This was very helpful. Very clearly presented and explained. I'm a jazz guitarist studying more deeply in chord progressions and functional harmony. This was a nice suprise. Thanks very much. Well done.
@Don Lessnau, great to hear that this was helpful! Since you're a jazz guitarist, I suggest checking out my playlist on chord scale theory: ua-cam.com/play/PLVOUUHTm6WXNCFoNsIo_5wkyq4WS70sKR.html
@patrickomalley1513, thank you for watching! The three common root motions (down a fifth, up a second, and down a third) create the most movement and forward motion in a progression. If you experiment with other motions, you will find that they don't have the same sense of movement. Some will refer to down a fifth as up a fourth. I often hear people say "circle of fifths progression" or "circle of fourths progression" to refer to the same thing. For example, G to C could be created by moving down the interval of a fifth or by moving up the interval of a fourth (this is referred to as interval inversion). Since G is the V chord and C is the I chord, I prefer using down a fifth for a label. Up a second can be the same notes as down a seventh, and down a third is the same notes as up a sixth (the bigger intervals are more cumbersome to think about). I hope that answers your question!
Hi just a quick question. In the last minor progression, why do we use the vii diminished. I thought in a minor key, the ii was diminished? Thank you for the great video.
@Andrew Kim, thank you for the question and for checking out the video! Here is a link to a playlist where I walk through the chord possibilities in minor keys. This should thoroughly answer your question and clear up any other confusion about chords in minor. Let me know if you have any other questions! ua-cam.com/play/PLVOUUHTm6WXO28uzK3dT8mAoFnThEPjT5.html
hello Dr. Fesmire, I am finding your videos very informative and enjoyable. I do however have a problem in that when I recreate the chord progression found at 4:00 it does not sound the same as yours does... I've meticulously followed every single step, recreating it piece by piece on a simple sine wavetable oscillator in midi... and the only way to get it to sound the same is to basically have some chords become inversions, for example the second C major chord (I) in the progression moves into Am(vi) and then to G(V)... but in order to get the exact same sound as you do you have to have G (V) in the Second inversion, something that is not mentioned in the video. This might sound rather obvious to some more well versed in music theory but myself (and others) who are relatively new would very much appreciate a more detailed explanation that is on par with our lack of knowledge. I am fortunate in that I am reading a book on music theory that has me in the later chapters, therefore I was able to work my way through this minor hiccup... but I fear others less fortunate than me will go mad trying to recreate your chord progression to no avail. overall I have thoroughly enjoyed your explanations of common root movement that has further enriched my knowledge on chord progression "theory" alongside the book I am reading which ties perfectly to this video. thank you.
Hello, @My_Damn_Username. Thank you for checking out the video. I always have to first make a disclaimer that these videos are part of courses that I teach at College of the Desert, so when you watch, you are only getting part of the instruction. I am happy to make them public and am glad that many people aside from my students are benefiting from them! The chord progression that you are referring to is played in four part harmony (chorale style) using part writing procedures. Here is a link to a playlist that includes a number of my videos on part writing: ua-cam.com/play/PLVOUUHTm6WXMX2f8d-IPg7pKPkLQEpJ0I.html Root position vs. inversion is simply defined by what the lowest note of the chord is. In the example that you are referring to, all of the chords are in root position with the exception of the viio, which is in first inversion. Check out some of the videos on part writing, and hopefully, my approach to playing the chords will make more sense. Let me know if you have any other questions!
i've been struggling with progressions, this does help a lot, thanks!
Glad to hear it! Thank you for watching, @Mjolnir Myawmyaw!
This was very helpful. Very clearly presented and explained. I'm a jazz guitarist studying more deeply in chord progressions and functional harmony. This was a nice suprise. Thanks very much. Well done.
@Don Lessnau, great to hear that this was helpful! Since you're a jazz guitarist, I suggest checking out my playlist on chord scale theory:
ua-cam.com/play/PLVOUUHTm6WXNCFoNsIo_5wkyq4WS70sKR.html
Thanks for these helpful videos. Confused a bit why you say certain intervals are down and others up?
@patrickomalley1513, thank you for watching! The three common root motions (down a fifth, up a second, and down a third) create the most movement and forward motion in a progression. If you experiment with other motions, you will find that they don't have the same sense of movement.
Some will refer to down a fifth as up a fourth. I often hear people say "circle of fifths progression" or "circle of fourths progression" to refer to the same thing. For example, G to C could be created by moving down the interval of a fifth or by moving up the interval of a fourth (this is referred to as interval inversion). Since G is the V chord and C is the I chord, I prefer using down a fifth for a label. Up a second can be the same notes as down a seventh, and down a third is the same notes as up a sixth (the bigger intervals are more cumbersome to think about). I hope that answers your question!
Hi just a quick question. In the last minor progression, why do we use the vii diminished. I thought in a minor key, the ii was diminished? Thank you for the great video.
@Andrew Kim, thank you for the question and for checking out the video! Here is a link to a playlist where I walk through the chord possibilities in minor keys. This should thoroughly answer your question and clear up any other confusion about chords in minor. Let me know if you have any other questions!
ua-cam.com/play/PLVOUUHTm6WXO28uzK3dT8mAoFnThEPjT5.html
Very good. Thanks
@FerDx, thank you!
this really makes sense. thank you
Thank you, @Sogeki!
Very helpful Sir !
@pomes47, great to hear!
hello Dr. Fesmire,
I am finding your videos very informative and enjoyable. I do however have a problem in that when I recreate the chord progression found at 4:00 it does not sound the same as yours does... I've meticulously followed every single step, recreating it piece by piece on a simple sine wavetable oscillator in midi... and the only way to get it to sound the same is to basically have some chords become inversions, for example the second C major chord (I) in the progression moves into Am(vi) and then to G(V)... but in order to get the exact same sound as you do you have to have G (V) in the Second inversion, something that is not mentioned in the video.
This might sound rather obvious to some more well versed in music theory but myself (and others) who are relatively new would very much appreciate a more detailed explanation that is on par with our lack of knowledge. I am fortunate in that I am reading a book on music theory that has me in the later chapters, therefore I was able to work my way through this minor hiccup... but I fear others less fortunate than me will go mad trying to recreate your chord progression to no avail.
overall I have thoroughly enjoyed your explanations of common root movement that has further enriched my knowledge on chord progression "theory" alongside the book I am reading which ties perfectly to this video. thank you.
Hello, @My_Damn_Username. Thank you for checking out the video. I always have to first make a disclaimer that these videos are part of courses that I teach at College of the Desert, so when you watch, you are only getting part of the instruction. I am happy to make them public and am glad that many people aside from my students are benefiting from them!
The chord progression that you are referring to is played in four part harmony (chorale style) using part writing procedures. Here is a link to a playlist that includes a number of my videos on part writing:
ua-cam.com/play/PLVOUUHTm6WXMX2f8d-IPg7pKPkLQEpJ0I.html
Root position vs. inversion is simply defined by what the lowest note of the chord is. In the example that you are referring to, all of the chords are in root position with the exception of the viio, which is in first inversion.
Check out some of the videos on part writing, and hopefully, my approach to playing the chords will make more sense. Let me know if you have any other questions!