? Maybe sounds a bit farfetched..
@@jordanthefrugivore9697 "I think therefore I am" ... Remember. Joke aside, that level of playing is eminently intellectual in its foundation of course, try and improvise on that chord sequence without knowing what you're doing... YOu wouldn't even last one bar rofl... Come on pal, do you play an instrument? Have you ever played in a band?
christian revuelta : I totally agree with you! The Theoretical Knowledge of Music is the FOUNDATION for Improvisation!!! One cannot build anything without a foundation!
my music knowldge isn't strong enough to follow this video in a level that i would want, what topics/ subject should i cover or strengthen in order to understand this better? i dont study music in any institution just by myself...
Haha sounds far out but just think of the C Major scale on the keyboard. What 5 notes in the octave aren't included? The black keys e.g. the Gb Pentatonic scale. Hiding in plain sight. 👍
@@michaelgoodrich6958 Hah! Good observation. I have a bunch more of those as well, so now that this is getting some hits, I'll work on getting those out.
I saw a cool video on how to start using this and explore playing outside. He essentially said to jump into the tritone pentatonic during a drum fill and then jump back inside the key. Has a fusion sound. I experimented with it a bit last night. It’s cool. If you are interested I could dig up the link...
If you search on moogooch in UA-cam my other videos should show up. This one does the most explaining, but watching several videos might make some parts more clear. You can also find my music theory primer there, which starts at the very beginning and moves into the circle in the later videos. Hope that helps!
Sorry. You do need to know a bit about it before these will make sense. I have put some animations out there for the basics of music theory. Oddly enough it's called basic music theory animated. If you put moogooch in the title they should come up. I think there are 13 in the series.
I don't understand why the left of the circle (b3) is called the relative major (1min 20 in the video). the relative major of what? I thought the tonic is the relative major. does eomone understant?
The way I see it, the tonic note 1 is the relative minor of the b3 note, just as the 6 note is the relative minor of the tonic. My calling that group of 3 notes the relative major was my attempt to show the circular nature of the relationships.
My understanding of this song and of jazz in general aren't good enough to say for sure, but I think it's because it's mostly made up of 2-5-1 progressions. (Almost) every group of three chords is a 2-5-1 which means that the last chord of the group is the tonic. I hope I'm right and I hope this is useful for you.
The process of considering one chord as a tonic is by the cadence. Approaching one chord with its 2-5 is the most effective modulation technique in jazz. I would recommend you watch videos on secondary dominants and secondary 2-5-1 to understand how tonal centres are created within a song. Cheers
You’re on the right track, but you’re not quite there. You’re getting to the good stuff, and continuing to put out your educated and intuitive questions for clarification will progress your musical development fastest. Basically, the melodic/harmonic logic (music theory) that Coltrane used to create Giant Steps was unique in that the tune has 3 equally strong tonal centers, as each melody segment “turns around” into the next tonal center establishing it temporarily as “home base” until it “turns around” to the next and so on. Hope that’s helpful to you! For a little more clarification, the article that accompanies another UA-cam goes a bit deeper into things without getting super technical/geeky. www.vox.com/videos/2018/12/4/18125993/john-coltrane-jazz-explained-improvisation-giant-steps
This is over analyzing. I think Coltrane changes make the most sense when moving backwards and looking at tunes like fifth house, 26 - 2, satellite, which are based on Birds tunes. This also doesn’t talk about language.
I understand absolutely nothing but it's interesting as hell
Not understanding should not impede the enjoying but enhance it.
I feel the same! I can play one note of music, but i know good music and this is it!
Stick with it. The more you learn it starts to fit into place.
Edit- I tried to shamelessly plug the music theory basics lectures on my own channel, but I don't know if the comment survived :P
I will look further into this. This is the best discovery since the diminished 6th scale.
The red line represents which chord it is, and the grey lines represent the chord tones
Honestly, it's mindblowing to see harmony being analysed like this.
unbelievable. how can a human brain work like this? i'm demolished.
it was Trane's mind ;)
This animation actually makes it look harder than it is - don't get me wrong, I don't mean that it _is_ easy.
@@brzozek9669 Actually it was Trane's use of the beginning of Bartok's work
@@ilyan.v.371 oh, I didn't know that! Thanks 😃
Harmony, as a whole, is considered one of the greatest elaborations of the human mind.
barry harris talks about the quadrants but calls them families!
he says every dominant comes from a dim7th and that it is part of a family, if we're in Cmaj: G7 comes from Abo7. because if you lower the Ab in that chord it becomes G7. lower each individual note and you get 3 more dominants, E7 (V of relative minor) Db7 (V of tritone) and Bb7 (V of what your calling the relative major, some people call it the backdoor). this makes it so that there are 3 families (if you have 4 quadrants, there are 3 groups of them).
he also talks about minor 7s and -7b5s as 6 chords. A-7 being Cmajor6 and a-7b5 being C-6. This makes every ii V I actually a IV V I (he calls the ii chord a IV with a 6 in the bass). which fits perfectly with your quadrants concept.
what's interesting about giant steps to me is that altho the chord progression is based on an augmented shape, the diminishes and 6s are directly connected as bridges to those key centres. the symmetrical shapes seem to be the key to everything!
if we subbed out every dominant chord with the diminished family its from, and -7s with its 6 chord, you could voice giant steps like this: Bmaj7 Co7 Gmaj7 Abo7 Ebmaj7 Cmaj6 Co7 Gmaj7 etc. i find that the voice leading becomes more clear when incorporating his concepts of families. even that first change Bmaj7 to Co7. B D# F# A# changes to C Eb F# A. The outer voices close in contrary motion (B to C and the A# to A) while the middle voices remain the same. in a regular ii V to G the voices move in parallel motion but it is still 2 notes that move and 2 that stay the same (C E G A to C Eb F# A). Its cool cos it makes it so that every change that isnt a V-I has two common tones. If we understand that every Major Chord is also a minor 7, we can also start to look at progressions such as Ebmaj7 to A-7 as C-7 to C6, which makes the voice leading super clear. (relative major to tonic on your quadrant).
thanks for this video. very interesting stuff ~~
Yes, the dominant 7 and diminished chords are very closely related. If you add a b9 to a dominant 7 chord you have a diminished chord. I'm intrigued by the effect that tritone pairs have on the tension of the chord, whether it be a dominant 7, a minor 6, a half-diminished, or a diminished chord. In general, I see the energy increases as the notes in the chord move farther away from one another.
Awesome. The first time I've heard about that diminished chord as a 'parent' from a lesson with Pat Martino. He' said that there are 2 parental forms from which all other chords are formed: augmented and diminished. For instance: take any note from an augmented triad down a half step and you get a major triad; take any note up a half step and a minor triad is generated. Both 'parents' are symmetrical. If you write 12-tone scale on a circle, augmented forms a triangle, and diminished forms a square. Sacred geometry ;)
@@chrisinglik4115 its not just any major and minor triad either, its the relative minors and majors! fr ex Caug= Cmaj & A-, Emaj & C#-, Abmaj & F-
I think Giant Steps is the most beautiful upbeat song in all of Jazz.
Interesting way to visualise chords, I've never seen this before. Hard to wrap my head around though
It's called a clock diagram, the channel Sideways has a very good video explaining them
@@finnnnnnnn1258 No no, that is a form of clock diagram that I've come across before, where the notes are in pitch order around the clock. Here though, the note sequence is the circle of fifths. I find that a lot harder to grasp.
@@klaasbil8459 what's elegante though is the patterns that emerge. Using the circle of fifths this really is very cool. I'm 66 and have been using the circle of fifths for a lot of years for different things, but never like this. The symmetry of the diminished and augmented chords, and the consistent patterns for any key change put a visual logic and consistency that's totally obscured in standard notation. Now we need an app that does this with midi or audio streams! I like this. As a pop and rock player, I'm always miffed by the constant key changes in jazz and this example visualized that quite well, making me dizzy chasiing the blue triangle. 8)
one of the best and most illuminating breakdowns I've seen of it yet!
Mary - very interesting analysis. I am envious of your grasp of the Circle! Great content, thanks for posting and keep it up. (By the way, found your channel from your Musical-U post on this subject). Thanks again.
AMAZING we need more visualizations of complicated concepts like changing key centers symmetrically around the circle
My head exploded... I've never seen the circle of fifths "diagramed" like that, with shapes, like hands on a clock. It was tough to follow until the diminished and augmented that can just rotate... a very interesting way to present this material.
One of the most interesting analysis videos I’ve seen. Great idea, this is great, thank you!
This is absolutely fascinating! Loved it.
This is the visualization that I needed. I start to get the idea of that song, well done!
Well written and easy to understand, not an easy feat when talking about Giant Steps! Excellent! Subbed!
I knew all this for years, but you present it so simple, clear and well structured that it is pure fun to view Your video! Thank You very much!
This honestly gave me a much better understanding of a few different little topics. Wonderful video that was awesome.
incredible video and explanation. this deserves way more than just 70k views after 2 years
You would never believe this but I was just today thinking I would love to see a chordal explanation of Giant Steps! I am a huge jazz fan but also a guitar player and into blues/rock/jazz and stuff like Steely Dan, Zep, Allmans, Trower, Radiohead, etc. I have been watching a couple videos on triads recently and I have a couple jazz video lessons in there as well so I guess this was the YT algo figuring out what I wanted next even before I searched for it! It’s a little like this song, slowing shifting the tonal center! I really love this analysis, especially thinking about it in augmented and diminished terms. Incredible job! Thanks!
this is incredibly helpful, thank you!
Fascinating. Extremely interesting explanation of harmony!
Wow! Thats a really awesome analysis... I hope to see more of this on your channel! God bless you!
THANK YOU FOR THIS VIDEO. Soo succinct and well animated. Definitely using this for my advanced students.
Awesome. Its fascinating to look at this tune in the chromatic circle as well! The diminished chord and augmented chord have the same shape in these two separate spaces, watching the intervals move is like music to my eyes
I have never thought about this circle of 5th can be a useful analysis tool of chord progressions. Brilliant.
This is unbelievably good. A huge revelation
This is amazing!!! I never saw circle of fifths with this focus. So helpful! :)
GREAT ! ... like the approach ... !
The rewritten circle showing the groupings as tonic, relative major and minor, and tritone, is nothing I've seen before and it unlocks many things. It helps to bring understanding. Thanks.
Thank you so much for doing this!
Thank you very much for this video! I have no idea why I came accross this but what I know is that I was about to exactly search for something like that animation. I try for like 6 months now to wrap my mind around everything related to the circle of fiths and I already came up with the connections of the intervals and how they form chord groups... However beeing a developer and sadly not that good musician (for now! :D) I just wanted to develope some software to have an sample visualization of any chord connections around the circle (movable) but this animations work too! Thanks a lot! :D
Thank you, I was lost in the original vid, this helps so much
Hey! I like how this is presented, but have you considered using Midi instruments as audio examples? You'd be able to change the speed without losing clarity & making the song sound so ugly and indistinct.
Hi, I'm a subscriber of yours, I only wanted to say I love what you make, please keep doing it and have a nice day
Yooo, what's up, I'm a subscriber too, how're you doing
That's a good idea. It might also keep my stuff from being copyright cut. I haven't done anything with MIDI tho, so it'll be a few minutes before I can go there. Thanks for the idea!
@@moogooch3660 Or you can use audacity high quality stretch, the quality is pretty good.
That's awesome, thank you so much!!!
This is very interesting and I am sure there is something to be learned here but for me it's going to take some time to fully grasp the concept.
Awesome lesson I got it. Great work.
Brilliant!
This! Animation!Is! Awesome-Sauce!!! 🔥🔥🔥👨🏿🎤
That was amazing
Keep up the good work. You’re on to something! And 🙏
dont know the circle of fifth is useful until this video. mind blowing!
the best explanation of the circle of 5th. thanks
This is a really cool video! One thing I think would have really helped me understand better as an aural learning would be showing us the notes and chords by hearing them as well as seeing them
This is awesome!!
Amazing video. You should do more song analyses.
Noooice illustrations.
Mind = blown 🤯
love and thx for the speed up part xD
Thanks So Helpful
wait this was posted recently?? i thought it was one of those old videos explaining how music actually worked
i still dont understand at all tho, but i love it anyway. keep it up!!
Ay well done
Belissimo!
The seventh is the drivewheel!
the channels back !!! im so surprised to see
I was confused why Eb was given as the 'relative major' of C, but then I saw that obviously A minor is the relative minor of C major, C minor is the relative minor of Eb major. Same way as saying Eb major is the relative major of C minor.
C- Eb Gb-A keys are related because their tonics form a fully diminished seventh chord. They also form the tonics of 4 dominants when the notes of C# diminished are moved down a half step. And if you add a half step between the the fifth and six degrees of each key they share the same D fully diminished chord notes between the consonant tones of the scale.
@@cedricary9633 I'm hoping that my circle animations help visualize all that. When you see a diminished chord mapped out and see it is symmetrical, to me it's much easier to work out what you could do with that knowledge.
Just think chromatic mediants, you'll be fine.
Thank you by the way
Спасибо!
interesting view of the harmony of giant steps in the circle of fifth. clarified everything. But maybe you can also mention the 2-5-1 to get to the key center
Even Coltrane didn’t think like this mathematical music..... for me I understand Giant steps like very simple: “ the song is created in one whole tone scale” by jumping one tone between them “B-G-Eb-B” and doing 2-5-1 progression in between
Composing the music and analyzing the music are two different ball games. The way Coltrane thinks about the music will be much different than how an analyst will analyze the music. You should understand the music in the way that is best for you! At the end of the day, we are all individual analysts, and what we get from a piece will be different from anyone else.
I have a sneaking feeling you listened to this piece more than once.
Ha ha, yes, yes I did...
Great! I have my version too.
got mindblown watching this video! i thought circle of fifths is just the V of the notes but its actually everything? if not almost
It's mainly just 2-5-1s modulating mainly to the Tritone....which can be seen as a giant tritone substitution.....theoretically it's one giant V-1 (with a few passing modulation.) Really simple geometric shapes really....the genius is how he can switch his ears to be comfortable in these distant surface modulation so quickly....its like speaking a language where the first word is Spanish the second is Japanese and the third is hindu but speaking it as quickly and as fluently as your native tongue.
Subscriber #56!
YEASSS! thanks
Who are you? You are a genius.
If youre about to play a V7 I, rotate down a 3rd. If youre about to play a ii7 V7 I, rotate up. With the exception of the last two chords, which are the ii7 and V7 of the original I.
It’s like the lines were dancing.
this video is blocked on my school chromebook so ive waited all day just to come see this
Only recently delved into circle of fifths, found this helpful and fascinating, thanks. Question: at 1:45 you refer to the chord formed on the 7 as half-diminished, but given you refer to the triads formed on the other 6 notes of the scale, shouldn't the triad of the 7 be diminished I.e. only when extended to be a 7th chord does it become half-diminished, aka m7b5?
Correct. Perhaps the author did not quite distinguish whether the subject is triads or 7th chords.
I originally was calling the chord shapes triads, but as I've shown them here they all have four notes, so they're 7-chords, not triads. If you're looking at the chord made from the 7 note as a triad, yes, the 3 notes are diminished, since both the 3 and 5 are flatted, but the 7 note in the 7-chord is a b7, not a bb7 as it would be in a fully diminished chord, which makes the 7-chord version a half-diminished.
@@moogooch3660 Thanks for confirming: the triad on the 7 is diminished, the 7th chord on the 7 is half-diminished, or as I mentioned, also known as m7b5
More of this please, maybe his interpretation of But Not For Me
Thanks for the suggestion. I'll look at But Not For Me
Was I the only one who really liked the slowed giant steps? I looked in the comments and people seem to not like it
Nice lesson. Just to clarify, at 2:11, when you say pentatonic, you mean major pentatonic, correct?
It's time to dig a rabbit hole
yo clock goin places
What an interesting circular visual representation of seeing harmony! I never thought of it like this other than seeing the chords through a piano/score representation like Synthesia.
Ha ha, exactly like synesthesia. Because of my synesthesia I have a hard time with chord spellings. Basically, the colors of the letters and numbers do not match the colors of the tones they represent. So I've been trying for a while to come up with a way to visualize chord progressions that does not involve letters and numbers. This one was the most help to me, and I hope it will be to others.
ya ya ya aya ayayayayayay ayay aa and that's what I hear.
So basically what i understand is that he is doing a cadence of 2-5-1 around the circle of fifth. A 2-5-1 is made of 2:minor chord 5: Dominant chord and 1 Major chord. It's more simple when you see it like this. So if your 2 is a C, your 5 will be a F and your 1 will be a B try to do it for every other chords. The hardest part is to play it but the concept is pretty ok ;)
Yes, you got it. Moving counterclockwise around the circle takes you through 2-5-1s, but you can start earlier and move through 3-6-2-5-1, also a popular chord progression. This way is easier for me to find the sequences than to try to spot them in the chart.
Wow!! I'm going to have to watch this a couple more times to "own" it. More and more I'm convinced that some alien species gave humans the Circle of Fifths and once we become good enough musicians, they will appear and let us jam with them.
Yeah, sure
Humans sucks, we are shit, we can' t do anything good if aliens don't help us
@@sesclaytpoop8525 - Yup, I see you have been paying attention to history.
I can play along at .25 speed, lol..but trying to get the just of how the song is constructed is a bit challenging. Enjoyed it!
Ok, Please correct me if I'm off..I believe John C. used the 3rds as 5's in the start, then worked it around as 2 5 1 progressions. What do you think?
Part of jazz is the license to make changes to the chord progressions as a new or different interpretation. I'm assuming you mean the 3 notes in the augmented chord? I checked several transcriptions before settling on this one and they all represented them as M7s to start.
@@moogooch3660 I guess I'm not seeing it right, I want to say it looks like he borrows the D7 resolves to GM7. Then the same with Bb7 resolves to EbM7, then goes back an uses the Am7 ii, D7 V, GM7 I..but he also does the same with Gb7, borrowing 3rds..an then goes around with the m, 7, Maj7 2-5-1 ?? Maybe sounds a bit farfetched..
It's amazing but there is no way Coltrane thought of this song this way, must be another simple way
Nope, that's exactly how Coltrane built this up. In terms of the theoretical backbone anyway. His lyricism is another thing that cannot be explained.
@@chrrev1 what if he didn’t “think” it and just WAS it. Not everything came from intellectualization.
@@jordanthefrugivore9697 "I think therefore I am" ... Remember. Joke aside, that level of playing is eminently intellectual in its foundation of course, try and improvise on that chord sequence without knowing what you're doing... YOu wouldn't even last one bar rofl... Come on pal, do you play an instrument? Have you ever played in a band?
christian revuelta : I totally agree with you! The Theoretical Knowledge of Music is the FOUNDATION for Improvisation!!! One cannot build anything without a foundation!
I have no argument,,, my brain shut down at a minute in... 🤯🤯🤯
🤯
I kind of liked it better at half speed, to be honest. Lot more melancholy in there when you actually get the time to listen to the chords.
my music knowldge isn't strong enough to follow this video in a level that i would want, what topics/ subject should i cover or strengthen in order to understand this better?
i dont study music in any institution just by myself...
Thats wild that the extra 5 notes make a tritone pentatonic scale. But What can i use this evil for now ?
To go from five to one of course!
Haha sounds far out but just think of the C Major scale on the keyboard. What 5 notes in the octave aren't included? The black keys e.g. the Gb Pentatonic scale. Hiding in plain sight. 👍
Also consider that the Db melodic minor (used to go from V to I in C) contains all the black keys + E, B which are the guide tones for C major.
@@michaelgoodrich6958 Hah! Good observation. I have a bunch more of those as well, so now that this is getting some hits, I'll work on getting those out.
I saw a cool video on how to start using this and explore playing outside. He essentially said to jump into the tritone pentatonic during a drum fill and then jump back inside the key. Has a fusion sound. I experimented with it a bit last night. It’s cool. If you are interested I could dig up the link...
Do you have any other videos that explains more about this approach? Looks useful, but a lot to chew on.
If you search on moogooch in UA-cam my other videos should show up. This one does the most explaining, but watching several videos might make some parts more clear. You can also find my music theory primer there, which starts at the very beginning and moves into the circle in the later videos. Hope that helps!
@@marygriffin9658 OK - Thanks, Mary. I'll give it a go
I've decided that I'll Finally Learn Music theory. Now, I regret my decision to Learn Music Teory Because Now I have a Headache.
Sorry. You do need to know a bit about it before these will make sense. I have put some animations out there for the basics of music theory. Oddly enough it's called basic music theory animated. If you put moogooch in the title they should come up. I think there are 13 in the series.
@@moogooch3660 Are the basic ones good to watch without any knowledge of music theory?
I don't understand why the left of the circle (b3) is called the relative major (1min 20 in the video). the relative major of what? I thought the tonic is the relative major. does eomone understant?
The way I see it, the tonic note 1 is the relative minor of the b3 note, just as the 6 note is the relative minor of the tonic. My calling that group of 3 notes the relative major was my attempt to show the circular nature of the relationships.
where do they sell that watch ?
I’m not used to major chords being written like that and I got a bit confused about why the minor chords had a capital M lol
Chille out house op spotify
Tonic's relative major? Edit, ok. I get it
we need a Giant steps in C clock Please
I'm not sure what you mean. If you can clarify I try to accommodate.
is the red "line" they key and the others are the rest of the notes being played in this key?
The red line is the root of the chord
@@rosestrohm7986 that makes sense, thanks!
Invoquemos a Jaime Altozano para que lo traduzca con peras y manzanas, porque no entendí nada
I was waiting for the solo section to see the analysis,...but it never came.
Could someone explain to me why we know which chord is tonic centre in multitonal song like this?
My understanding of this song and of jazz in general aren't good enough to say for sure, but I think it's because it's mostly made up of 2-5-1 progressions. (Almost) every group of three chords is a 2-5-1 which means that the last chord of the group is the tonic. I hope I'm right and I hope this is useful for you.
Aren't there chords played on other instruments underneath sax melody?
The process of considering one chord as a tonic is by the cadence. Approaching one chord with its 2-5 is the most effective modulation technique in jazz. I would recommend you watch videos on secondary dominants and secondary 2-5-1 to understand how tonal centres are created within a song. Cheers
As others have alluded to, it is determined by considering functional harmony.
So he’s like playing three songs at once but they still sound good?
You’re on the right track, but you’re not quite there.
You’re getting to the good stuff, and continuing to put out your educated and intuitive questions for clarification will progress your musical development fastest.
Basically, the melodic/harmonic logic (music theory) that Coltrane used to create Giant Steps was unique in that the tune has 3 equally strong tonal centers, as each melody segment “turns around” into the next tonal center establishing it temporarily as “home base” until it “turns around” to the next and so on. Hope that’s helpful to you!
For a little more clarification, the article that accompanies another UA-cam goes a bit deeper into things without getting super technical/geeky.
www.vox.com/videos/2018/12/4/18125993/john-coltrane-jazz-explained-improvisation-giant-steps
@@michaelfoxbrass cool video
This is over analyzing. I think Coltrane changes make the most sense when moving backwards and looking at tunes like fifth house, 26 - 2, satellite, which are based on Birds tunes. This also doesn’t talk about language.
Man I'm almost late for work. Its almost A flat.