For anyone interested in what's happening with the C7 transition, here's my current best explanation: When we move to the B diminished arpeggio, it appears that we are changing from C Natural minor to C Harmonic minor. B is the M7th of C and is the leading tone in both C Major and C Harmonic minor. So, in the context of either key/scale it pulls us towards a resolution on C. However, in a Major key, the M7th is also the perfect 5th of the M3rd, so there is a stronger pull towards resolving on a Major chord. In this case, B is a perfect 5th of E which is the M3rd of C (instead of the Eb that we'd already established in C minor). This causes a very comfortable modulation to the key of C Major, that, in the case of this progression, is immediately undercut by the addition of the m7th. C7 is the dominant 7th chord of the key of F but also works in F harmonic minor. This creates more ambiguity but, since the progression already established an harmonic minor "feel" by having a Bdim after a Cm, it seems our ear naturally wants to hear it in that context. Then the transition to Fm seems to clarify that the C7 was within F harmonic minor and not F Major. Basically, there are two ambiguities created by these transitions and it creates room for the accompaniment to change the context and work in a kind of "poly-key" situation. The B diminished can be either in C Harmonic minor or C Major and the C7 can be in either F Major or F Harmonic minor. That seems to be the main source of the "harmonic potential" that I discussed in the video. Whether modulating from C to F or from C minor to F minor, we have a 4th modulation which is basically the most common and expected modulation. But more than that, in a chord progression based on a Major key, playing the 4th chord (a Major chord) and then switching that chord to minor is a common trick that you've heard a million times in Soul and Blues music. That was a particular favorite of the Beatles as well. So in this progression, it could technically be going to F Major and then to F minor and that has its own familiarity it's adding to the overall progression even if in a weirdly complex way. We could keep digging into it and I'm sure there's more going on with it (as seems to always be the case in music haha). But it's fascinating to me how we can unconsciously come up with something by ear and then have real difficulty consciously figuring out why and how it works the way it does. I'll be exploring that idea a bit in an upcoming video.
Dan, in 2018, I shared with you that my daughter is lazy to study for college exams, does not play scales with etudes. You advised not to force her. My daughter was surprised that the famous musician and composer supported her. She passed her exams with excellent marks. And also entered and today graduated from the Pedagogical Institute, Faculty of Music🙏
Thank you for helping me covering some of the blindspots that I had technically, I had especially trouble in seventh arpeggios. The beard suits you well by the way.
2:55 to remember this lesson you'd have to do it so slow at first stopping and going back to the beginning if you're making mistakes (because you're not learning it slow enough - and also to stop the mistake becoming the habit by not addressing it on the slow) and then if you can play it through about 10 times slow no mistakes then you could speed it up, otherwise you'll never really use this stuff again.
That's a Tagima Zero. It's a Brazilian designed guitar. It's super cool. I'll be using it more in some future videos and I'll take some time to go over it at some point for sure!
🤘🤘 1:00 suddenly grew 1 year older haha and then gets younger at the end 😅 okok so hold on here a sec, lets see if I remember.. || Cm | Ab∆6 | Bo | C7 | Fm64 | Co | Cm | G || so.. it modulates, maybe Ab∆ and Abm, but the C7 means the key has to go to Fm at the C7, at least.. which means functionally.. best to buy the course, everybody.
Haha yeah it's pretty confusing. I was trying to work it out but realized that there's some weirdness going on. From Cm, working our way to to Bdim seems to simply change the scale from C natural minor to C Harmonic minor or, possibly, C Major, but then we go to a C7 with a Bb, indicating that it's modulated to Fm as you pointed out, further supported by the transition to Fm. But I think from a harmonic perspective, something more interesting is happening and, to fully understand it, we'd have to be considering the relationship between each note to each other and to Cm. But if we just look at the transition from B diminished to C7, we move from a B to both a Bb and a C, so the B is leading us in 2 opposite directions chromatically. But there's something else happening which is that every note of the C7 arpeggio is exactly one note higher from every note of the Bdim arpeggio in the key of C Major, until the m7th is played at the end (although it's still just a whole step higher). So it may have been better to frame the progression as having a Bdim to a C and then C7. I think there's a "poly-key" thing happening briefly. But I'd have to really spend some time digging into how all the notes are relating to each other to see if I can understand exactly how and why. It's crazy how complicated something can be that just feels natural when writing by ear. I plan to do a video inspired by that idea pretty soon.
Okay, I think I have a better explanation. So, the B is a perfect 5th from E (the M3rd of C7). The B is also the leading tone in both C Major and C Harmonic minor, so while the B pulls us to C as a leading tone, as the 5th of E, it's also pulling us to a M3rd of C instead of to the Eb of Cm. So, briefly, we are simply changing from C Natural minor to C Harmonic minor because of how it compares to the key that's already established. But, changing to C Major almost retroactively changes the modulation and creates some ambiguity. But, overall there's more of a pull to resolve on C Major since we have both the leading tone and the perfect 5th resolutions. Once the m7th is introduced to make the C7 arpeggio, it becomes a dominant 7th in F Major or F harmonic minor, creating the same type of ambiguity again, but this time the ambiguity is clarified by the transition to the Fm chord. Those little ambiguities are apparently what create all the "harmonic potential" I talked about in the video since we can change what is happening in the progression with the accompaniment.
@@DanMummSolo the most important aspect is that your ear guided the chords first and your ear isnt wrong. I figured out the correct analysis though and will make a short video about it rather than trying to type it, but briefly, the Bo threw me off but actually can be easily explained if the entire progression is interpreted as being in Cm (the Bo is taken from C∆, using 'double tonality' aka 'mixture' aka 'tonal ambiguity', an advanced harmony technique) with secondary dominant/resolution for the C7-Fm (the progression does not tonicize or modulate to the key of Fm as there is no pivot chord, it stays in Cm) and then the Co is a common-tone diminished chord which is only covered in recent advanced tonal textbooks. Also regarding creating such progressions by ear, the choices you made naturally are 'closely related keys' (the keys of chord pairs, if analyzed tonally, are next to each other on the circle of fifths) which matches the basic idea that the ear enjoys those combinations more easily than other chords (which also matches the science of acoustics). All the crazy analysis to answer the mystery "why does this sound good", right.
For anyone interested in what's happening with the C7 transition, here's my current best explanation:
When we move to the B diminished arpeggio, it appears that we are changing from C Natural minor to C Harmonic minor. B is the M7th of C and is the leading tone in both C Major and C Harmonic minor. So, in the context of either key/scale it pulls us towards a resolution on C. However, in a Major key, the M7th is also the perfect 5th of the M3rd, so there is a stronger pull towards resolving on a Major chord. In this case, B is a perfect 5th of E which is the M3rd of C (instead of the Eb that we'd already established in C minor). This causes a very comfortable modulation to the key of C Major, that, in the case of this progression, is immediately undercut by the addition of the m7th. C7 is the dominant 7th chord of the key of F but also works in F harmonic minor. This creates more ambiguity but, since the progression already established an harmonic minor "feel" by having a Bdim after a Cm, it seems our ear naturally wants to hear it in that context. Then the transition to Fm seems to clarify that the C7 was within F harmonic minor and not F Major.
Basically, there are two ambiguities created by these transitions and it creates room for the accompaniment to change the context and work in a kind of "poly-key" situation. The B diminished can be either in C Harmonic minor or C Major and the C7 can be in either F Major or F Harmonic minor. That seems to be the main source of the "harmonic potential" that I discussed in the video.
Whether modulating from C to F or from C minor to F minor, we have a 4th modulation which is basically the most common and expected modulation. But more than that, in a chord progression based on a Major key, playing the 4th chord (a Major chord) and then switching that chord to minor is a common trick that you've heard a million times in Soul and Blues music. That was a particular favorite of the Beatles as well. So in this progression, it could technically be going to F Major and then to F minor and that has its own familiarity it's adding to the overall progression even if in a weirdly complex way.
We could keep digging into it and I'm sure there's more going on with it (as seems to always be the case in music haha). But it's fascinating to me how we can unconsciously come up with something by ear and then have real difficulty consciously figuring out why and how it works the way it does. I'll be exploring that idea a bit in an upcoming video.
Dan, in 2018, I shared with you that my daughter is lazy to study for college exams, does not play scales with etudes. You advised not to force her. My daughter was surprised that the famous musician and composer supported her. She passed her exams with excellent marks. And also entered and today graduated from the Pedagogical Institute, Faculty of Music🙏
That is amazing to hear! Thank you so much. Please pass along my congratulations to your daughter!
So happy you're uploading again.
I'm not a musician, but enjoy your style of music, maestro!!🎸
Thanks Corvinus! I really appreciate it! :)
Clear ... Concise ... Retrospective ... Clarification ...
Excellent !
Dan Mumm you are so cool brother! Glad to see you again!
Haha thanks Lord Nagatron!
Playing so many neo classical riffs has literally turned you into a Castlevania character, I like the hair and beard!
Man, I loved that guitar you played in the intro.
You are a LEGEND!!!
I am so glad you're back!
Take good care of yourself Dan, the world needs you!
Thank you so much, Levi! :)
Nice his facial hair changes from scene to scene 👌 I should of done that in my last music video
Thank you for helping me covering some of the blindspots that I had technically, I had especially trouble in seventh arpeggios. The beard suits you well by the way.
That's awesome to hear, Devan! You're quite welcome and thank you!
@@DanMummSolo I have a lot of troubles in rolling finger on those barre sweeps.
Fantastic!
Killer!
didnt know the witcher was a shredder. nice stuff!
Players legandary, god of guitar👍👍
Thanks
👏
2:55 to remember this lesson you'd have to do it so slow at first stopping and going back to the beginning if you're making mistakes (because you're not learning it slow enough - and also to stop the mistake becoming the habit by not addressing it on the slow) and then if you can play it through about 10 times slow no mistakes then you could speed it up, otherwise you'll never really use this stuff again.
What electric guitar model Dan uses in the intro?
That's a Tagima Zero. It's a Brazilian designed guitar. It's super cool. I'll be using it more in some future videos and I'll take some time to go over it at some point for sure!
@@DanMummSolo Thank you Dan for answering me, it would be really great to see you evolve in a neoclassical metal band, you have the chops for that 😊
4:08 KFC minor?😂 🍗
🤘🤘 1:00 suddenly grew 1 year older haha and then gets younger at the end 😅 okok so hold on here a sec, lets see if I remember..
|| Cm | Ab∆6 | Bo | C7 | Fm64 | Co | Cm | G || so.. it modulates, maybe Ab∆ and Abm, but the C7 means the key has to go to Fm at the C7, at least.. which means functionally..
best to buy the course, everybody.
Haha yeah it's pretty confusing. I was trying to work it out but realized that there's some weirdness going on. From Cm, working our way to to Bdim seems to simply change the scale from C natural minor to C Harmonic minor or, possibly, C Major, but then we go to a C7 with a Bb, indicating that it's modulated to Fm as you pointed out, further supported by the transition to Fm. But I think from a harmonic perspective, something more interesting is happening and, to fully understand it, we'd have to be considering the relationship between each note to each other and to Cm. But if we just look at the transition from B diminished to C7, we move from a B to both a Bb and a C, so the B is leading us in 2 opposite directions chromatically. But there's something else happening which is that every note of the C7 arpeggio is exactly one note higher from every note of the Bdim arpeggio in the key of C Major, until the m7th is played at the end (although it's still just a whole step higher). So it may have been better to frame the progression as having a Bdim to a C and then C7. I think there's a "poly-key" thing happening briefly. But I'd have to really spend some time digging into how all the notes are relating to each other to see if I can understand exactly how and why. It's crazy how complicated something can be that just feels natural when writing by ear. I plan to do a video inspired by that idea pretty soon.
Okay, I think I have a better explanation. So, the B is a perfect 5th from E (the M3rd of C7). The B is also the leading tone in both C Major and C Harmonic minor, so while the B pulls us to C as a leading tone, as the 5th of E, it's also pulling us to a M3rd of C instead of to the Eb of Cm. So, briefly, we are simply changing from C Natural minor to C Harmonic minor because of how it compares to the key that's already established. But, changing to C Major almost retroactively changes the modulation and creates some ambiguity. But, overall there's more of a pull to resolve on C Major since we have both the leading tone and the perfect 5th resolutions. Once the m7th is introduced to make the C7 arpeggio, it becomes a dominant 7th in F Major or F harmonic minor, creating the same type of ambiguity again, but this time the ambiguity is clarified by the transition to the Fm chord. Those little ambiguities are apparently what create all the "harmonic potential" I talked about in the video since we can change what is happening in the progression with the accompaniment.
@@DanMummSolo the most important aspect is that your ear guided the chords first and your ear isnt wrong. I figured out the correct analysis though and will make a short video about it rather than trying to type it, but briefly, the Bo threw me off but actually can be easily explained if the entire progression is interpreted as being in Cm (the Bo is taken from C∆, using 'double tonality' aka 'mixture' aka 'tonal ambiguity', an advanced harmony technique) with secondary dominant/resolution for the C7-Fm (the progression does not tonicize or modulate to the key of Fm as there is no pivot chord, it stays in Cm) and then the Co is a common-tone diminished chord which is only covered in recent advanced tonal textbooks. Also regarding creating such progressions by ear, the choices you made naturally are 'closely related keys' (the keys of chord pairs, if analyzed tonally, are next to each other on the circle of fifths) which matches the basic idea that the ear enjoys those combinations more easily than other chords (which also matches the science of acoustics). All the crazy analysis to answer the mystery "why does this sound good", right.
스티브 바이보다는 확실히 뛰어난 연주가이다