Wonderful, man you really make theory simple to understand and direct to the point. Your a real gift to the music community, thanks for doing this . God Bless you
Professor Joel I appreciate you and your UNSELFISH sharing with your musical talents and gifting. You break down Theory and help to bring understanding so that mere musical mortals such as myself can apply it to other musical situations within it's proper context. Thank you sir. I pray that God Bless and keep and protect you and your family. The Theory Professor with SOUL
Mr. McCray, Just say this video, man this is great. The thing I like the best about this video is how easily you created a groove out of a two chord progression, man I have really made this more complicated than it should be. Thanks man for opening my eyes, great video.
Very well done. I have edited this comment three times because I'm so impressed with this lesson. Besides having a great on-camera presence, your explanation is clear without being too simple. I will post a response video and tag you, if that's cool.
Thanks a lot for all your videos, i think they're all really interesting, from the Robert Glasper tutorials to the more general progression videos. You are sharing some great knowledge, thanks for taking the time.
I've been at this instrument for a decade and I got really confused during parts of this video, but it all came together at 4:20 once I heard it all together. Thanks for doing this video, really cool concept for keeping variety in passing chords!
Woowww!!!! Great job explaining this concept. You are a life saver, as I have been looking for this explanation from some very talented pianist.......... You are gifted at what you do Joel. May God continue to bless you for sharing such critical concept!!!!!!!!!!
Hey brother, this was a very informative video. Great concept and great explanation. Coming from a classical pianist trying to learn to play by ear to facilitate worship. This was great!
Great explanation. I was able to follow along without being behind the piano. I've always wanted this sound, but could never figure it out. theory books always over complicate things.
Hey..! Big man, you are a star.. I like your teaching Technic.. you making things which are difficult to be very simple to understand and do. more thanks..
I was looking at this again and realized that in the closing moments of the video you had substituted majors for those diminished chords on all of the accidentals.
Patrick Bamfo thank Patrick for watching. I will jump on ASAP. Still trying to finalize our team. Currently working with over 60 students a week, thus been pretty crazy schedule wise. Again Will hit ASAP
For those saying they can’t see the notes he’s playing, it’s an opportunity to see how good your ear is at distincting the chords and notes and train your ear skills.
I also forgot to thank you for the information that you have made available in your Dropbox account. Verrrry comprehensive material. Just a thought. Have you ever thought or considered publishing a book or DVD Series that would break down the history of Gospel piano I.e. from Thomas Dorsey to Thomas Whitfield? Kind of like "In the style of...." A break down of those artists unique style of piano playing. Just a thought. God Bless
What is the theory behind forming the slash chords? For example, the G/B and the A/C#? What's a good formula for that voicing? Or are they just inversions?
Afi Scruggs you can look at them as inversions or you can look at them as minor chords with the raised fifth. For example a C/E can be a 1st inversion of Cmajor E G C or Em(#5). I can voice that Secord as a Keyboardist in any inversion position of C in my right hand with an E Bass.
Thanks. This helps quite a bit. Once I raise that fifth, it becomes a leading tone that resolves to the next highest halfstep, right? Like A/C# resolving to a D?
Great. Your videos has really changed my playing. You said you have three things you do on your accidental. You only talked about two of them. What is the last one??
Joel, I have a question. When you're doing your slash chords, how are you determining the right hand chord. For example A/C#. Are you going up a minor 6th?
Hey, my Friend, hope you are having an awesome day. Slash chords, written like C/E, G/B, etc. represent a chord played in the right hand and a bass note played in the left hand. Thus the C/E would be played with a Cmajor chord in the right hand and an E bass note in the left. G/B chord would played with a Gmajor chord in the right hand and a B bass note. A fully diminished chord represents a chord built with all minor third interval. For example C to E is a major third (sounds happy). C to Eb is a minor 3rd, sounds sad. A Cdim7 would consist of a C - Eb - Gb - A. Notice if invert the chord. Eb - Gb - A - C. It becomes an Ebdim7. Continue to invert, you get the Gbdim7 and the Adim7 with same four notes. Or you can hold the C Eb Gb A in the right and change the bass note in the left from C to Eb to Gb to A, to hear the different chords. If I get time this week, will try to make this video.
Matt IzChilled it's not necessarily a hard fast rule confined with theory. It is more of what I have typically done or heard others do on accidentals and I explain it with theory. I usually do Diminished, slash, and altered dominants (i.e. C#7(#9#5) )
Thanks for the tutorial funny thing is slash chords is my favorite tactic it just has that sounding that gets it down smnoothly passed to the next drop note definely a great tactic.
Very helpful!!! But one concern is what are your voicings with both hands when you go through the scale with the dim chords??? I can't seem to grasp that exercise correctly without knowing the correct voicing
On a lot of my dim chords. I am playing the same chords in the left and right. Like Left C Eb Gb A Right C Eb Gb A. Or I may build may invert and stack from Eb. Like LH Eb Gb A RH C Eb Gb A The way I voice the chord will often depend on how the top note of the chord sounds from chord to chord. If that top note sings and makes a nice counter melody I will voice my chord down from the melody are the top note of my chord
Sir, thank you so much for your videos, I'm a big fan. I just have 2 questions about this one: 1) Why did you choose G/B rather than Bm7b5 on 2:50?? You did the same thing on 4:26 and 7:33 is it just because you like it better? 2) C/E on 5:42?? why not Em?? same on 7:16 with the Db/F Thank you very much!!
Great questions Gerardo. It's really more of a genre preference. Pop styles and contemporary Christian styles will use C/E and G/B type chords on the iii and vii because has a brighter/happier or more attractive sound for certain songs than the darker Em or Bmb5 (diminished sound). You will hear the Em and Bmb5 more in R & B and Gospel styles. Technically, the C/E and G/B make an Em(#5) and a Gm(#5) respectively. At the end of the day is all preference, the rules/theory don't create the music. It just interprets what the artists desire to do. So I try not to say "this is the way it should be done, but here's a way it could be done."
Three chords to use on the accidentals 1. Full diminished like C#dim7 2. Slash Chords like A/C# 3. Altered Dominant (#9#5) Chords like C#7(#9#5), which is basically an A chord in the right and B and F in the left (the 3rd and b7 of C#)
Patrick Bamfo happy Thanksgiving sir. Apologize for the delay. I work with over 250 students a week. So I have a pretty long list that I’m working down. But let me tell you this, send me an email & let me know when you’re available and I will give you a free slot to talk through passing tones. Working down the list, there just has not been enough demand for diminished chords passing tones compared to the other request that I’ve been fulfilling over the last couple months. But I will personally speak with you and give you some tips on how to use diminish tones in passing applications. email me @ jbmccray@joelmccray.com Again, the reason it takes a long time to do videos is that I can easily fill my week up with just videos but we want to make sure that we are meeting what most people actually want to know. Thanks for your patience.
I get the diminished chords as passing tones, but as far as slash chords, how do you know what chords to play in the right hand over the accidental keys
Fritz good morning sir! On the accidentals, the accidental bass note is the third of the major chord. Another way to look at it is the bass note or the chord is an inversion. For example an A major chord is spelled A C# E. The first inversion of that cord is C# E A. So in the key of C when I go up a half step and play the C-sharp as a passing tone, I'm basically playing an A chord because the C# is the third of A. When I play the D# bass note, I'm playing a B chord because the D sharp is the third of B major Again, the slash chord is the major chord over it's third. C/E, Db/F, D/F#, Eb/G, E/G#, F/A, F#/A#, G/B Ab/C, A/C#, Bb/D, B/D# Another name for a slash chord is a minor(#5). Thus C/E is also an Em(#5) An Em chord is spelled E G B. B is the 5th, so when you sharp it, it becomes a C. Thus an Em(#5), is E G C which an inversion of C major, therefore, C/E.
Joel McCray ok so I got the inversion part . In the key of c, the accidental notes are C sharp d sharp f sharp g sharp and a sharp. When playing these accidental notes you can play them as the third of their major chord (inversion) got it. But how about minor/ diminished/ etc. What else can you play with these accidental notes in the bass. What I was wondering is how did you come to choose a major chord and how else can passing chords function
Fritz a lot of my choices for passing tones are derived from hearing them in my head, dreams, or other players using them. After 41 years of performance, I just began to document these ideas and share them. So with the diminished chords, you can substitute any of the other 4 notes of the chord for the bass note based on what sounds best to you. On C# accidental I could voice the C#dim7, but bass wise, I could play Bb, C#, E or G since these are all a part of the diminished family. I could also substitute C Eb Gb and A against the C#dim7 family. By doing that turns the chord in a dominant(b9). For example, the pass would be Cmaj7, C#dim7/C or C7(b9), Dm9 The other chord type you can use on the accidentals is the dominant(#9#5) chords as in Cmaj7, C#7(#5#9), Dm9
Thanks very much for listening. When you look at slash chord, they are just minor chords with the raised fifth. For example, an E minor shop five consists of an EG and C (the raised 5). Those three notes make up the C major chord, hence, the C/E Chord. When you look at the relationship between the E and a C chord you will notice that the E is just a major third up. Thus, on the first accidental and in C which is C#, C# is the major third |of A. Therefore, one could play A/C#. D# is the major 3rd B major, thus B/D#, and so on.... As far as why I chose the chords for the accidental, I usually find something that I like in a particular style then I study the theory behind it. I rarely arrange from a rules perspective first. Rules just help me communicate and interpret. Hope that helps.
I really do appreciate you taking the time to explain and I understand how the slash chord works now, minor chord raised 5th. I've watched your videos over and over, and the way you break things down makes it understandable, if thats a word. Im working on the altered dominant vid next then on to the phrygian/dorian one. I like that sound and concept playing in modes. Dont really understand it yet but ill keeping plugging away. thanks again
I started out slowly playing the same chord voicing in the right and left hand until I built the muscle memory to flow left handed without thinking about it. Then I began to experiment with one chord in the left and different triads in right. Will work on a video demo of this. Be blessed!
Hey Jacob, I voice my Am11 as a G major chord in the right hand D G B D and an Am9 in the left hand G B C E. Yes the E and D overlap. (Feels more comfortable me because of my long reach) Dm11 Right Hand - Fmaj9 - G C E A Left Hand - Dm - D A F
Kenneth Moody Jr the slash chords he played here just have the third of a major triad in the base. So if you have a C# accidental, you play an A major triad above it, since C# is the third of A (A - C# - E).
+Kenneth Moody Jr Cool thing about slash chords is that they can easily be converted to an altered chord. A/C# can become a C#7(#9#5) in seconds by keeping the A in the right hand and playing a B and an F in the left hand. The B and the F represent the b7 and 3rd of C#, respectively. The A Chord creates the A(#5) - C# (1) - E(#9) in the C#7(#9#5). This can be done with any slash chord. C/E, C#/F, D/F# etc. I'll do a video on that one day. This knowledge helps one flip easily between pop and gospel/jazz/R&B
+Joel McCray Hey thanx for the breakdown. Been practicing it and I'm understanding it!! That concept is awesome. Now if I can figure out how to form a tritone chord I'll be ok
Wesley Daniel yes, Sir. Thank you for the feed back. I do have something that can hold my phone and give a view of my hands. Thanks so much for watching!
Thx for watching :) just got a camera mount. Better angles are coming. I wanted to see if anyone was interested in the info, before I started investing in UA-cam, a book, and a subscriber channel. Thx for the feedback. Have a great day!
Merci Beaucoup!!!!!!!!!!!!!!!!!! Thank you so much! You share VERY good information! Would you consider posting one pertaining to music for church songs like I;'m so glad Jesus lifted me!"
Thank you, Sir. Haven't made a video in a while. But I recently got phone holder that can hold my phone above the keys. Will record some new vids soon. Have a blessed day! Thx so for watching!
oyeyemi oyelere hello sir, just finished some curriculum on using diminished chords as passing tones in keys. I taught it this summer at our pro lessons and it was received pretty well. Will do a video on that soon. Thank you so much for your support.
Hey, thanks so much for watching. The slash chords are just another way of saying inversion. So when we have C/E, you play a C chord in the right and an E in left hand. From an inversion perspective, it would be played as first inversion starting from the E. Building it as EGC.
Thx, Ned. Send me your contact info at my website at the end of the video. I cannot leave a link in the comments. Lord willin', we'll talk soon. Be blessed, Man.
Haha. I hear ya. It irked me too for many many years. It's a scale thang. You should have seen my first experience writing rhythm charts for a band when I wrote Abm in the key of E instead G#m. The whole band, full of chord readers, stopped playing and said I wrote the wrong chord. I was like, dude, it's the same chord. What's the big deal? My Mom told me technically they are write and if you are working with players that read more than play by ear, wrong chord symbols could be confusing. I don't always get the theory right, but I tolerate A# a little more :)
Wonderful, man you really make theory simple to understand and direct to the point. Your a real gift to the music community, thanks for doing this .
God Bless you
Professor Joel I appreciate you and your UNSELFISH sharing with your musical talents and gifting. You break down Theory and help to bring understanding so that mere musical mortals such as myself can apply it to other musical situations within it's proper context. Thank you sir. I pray that God Bless and keep and protect you and your family. The Theory Professor with SOUL
Thank you, Sir!
This pretty much cleared up my need of understanding the miraculous passing chords in gospel music. God bless ya!
That part! I'm 4 years behind .lol
Mr. McCray,
Just say this video, man this is great. The thing I like the best about this video is how easily you created a groove out of a two chord progression, man I have really made this more complicated than it should be. Thanks man for opening my eyes, great video.
Kevin Barrett thank you sir! Hope you have a great day.
Love it, keep doing more videos like this
your teaching style is great. to the point. no BS. thank you.
'''Accidental passing chords'' in a major scale, you should do another video explaining the same with minor scales
That groove is simply nuts. Had me bobbin my head as soon as I heard that bass line.
Very well done. I have edited this comment three times because I'm so impressed with this lesson. Besides having a great on-camera presence, your explanation is clear without being too simple. I will post a response video and tag you, if that's cool.
That made way more sense than what I hear others say about passing chords!
Thank you so much for sharing Bro Joel. That really helps me. You are a great teacher! The Lord bless you richly
Thank you, and thanks for watching. :)
Thanks a lot for all your videos, i think they're all really interesting, from the Robert Glasper tutorials to the more general progression videos. You are sharing some great knowledge, thanks for taking the time.
However old these videos are...you’re the man! Thank you
Hey Joel, I enjoyed the video. Your use of the diminished chords is ingenious considering how dissonant they are. Will in Newport News
I've been at this instrument for a decade and I got really confused during parts of this video, but it all came together at 4:20 once I heard it all together.
Thanks for doing this video, really cool concept for keeping variety in passing chords!
Mark Chang thank you for watching! Have a great day!
1st of thanks to explain such a concept in a very simple way. It was thrill to know and understand the tricks. Great.
Thank you, Sir!
Thank you for being so generous to us.
Woowww!!!! Great job explaining this concept. You are a life saver, as I have been looking for this explanation from some very talented pianist.......... You are gifted at what you do Joel. May God continue to bless you for sharing such critical concept!!!!!!!!!!
Just took my playing to another level! Thanks brother God bless you!
Hey brother, this was a very informative video. Great concept and great explanation. Coming from a classical pianist trying to learn to play by ear to facilitate worship. This was great!
Expertly communicated & executed !
thank you for this.. you have no idea what you just unlocked for me.
i like the way to teach.shows you know your stuff.well done.
Great explanation. I was able to follow along without being behind the piano. I've always wanted this sound, but could never figure it out. theory books always over complicate things.
Vae Victis thank you so much for watching!
Really nice. Your abililty to speak while doing all of this is great. Nice work, sir.
Joel bro love your playing and teaching! Hope to see some new videos soon doc! ;)
Hey..! Big man, you are a star.. I like your teaching Technic.. you making things which are difficult to be very simple to understand and do. more thanks..
Great video! Thank you for posting, definitely helps with taking my playing to the next level.
Wonderful man teaches Us Accident Passing chords
Really good stuff man
You're killing it, bro!!! Very nice!!!
I was looking at this again and realized that in the closing moments of the video you had substituted majors for those diminished chords on all of the accidentals.
I've been adding these concepts to my guitar playing. Thank you!
This is awesome! thank you for sharing.
Nice video thanks best one on passing tones I've seen
This is absolute gold. Thank you
This is excellent stuff...Bravo!
Joel, pls made new video about Diminished Chord and Uses of Altered Dominant Chords with the keyboard showing.
I'm from Brazil.. poderia passar as notas que usou como passagem?
Pls kindly make a video on left hand root chords and the various ways of playing the left hand chords either advance or intermediate
Patrick Bamfo thank Patrick for watching. I will jump on ASAP. Still trying to finalize our team. Currently working with over 60 students a week, thus been pretty crazy schedule wise. Again Will hit ASAP
For those saying they can’t see the notes he’s playing, it’s an opportunity to see how good your ear is at distincting the chords and notes and train your ear skills.
I also forgot to thank you for the information that you have made available in your Dropbox account. Verrrry comprehensive material. Just a thought. Have you ever thought or considered publishing a book or DVD Series that would break down the history of Gospel piano I.e. from Thomas Dorsey to Thomas Whitfield? Kind of like "In the style of...." A break down of those artists unique style of piano playing. Just a thought. God Bless
This is awesome, man. Just sweet.
Can you please make a video on diminish chromatic passing and minor chromatic passing.
What is the theory behind forming the slash chords? For example, the G/B and the A/C#? What's a good formula for that voicing? Or are they just inversions?
Afi Scruggs you can look at them as inversions or you can look at them as minor chords with the raised fifth. For example a C/E can be a 1st inversion of Cmajor E G C or Em(#5). I can voice that Secord as a Keyboardist in any inversion position of C in my right hand with an E Bass.
Thanks. This helps quite a bit. Once I raise that fifth, it becomes a leading tone that resolves to the next highest halfstep, right? Like A/C# resolving to a D?
Hands down to you sir!! You're awesome. I always wanted to learn how to play such chords. #clap
6:08 you passed with two block chords in your RH. You bad, boy :-). And yes I gotta try these when I get home.
Really good work on the keyboard
Thanks for this video. But I have watched it several times and I need different approaches
wow thats cool taking my music to next level thank you
6:24 What are the passing chords
Great lesson. Thanks.
Great. Your videos has really changed my playing. You said you have three things you do on your accidental. You only talked about two of them. What is the last one??
Joel, I have a question. When you're doing your slash chords, how are you determining the right hand chord. For example A/C#. Are you going up a minor 6th?
hey joel please is there a way you can help with a little chat or list of this diminished and slash chord
Hey, my Friend, hope you are having an awesome day. Slash chords, written like C/E, G/B, etc. represent a chord played in the right hand and a bass note played in the left hand. Thus the C/E would be played with a Cmajor chord in the right hand and an E bass note in the left. G/B chord would played with a Gmajor chord in the right hand and a B bass note.
A fully diminished chord represents a chord built with all minor third interval. For example C to E is a major third (sounds happy). C to Eb is a minor 3rd, sounds sad. A Cdim7 would consist of a C - Eb - Gb - A. Notice if invert the chord. Eb - Gb - A - C. It becomes an Ebdim7. Continue to invert, you get the Gbdim7 and the Adim7 with same four notes. Or you can hold the C Eb Gb A in the right and change the bass note in the left from C to Eb to Gb to A, to hear the different chords.
If I get time this week, will try to make this video.
thanks for the tutorial so basically there's two options we can choose or alternative by using the accidentals as diminish & slash? and
Matt IzChilled it's not necessarily a hard fast rule confined with theory. It is more of what I have typically done or heard others do on accidentals and I explain it with theory. I usually do Diminished, slash, and altered dominants (i.e. C#7(#9#5) )
Thanks for the tutorial funny thing is slash chords is my favorite tactic it just has that sounding that gets it down smnoothly passed to the next drop note definely a great tactic.
Very helpful!!! But one concern is what are your voicings with both hands when you go through the scale with the dim chords??? I can't seem to grasp that exercise correctly without knowing the correct voicing
On a lot of my dim chords. I am playing the same chords in the left and right. Like Left C Eb Gb A Right C Eb Gb A.
Or I may build may invert and stack from Eb. Like LH Eb Gb A RH C Eb Gb A
The way I voice the chord will often depend on how the top note of the chord sounds from chord to chord. If that top note sings and makes a nice counter melody I will voice my chord down from the melody are the top note of my chord
Sir, thank you so much for your videos, I'm a big fan. I just have 2 questions about this one:
1) Why did you choose G/B rather than Bm7b5 on 2:50??
You did the same thing on 4:26 and 7:33 is it just because you like it better?
2) C/E on 5:42?? why not Em?? same on 7:16 with the Db/F
Thank you very much!!
And also,
3) You talked about the three ways of using accidentals for passing chords, what would be your third way?
Thank you very much in advance
Great questions Gerardo. It's really more of a genre preference. Pop styles and contemporary Christian styles will use C/E and G/B type chords on the iii and vii because has a brighter/happier or more attractive sound for certain songs than the darker Em or Bmb5 (diminished sound). You will hear the Em and Bmb5 more in R & B and Gospel styles.
Technically, the C/E and G/B make an Em(#5) and a Gm(#5) respectively.
At the end of the day is all preference, the rules/theory don't create the music. It just interprets what the artists desire to do. So I try not to say "this is the way it should be done, but here's a way it could be done."
Three chords to use on the accidentals
1. Full diminished like C#dim7
2. Slash Chords like A/C#
3. Altered Dominant (#9#5) Chords like C#7(#9#5), which is basically an A chord in the right and B and F in the left (the 3rd and b7 of C#)
+Joel McCray Very true!
Thanks! Great stuff here
excellent lesson
i hope u do more videos lyk dis
God bless great video
great stuff man. thank you!
I have waited several months but still my passing chords tutorials is not yet out
Patrick Bamfo happy Thanksgiving sir. Apologize for the delay. I work with over 250 students a week. So I have a pretty long list that I’m working down. But let me tell you this, send me an email & let me know when you’re available and I will give you a free slot to talk through passing tones.
Working down the list, there just has not been enough demand for diminished chords passing tones compared to the other request that I’ve been fulfilling over the last couple months. But I will personally speak with you and give you some tips on how to use diminish tones in passing applications. email me @ jbmccray@joelmccray.com
Again, the reason it takes a long time to do videos is that I can easily fill my week up with just videos but we want to make sure that we are meeting what most people actually want to know. Thanks for your patience.
I get the diminished chords as passing tones, but as far as slash chords, how do you know what chords to play in the right hand over the accidental keys
Fritz good morning sir! On the accidentals, the accidental bass note is the third of the major chord. Another way to look at it is the bass note or the chord is an inversion.
For example an A major chord is spelled A C# E. The first inversion of that cord is C# E A.
So in the key of C when I go up a half step and play the C-sharp as a passing tone, I'm basically playing an A chord because the C# is the third of A.
When I play the D# bass note, I'm playing a B chord because the D sharp is the third of B major
Again, the slash chord is the major chord over it's third.
C/E, Db/F, D/F#, Eb/G,
E/G#, F/A, F#/A#, G/B
Ab/C, A/C#, Bb/D, B/D#
Another name for a slash chord is a minor(#5).
Thus C/E is also an Em(#5)
An Em chord is spelled E G B. B is the 5th, so when you sharp it, it becomes a C. Thus an Em(#5), is E G C which an inversion of C major, therefore, C/E.
Joel McCray ok so I got the inversion part . In the key of c, the accidental notes are C sharp d sharp f sharp g sharp and a sharp. When playing these accidental notes you can play them as the third of their major chord (inversion) got it. But how about minor/ diminished/ etc. What else can you play with these accidental notes in the bass. What I was wondering is how did you come to choose a major chord and how else can passing chords function
Fritz a lot of my choices for passing tones are derived from hearing them in my head, dreams, or other players using them.
After 41 years of performance, I just began to document these ideas and share them.
So with the diminished chords, you can substitute any of the other 4 notes of the chord for the bass note based on what sounds best to you. On C# accidental I could voice the C#dim7, but bass wise, I could play Bb, C#, E or G since these are all a part of the diminished family.
I could also substitute C Eb Gb and A against the C#dim7 family. By doing that turns the chord in a dominant(b9).
For example, the pass would be Cmaj7, C#dim7/C or C7(b9), Dm9
The other chord type you can use on the accidentals is the dominant(#9#5) chords as in Cmaj7, C#7(#5#9), Dm9
good explanation, but how did you construct the slash chords, to know what to play over what in the key of C maj
thanks i really enjoy
Thanks very much for listening. When you look at slash chord, they are just minor chords with the raised fifth. For example, an E minor shop five consists of an EG and C (the raised 5). Those three notes make up the C major chord, hence, the C/E Chord.
When you look at the relationship between the E and a C chord you will notice that the E is just a major third up. Thus, on the first accidental and in C which is C#, C# is the major third |of A. Therefore, one could play A/C#. D# is the major 3rd B major, thus B/D#, and so on....
As far as why I chose the chords for the accidental, I usually find something that I like in a particular style then I study the theory behind it. I rarely arrange from a rules perspective first. Rules just help me communicate and interpret.
Hope that helps.
I really do appreciate you taking the time to explain and I understand how the slash chord works now, minor chord raised 5th. I've watched your videos over and over, and the way you break things down makes it understandable, if thats a word. Im working on the altered dominant vid next then on to the phrygian/dorian one. I like that sound and concept playing in modes. Dont really understand it yet but ill keeping plugging away.
thanks again
i need that run too!!!
Really nice
How do you begin using chords in your left hand? I struggle with that.
I started out slowly playing the same chord voicing in the right and left hand until I built the muscle memory to flow left handed without thinking about it. Then I began to experiment with one chord in the left and different triads in right.
Will work on a video demo of this.
Be blessed!
you helped me so much thanks alot
great stuff!
it would be helpful to have transcriptions, even simplified
How did you construct your Am and Dm?
Hey Jacob, I voice my Am11 as a G major chord in the right hand D G B D and an Am9 in the left hand G B C E. Yes the E and D overlap. (Feels more comfortable me because of my long reach)
Dm11 Right Hand - Fmaj9 - G C E A
Left Hand - Dm - D A F
Hey Joel how do you create slash chords? What's the building block to construct them. I'm stuck Lol
Kenneth Moody Jr the slash chords he played here just have the third of a major triad in the base. So if you have a C# accidental, you play an A major triad above it, since C# is the third of A (A - C# - E).
Hey Thanks Michael Ruggles. You're rite it took a lil bit for it to sink in. But thanks brother!!!
+Michael Ruggles Good looking out, Brother. Thanks so much for watching.
+Kenneth Moody Jr Cool thing about slash chords is that they can easily be converted to an altered chord. A/C# can become a C#7(#9#5) in seconds by keeping the A in the right hand and playing a B and an F in the left hand. The B and the F represent the b7 and 3rd of C#, respectively. The A Chord creates the A(#5) - C# (1) - E(#9) in the C#7(#9#5).
This can be done with any slash chord. C/E, C#/F, D/F# etc. I'll do a video on that one day. This knowledge helps one flip easily between pop and gospel/jazz/R&B
+Joel McCray Hey thanx for the breakdown. Been practicing it and I'm understanding it!! That concept is awesome. Now if I can figure out how to form a tritone chord I'll be ok
My request.. would you improve your video view as we are not able to see the other side of the piano. thank you
Wesley Daniel yes, Sir. Thank you for the feed back. I do have something that can hold my phone and give a view of my hands. Thanks so much for watching!
@@JoelMcCray736251 more thanks Sir. Am happy and proud of you. You are unlocking the secretes that we have been fighting for..
Great video just a suggestion angle the camera front on the keys.
Thx for watching :) just got a camera mount. Better angles are coming. I wanted to see if anyone was interested in the info, before I started investing in UA-cam, a book, and a subscriber channel. Thx for the feedback. Have a great day!
Merci Beaucoup!!!!!!!!!!!!!!!!!! Thank you so much! You share VERY good information! Would you consider posting one pertaining to music for church songs like I;'m so glad Jesus lifted me!"
Sure. That's a great song.
Em7 Ebm7 Dm7 my favourite
J.J. Abrams approves this intro.
THANK YOU
Nathan Pflughoeft
good vid bro
if only the camera is a placed in such a way so as to let viewers see the keyboard then it would be truly beneficial
Thank you, Sir. Haven't made a video in a while. But I recently got phone holder that can hold my phone above the keys. Will record some new vids soon. Have a blessed day! Thx so for watching!
Joel, pls made new video about Diminished Chord and Uses of Altered Dominant Chords with the keyboard showing.
oyeyemi oyelere hello sir, just finished some curriculum on using diminished chords as passing tones in keys. I taught it this summer at our pro lessons and it was received pretty well. Will do a video on that soon. Thank you so much for your support.
Wow man sweet explanation! except slash chords. i got lost there but the rest is okay!
Hey, thanks so much for watching. The slash chords are just another way of saying inversion. So when we have C/E, you play a C chord in the right and an E in left hand. From an inversion perspective, it would be played as first inversion starting from the E. Building it as EGC.
😭 my playing is on a whoooooolllleeee new level
I wish u can produce my song. U are good.
good stuff! : )
sent.
Let’s go!!!!!
tight
He said, G over B. That was the 1st slash chord. B/G
Joel....that's great from you.But i can't see the keys well played as i other videos.Can i request a personal support from you on the minors.
Solomon Tevie hello, thank you for watching. How can I help you with the minor chords.
Kindly email me then we communicate more...tevieq@gmail.com
daalu***you sabi...nice one
Thx, Ned. Send me your contact info at my website at the end of the video. I cannot leave a link in the comments. Lord willin', we'll talk soon. Be blessed, Man.
I though you were Comedy shorts gamer
...hearing A# just irks me for some reason....great video though.
Haha. I hear ya. It irked me too for many many years. It's a scale thang. You should have seen my first experience writing rhythm charts for a band when I wrote Abm in the key of E instead G#m. The whole band, full of chord readers, stopped playing and said I wrote the wrong chord. I was like, dude, it's the same chord. What's the big deal? My Mom told me technically they are write and if you are working with players that read more than play by ear, wrong chord symbols could be confusing. I don't always get the theory right, but I tolerate A# a little more :)
I'd be happy just to know what this guy forgot !!
can i have a private tutorial from you please**maybe on skype**
I don't see it properly,use the modern graphic piano
Movin + talkin 2 fast but whatev