Hey brother, in the Dom non-alt tab, you accidentally put 744 (D, Eb, Ab) in the G, B and high E string respectively, when you meant 755 (D, E, A). Ho adorato questa lezione, il mio amico.
4 years in and I still can't get over how effortlessly you convey ideas and make them make sense. From proper information organization to examples, everything is immaculately planned. Must be the Physicist in you.
Very nice chords Tomasso. Steely Dan uses "triad" versions of some of these chords, and Nile Rodgers uses the variation of the minor 11th chord a lot also - again just using mainly triads or "shortened" chords for want of a better or more correct way of saying it! The editing on your voice in the video is fantastic - or else you can talk for a very long time without breathing! 🙂🙃
Wonderful tutorial on suspension subs and quartals, you explained it very very clearly and pragmatically. This is sooo Ogerman, Evans territory, which not many people have presented on YT, so, hats off to you and thank you!
Half diminished chords are considered dominant, see: ruclips.net/video/gvI-eDQ1qbI/видео.html So, for instance, you consider Bm7/b5 ~ G9 and use the substitution for G dominant.
This is a cool new idea! When I heard the C-G-Am-F, I heard the chorus to the 80s song, "Forever Young," so I whistled the melody with the substitutions, and it mostly worked, but sounded like a different song was behind the melody. It was interesting!
So in other words: For every diatonic MAJOR chord: play a major7/6 in its place For every diatonic MINOR chord: play a minor 11 in its place For every DOMINANT chord (altered): play root, #9, #5, 7 For every diatonic DOMINANT chord (non-altered): play a major69 chord in its place
I'm getting Pat Metheny meets Steely Dan vibes myself, but really dope sound however you slice it. Would be interesting to hear about the background of this formulae. Like it is interesting these are upper extensions that all revolve around a sus 4, but why not sus 2 chords?? When substituting dominant and sub dominant chords we often use dominant or sub dominants of the chord being substituted etc. But here there's esoteric sound to the harmony and dissonance that seems to be leading the listener into new places as opposed to the same places via different sounds.
This is astounding ….. I love it … I’ve been looking for an application of suspended chords that can extend my chord progression along while complimenting in a sexy cool way !!!! I love it !!!!! I SMASHED ON THE LIKE BUTTON
Looking for your video on augmented chords. I'm studying the Jazz real books and I keep seeing them come up, but I'm not sure why. They sound cool but I'd like to know how and when to use them
I'm blind. I can't see tabs or a picture of someone demonstrating how to make the cord. It would've been nice to have a quick verbal description of how to make the cords. Wouldn't have taken very long at all but it would have been a great help.
Merci beaucoup pour ces informations , je trouve ceci dit que l accord sus4 à partir de la sixte marche très bien sur un accord majeur ( ça nous donne un accord majeur 6 qui s adapte mieux partout que l accord maj 7 plus typé) et que sur un accord dominant je préfère l accord sus4 à partir de la quarte ( ce qui met en valeur la septième).
Hey, could you explain how did you come up with the "magic intervals" on which to base the sus4 substitution? Why do those exact scale degrees work the best?
Let's play detective here. 8-) In each of the sus4 chords, you're including at least one note of the original chord. You're also choosing other notes to not form dissonant intervals, especially the diminished 5th (C-Gb) or minor 9th (C-Db) or their equivalents (C-F# and C-C#). That should shorten the list of candidates considerably. Incidentally, placing chords on top of chords, you get what's called a polychord, and you can do this with many chord types. For instance, a G major chord on top of a C major chord is a Cmaj9 chord (C E G B D). Some other combinations may not have particularly nice names, so special notation is used here. (After all, whats-his-name said in the video that names don't count. 8-) )
His name is Dr. Zillio! Show some respect. As for the video... Mind Blown. Again. I will have to watch this one repeatedly. But I did have the same question as Luka - where those intervals originated? And how to remember them? So if Dr Zillio or anyone else has anything to add to Christopher's reply, I'm all eyes. :)
I'm afraid the answer is not really that glamorous. I simply listed ALL the possibilities, eliminated all the ones with strong dissonance with the chord (or common passing notes), eliminated all the ones that were too "plain", and then what is left is pretty much what I show in the video.
"Jazz is a style built on mistakes." -- Tomasso Zillio 6:06 I guess if Tomasso doesn't worry about names, i could have just credited that to "that guitar guy on RUclips with the great beard". 8-) 6:53 Ah, the wonderful FADE chord ... 8-) 8:03 Nitpick: Shouldn't the #5 on a C chord be a G#, not an Ab? 9:05 More than a nitpick: Shouldn't the A-D-E be 6-9-3, not 6-9-4?
😮😅😂😅😥everything is so alien to me at this moment. I’ve been practicing guitar for almost 2 years and I have no freaking clue about any of the music theories. I hope one day I’m able to join your course and understand even a fraction of what you teach…🥺Thank you Tomasso for always challenging me with many theory related videos. Every time I watch it, I feel like I’m not smart enough or I’m stupider than most people but If I don’t give up, which I haven’t, is a good sign that I must really want to learn guitar and one day…just one day…😉
Don't despair: this video is not exactly for beginners. For you, I'd recommend starting from my intro playlist. ruclips.net/video/WSB3iIkDy7o/видео.html&pp=gAQB It's not a question of being intelligent or not, it's just if you have been explained the basics in the correct order... and that playlist does that :) After the playlist, consider this free eBook: www.musictheoryforguitar.com/beginningmusictheoryguide.html
It's a specific sound. I personally like to use it on everything, but it's true that it does not give a "pop" sound (except maybe if yous use it in the bridge of a pop song)
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Hey brother, in the Dom non-alt tab, you accidentally put 744 (D, Eb, Ab) in the G, B and high E string respectively, when you meant 755 (D, E, A). Ho adorato questa lezione, il mio amico.
4 years in and I still can't get over how effortlessly you convey ideas and make them make sense. From proper information organization to examples, everything is immaculately planned. Must be the Physicist in you.
Hes a true Italian
Very nice chords Tomasso. Steely Dan uses "triad" versions of some of these chords, and Nile Rodgers uses the variation of the minor 11th chord a lot also - again just using mainly triads or "shortened" chords for want of a better or more correct way of saying it! The editing on your voice in the video is fantastic - or else you can talk for a very long time without breathing! 🙂🙃
The intro reminded me of Steely Dan. I can't think of the name of the song.
This is fantastic, cheers for practical advice. Very reminiscent of early Periphery or Change of seasons John Petrucci chords
Wonderful tutorial on suspension subs and quartals, you explained it very very clearly and pragmatically. This is sooo Ogerman, Evans territory, which not many people have presented on YT, so, hats off to you and thank you!
Pretty badass. Thanks, master!
Damn good video!!!!!
Thanks, you helped me a lot
Yes, more of this substitutions!
Great and useful
just a questioin... what will be the recomended sus4 substitution for a half diminished triad ?
Half diminished chords are considered dominant, see: ruclips.net/video/gvI-eDQ1qbI/видео.html So, for instance, you consider Bm7/b5 ~ G9 and use the substitution for G dominant.
This is a cool new idea! When I heard the C-G-Am-F, I heard the chorus to the 80s song, "Forever Young," so I whistled the melody with the substitutions, and it mostly worked, but sounded like a different song was behind the melody. It was interesting!
So in other words:
For every diatonic MAJOR chord: play a major7/6 in its place
For every diatonic MINOR chord: play a minor 11 in its place
For every DOMINANT chord (altered): play root, #9, #5, 7
For every diatonic DOMINANT chord (non-altered): play a major69 chord in its place
I'm getting Pat Metheny meets Steely Dan vibes myself, but really dope sound however you slice it. Would be interesting to hear about the background of this formulae. Like it is interesting these are upper extensions that all revolve around a sus 4, but why not sus 2 chords?? When substituting dominant and sub dominant chords we often use dominant or sub dominants of the chord being substituted etc. But here there's esoteric sound to the harmony and dissonance that seems to be leading the listener into new places as opposed to the same places via different sounds.
Why not sus2? Because they are the same ;-) See ruclips.net/video/dgElWOI9lv8/видео.html
This is astounding ….. I love it … I’ve been looking for an application of suspended chords that can extend my chord progression along while complimenting in a sexy cool way !!!! I love it !!!!! I SMASHED ON THE LIKE BUTTON
Looking for your video on augmented chords. I'm studying the Jazz real books and I keep seeing them come up, but I'm not sure why. They sound cool but I'd like to know how and when to use them
I'm blind. I can't see tabs or a picture of someone demonstrating how to make the cord. It would've been nice to have a quick verbal description of how to make the cords. Wouldn't have taken very long at all but it would have been a great help.
This is perfect if you want that "Fink Floyd" vibe.
Amazing sounds! Reminds me of McLaughlin playing 'My Foolish Heart'
(ruclips.net/video/h00l1DOI-gI/видео.html&ab_channel=JohnMcLaughlin-Topic )
You can totally hear some of the chords I explain in there :)
Merci beaucoup pour ces informations , je trouve ceci dit que l accord sus4 à partir de la sixte marche très bien sur un accord majeur ( ça nous donne un accord majeur 6 qui s adapte mieux partout que l accord maj 7 plus typé) et que sur un accord dominant je préfère l accord sus4 à partir de la quarte ( ce qui met en valeur la septième).
half way in, i know i need to watch this after a bit more coffee... but I will! I dig it. Thanks Tomasso Zillio!
Why the specific choices of notes to build sus-chords from?
How do sus2 chords figure into this formula?
This way: ruclips.net/video/dgElWOI9lv8/видео.html
@@MusicTheoryForGuitar Thank you!!
Hey, could you explain how did you come up with the "magic intervals" on which to base the sus4 substitution? Why do those exact scale degrees work the best?
Let's play detective here. 8-)
In each of the sus4 chords, you're including at least one note of the original chord.
You're also choosing other notes to not form dissonant intervals, especially the diminished 5th (C-Gb) or minor 9th (C-Db) or their equivalents (C-F# and C-C#).
That should shorten the list of candidates considerably.
Incidentally, placing chords on top of chords, you get what's called a polychord, and you can do this with many chord types. For instance, a G major chord on top of a C major chord is a Cmaj9 chord (C E G B D). Some other combinations may not have particularly nice names, so special notation is used here. (After all, whats-his-name said in the video that names don't count. 8-) )
His name is Dr. Zillio! Show some respect.
As for the video... Mind Blown. Again. I will have to watch this one repeatedly.
But I did have the same question as Luka - where those intervals originated? And how to remember them? So if Dr Zillio or anyone else has anything to add to Christopher's reply, I'm all eyes. :)
@@jeromeellis4665 It's a joke based on the video. You DID watch it, right?
I'm afraid the answer is not really that glamorous. I simply listed ALL the possibilities, eliminated all the ones with strong dissonance with the chord (or common passing notes), eliminated all the ones that were too "plain", and then what is left is pretty much what I show in the video.
Christopher: You're really taking that no-name comment and running with it :-) BTW I meant I don't care about the names OF CHORDS ;-)
"Jazz is a style built on mistakes." -- Tomasso Zillio
6:06 I guess if Tomasso doesn't worry about names, i could have just credited that to "that guitar guy on RUclips with the great beard". 8-)
6:53 Ah, the wonderful FADE chord ... 8-)
8:03 Nitpick: Shouldn't the #5 on a C chord be a G#, not an Ab?
9:05 More than a nitpick: Shouldn't the A-D-E be 6-9-3, not 6-9-4?
😮😅😂😅😥everything is so alien to me at this moment. I’ve been practicing guitar for almost 2 years and I have no freaking clue about any of the music theories. I hope one day I’m able to join your course and understand even a fraction of what you teach…🥺Thank you Tomasso for always challenging me with many theory related videos. Every time I watch it, I feel like I’m not smart enough or I’m stupider than most people but If I don’t give up, which I haven’t, is a good sign that I must really want to learn guitar and one day…just one day…😉
Don't despair: this video is not exactly for beginners. For you, I'd recommend starting from my intro playlist. ruclips.net/video/WSB3iIkDy7o/видео.html&pp=gAQB It's not a question of being intelligent or not, it's just if you have been explained the basics in the correct order... and that playlist does that :) After the playlist, consider this free eBook: www.musictheoryforguitar.com/beginningmusictheoryguide.html
@@MusicTheoryForGuitar Thank you!!! I just made the new playlist on RUclips and your link was the first video in the list.❤️
Genius, Tommaso.
This is so cool!!
I like the fact that you share recipes instead of just ideas.
what kinds of songs can be applied this suspended substitution? seems a bit weird in pop sound.
It's a specific sound. I personally like to use it on everything, but it's true that it does not give a "pop" sound (except maybe if yous use it in the bridge of a pop song)
@@MusicTheoryForGuitar ok thanks for your reply
What's really cool is, you can combine this and open strings. As long as you do it judiciously.
So, you can potentially get some spicy chords.
Alan Holdsworth would approve!
I hate when people use Tab.
You should play triangle. It can help people that prefer visual learning
Not sure what your talking about. I can read notes on the staff . tab is just stupid. the names of the notes are all you need