Видео

@@Ishizaki3k I posted it

@@ant_adlibsI dont see it ? What’s the title ?

Casio PX-560M was about $11-1300 couple years ago

Good question. Gm7b5 is related to Eb7, which is a diminished relative of C7; as in C7 and Eb7 both have a relationship with the harmony G Bb Dd E. C7 is the authentic V7 of F, and Eb is the BackDoor dominant (bVII7) of F. And the interchangeability comes from that diminished relationship

@@HilkanaCastro the rest is a lot more straight forward. There’s an interchange in the bridge. And then the instrumental break is a little involved. It’s not too crazy

@@Bigrpk sponsor me bro lol

@@Bigrpk what if i make a cheap video product on TikTok?

@@Bigrpk I posted it

We need it fr 😢

@@TavionTravis I posted it

@@missmultimusic. everything I’ve ever posted is on my tiktok with the same handle. Pleasure to meet you :)

Everything you said was correct. Staying true to Db Lydian dominant (Ab melo minor), the Cb scale should be Lydian Augmented. But try both, i think you’ll see they both fly, just like you don’t HAVE to play the #11 (G) in the bVII7 (Db7). We just know that this exotic color fits perfectly there. As a B Lydian plain, I’m really just thinking an E# with a BMaj7 harmony, and i think sounds pretty good,

Ok I think I know what your trying to get to

Btw beautiful playing

Thanks so much man, the videos are designed to spill the information quickly yet clearly for people that are already past the basics.

@@ant_adlibs hell yeah, there isn’t enough content for intermediate producers that isn’t filled with garbage info like busy works beats “chord codes “

@@Hakri5256 the intro?

@@ant_adlibs the intro yes

@@Hakri5256 k, I just posted it I’ll see if I can tag you in it?

@@Hakri5256 ruclips.net/video/BotGImbmk-s/видео.htmlsi=aBANuV6198-BHi4M

@@ant_adlibs omg thank u 🙏 thank

@@inspectorgalaxy wow I haven’t heard that album in a long time

@@blow-by-blowtrumpet what’s great is once you see it, it starts to stick out in other famous tunes

@@Jazzguitarguy aim the F#ø | F7 | E7 | A7 like a 3625 chain going to Dm. The scales I mentioned can work being ‘aimed’ towards multiple targets. So having that ‘target’ in mind affects the way we move through them. In this case, I aim towards Dm like the functional theory suggests this chain of chords is working but then land on D or F for a Cm9 or Cm11. Definitely a unique moment. Like you, im just a student, I don’t presume to be a final authority.

@ant_adlibs totally, I didn't mean to sound like I was dismissing your breakdown, I thought it was great! And it definitely works, my problem was that when I think Dm I end up playing the 9th (which of course would be the maj3rd of C minor).

@@Jazzguitarguy no sweat, I didn’t take it any bad way. and yea I like to go the 9th on minor too. But without a doubt, those chords are an extended cadence to Dm, what a trip by Wayne Shorter tbh

Yes, the C7 to Am was like a C7 to F, where the F is reharmonization by its Mediant (Am). With the Bb7 the composer is just emphasizing the A-7 more intently with a tritone sub of Am’s authentic V7 (E7).

@@ant_adlibs Thank you!

Oh I might’ve heard that some time ago. The pedal tone on V is almost a cliche in the genre

making the content I wish I had coming up :)

Yes :)

I have it as a product for sale. It’s a dense piece, it’s like 10m featuring some thoughts on soloing over it as well as a pdf with an arrangement of the melody, and some solo lines

@@ant_adlibs sounds great. for how much do you sell the product?

@@eneasugalde7591 e-mail me. which parts do you want in what key? im at ant.adlibs@gmail

I’ll do it next

Hey. It’s just an Ab or Fm7 in the guitar over the Bass moving from Db, to Bb, to Ab. The intro is building a Db major triad harmony in vocal layers over Ab. And it’s all in the bass rhythm from there. There is also a chromatic piano run all the way in the highest register from the highest Ab to an octave down. It happens on the Bb and lands on the Ab. It was a pretty simple one

I’m glad you’re asking that question. That means you have a firm definition of the chords; the 13 is the melody. D is the 6th or 13th from root F

@@ant_adlibsah okay. I never look at the melody unless it’s changing the scale/mode of the chord. Saying F13 is kind of redundant-I can play or not play the 13 or a chord any time I want. But I know that’s kind of a style preference.

@@greg55666 it’s true you can make a path through the chords with or without the 13, but eventually you’ll want to make those distinctions. With it without 13 should be 2 distinct flavors. I personally always look at the melody and harmony as one picture.

Yes. Those are two different ways to say the same thing. I always look at it as a counter clockwise path on a circle of 5ths

@@ant_adlibs yeah but on the circle of fifths, if you go counter clockwise you get . . . fifths. C-G-D-A->A-D-G-C. I know that fifths and fourths are just inverted, it’s just a funny way of looking at it.

@@greg55666 well a 5th up is a 4th down. I’m self taught, so I’m not aware of an academic reason why you should say one or the other.

@@ant_adlibs well, the *reason* it’s the circle of fifths not fourths is that the fifth is the most stable interval after octaves. It’s the distance between the second and third harmonics. 3:2. Fourths are 3:4, which also sound good, but the fifth is in some real way just more basic. But yes I’m a chord they’re the “same” -one is just the inverse of the other.

@@greg55666 idk, when you look at a song like All the Things You Are, where the chords move in a very conventional way, counterclockwise on the circle, I see it as fourths, not ‘down in 5ths’.