Dude, there are ears bleeding all over the world. right now. Never has it been explained in a better, clearer, linear fashion. I've got one student heading to that school that will not be named in Jan. A real head banger, just this week he started turning onto these ideas; it was like that scene when Helen Keler learned how to sign for water! I nearly cried. The conversation just gets more and more interesting. Thanks again.
This is really kind of mind blowing. Not just the musical knowledge, but how you managed to compress everything into the absolute essentials with nothing extra. I'm not exaggerating when I say the amount of critical information conveyed here is more than I've gained in many MANY hours of watching those hour-long instructionals. I came away from this feeling like I really leveled up instead of feeling like I wasted my time for a drop of honey. Keep it up!!
דני שמע זה אחד השיעורם הכי מטורפים ביוטיוב אי פעם ואני אחד שחורש בחיפושים אחרי אלה. כולם מוכרים משהו אבל ממך ממש למדתי מלא דברים חדשים שמקפיצים בעשר רמות. אתה תותח על ותודה. אולי יום אחד תגיע לארץ נזכה לראות אותך זה יהיה גדול תודה !
The MOST clear and digestible explanation of sub 5’s and their corresponding modal relationships. Makes the jazz program I attempted to learn from seem more irrelevant than I thought lol
BEST explanation of tritone subs I've ever heard. Holy cow. I just learned it as "oh well the dominant because altered when you make it tritone sub cuz magic"
How sweet it is. Sure, MAJ makes sense, now, finally THE explanation of harmonic minor, how , why it works. The joy of a formal music education. Now to work the sweet spots between nat min, harm minor and major. Ah, life is good. Thank you kindly:)
This is a rewatcher for sure, had me for awhile but i got overloaded, I'm just a bedroom guitarist, but starting to work on song writing and trying to understand these concepts. Thanks for the dense video and hope i can get more info as I keep rewatching it.
Freakin' brilliant lesson. You not only know this stuff, but lucky for us, you can explain it clearly! Glad to see your subscribers going up. Should be much higher!
Hey Dani! I happen to click on your video and immediately thought you looked familiar and glanced down and realized who you were. Been listening for years and not terribly long ago was blessed to watch Marbin play in my friend's back yard in Missouri. I still wear your shirt nearly every week. But anyways, I also want to thank you for this concise video. This opened up a new plateau for me :) Take care, ya'll!
My friend, this tutorial most defintely qualyfies top ten among all turorials that produce a radical change in music language comprehension, mannnn I thank the lord I speak english (i´m fron argentina) you literally blow my mind. Just what I needed to be able to actually understand wtf is going on in a song. For ever grateful.
It's amazing what is being said here because it's not just explained theory for guitar players - it applies everywhere! Tell your bass friends. Piano player probably knows it. Get that rhythm section in the pocket. Thanks for the knowledge and super kudos to the style of expression.
This was a fantastic lesson! I imagine the Patreon content will really help with integrating these concepts into my playing. I'll be checking that out when I have some time to work on it.
It's crazy to think that it took me years to find such clear explanation, and that after a year of music school I had absolutely no clue and couldn't understand all of these concepts ! that's how it should always be taught ! Huge thanks.
This is the video I wish I saw at the beginning, I limped along a long time knowing a lot of pieces but not the big picture presented here. Appreciate your effort here seriously, I'm watching this on repeat for awhile. Would really love another video someday of going even further, how you think about using this whole thing in writing progressions...
At the end of this video….i will have an awareness of what you are teaching, I can’t imagine how I could implicitly know this information let alone intuitively apply it in my playing. Thanks for the moment of clarity, wish I could catch and keep it!
This is the advanced music theory lesson ive been searching for the last decade. I know all of the terms explained here, except their applications in a practical way and better yet, a way to practice them. SUBBED for sure and you earned it.
The funny thing is that there are people that writing amazing music without knowing almost anything of this and other than know everything but they are not able to make a hit song Certainly I don't mean that this is useless but for me atlas for songwriting the most important thing is the capability to write good melody and this is a matter of pure talent, most just can t
So, I gather from all of this brilliantly presented information, data and psychoacoustics that I can make folks tense, then relax them, then make them tense again, and repeat until the final statement. But maybe the aesthetic and energetic model I seek is different?
Very good, man. I like that you use tritone sub for major and harmonic for minor. That's how it's supposed to be. Some Aebersolds or other real book put alt7 everywhere in minor keys but it's not right. Also I think in the first 3 years they probably teach the diminish chord/scales (dominant and/or passing) and Whole tones scales which are really interesting for improvisation. Maybe Barry Harris for those scales is interesting to watch. Take care
I have been there (berklee) in the 80's, and it does not work this way ! Harmony program is : Harmony 1 first semester, Harmony 2 second semester and so on until harmony 4. Then modal harmony. This is harmony 2 program, very basic knowledge that one can find everywhere. Also this video is good, but not the way chord scales are being taught at Berklee, for ex chord scales for secondary dominant and resolution to their diatonic target chords are different. Only thing common is the use of lydianb7 on sub V's. Anyhow this kind of basic knowledge, or even much more advanced knowledge will not make a jazz genius of anyone, that's for sure. ! If you are interested, the berklee harmony workbooks 1 2 3 4 are very easy to find online , check them out, you will see by yourself and go deeper about what i am talking about. One more thing : all of this is kind of pure BS, just the very basic grammar of elements that are used in music and improvisation, but certainly not the jazz language ! I teach all of this, and always tell my students that knowing all your scales will definitly NOT help you to play jazz NEVER ! Harmony is much wider subject, and after 4 semester at berklee they go much deeper : Modal interchange, reharm of diminished chords, related II minors of subV's, different types of modulations, etc etc. Once again all of this is available online in those harmony workbooks. But nothing , nothing comes close to transcribing the masters and doing analysis of what they do. Jazz lessons videos on YT is an excellent channel and what is there is close to the real thing, because... There are top class musicians that are teaching ! No BS, Jazz language analysed and played. Have a good musical trip and good luck on this journey that never never ends...
Gonna be honest.. this video appears to be really helpful and the comments clearly support that. For the first few minutes of this video I felt the gears turning in my head and I was starting to get what you were talking about. After that, the video unfortunately started to feel like it was speeding up a lot in terms of advanced terminology and made some assumptions about what the viewer already knows. I will come back to this video eventually and see if it makes sense then!!
Excellent Dani! Please, can you share an example or give a nice tip to organize the practice sessions with the guitar in order to improve that knowledge in a practical way? Thanks!
🤯 Danny you are an amazing teacher. That actually made so much sense. I will have to go over it a hundred times so it all sticks but I'm finally kind of understanding how dominant chords work. Thank you so much.
On C tonality: Emily Remler 1. she says she uses Ab melodic minor over G7, when it will resolve to C -this is the same as G altered scale 2. She says she uses D melodic minor over G7, if it does NOT resolve to C -this is the same as G Lydian dominant scale 3. She says she uses C lydian over C maj 7 4. She says for the m7b5 she uses the lydian scale up a flatted fifth -this is the same as using D locrian for Dm7b5 (makes sense because it is the II of C minor tonality- it has the same notes than C natural minor) 5. She says for minor chords she uses lydian up a flatted third -over Cm (tonic), this means Eb lydian, which is the same as C dorian mode!
The best tutorial ever thank you so much master/teacher Danni,always grateful for the amazing knowledge that you share with all those that admire your awesome talent 🤝👌👍
@@marbinmusic - I really love your playing and teaching style. I went to Berklee in '91. Did 3 semesters. I'm still trying to put it all together. Music is wonderful that way. Maybe you can make some videos about how to do what you did in this video but for minor keys? Anyway, such good stuff.
@@gabrielperrymusicthis might be a studpi question, but how would a minor key be any different? Its just the relative to the major key isnt it? Like the 6th th is the new starting point in relation to this isnt it
@@chilipeet4610 - Well, sort of. One has so many other choices with minor keys. For instance, one could use a Melodic Minor or Harmonic Minor scale as the parent scale and build harmonies accordingly. One doesn't just have to use a Natural Minor scale. So, I'm really asking, how does one approach Melodic and Harmonic Minor keys using the same kind of analysis and approaches presented in this fine video.
This is all so enlightening, thank yoi. The only question I am left with is- what is the main purpose of knowing all of these dominant pathways? I would assume to serve as “doorways” or transition points through the changes… as well as to change the direction of the chord progression?
You can use it to superimpose sounds on a vamp but the main use is to know what to play over what when studying tunes. Without that knowledge you don’t really know which mode fits on what chord
Ah that makes sense when it comes to playing over the changes. I guess I am just curious when it comes to the chords themselves why so much focus on dominants. But maybe that is just because they are important chords when it comes to forming cadences.
@@pomegranatesour there are three functions in music Tonic- release/arrival Sub dominant - distancing/ going somewhere else Dominant - tension/ heading home Western music decorates time with cadences. Cadences are the interplay between those three functions
Amazing lesson, many many thanks man! Just a question: On the Sub5 you say to use the melodic minor, but coule be used as well the mixolydian mode? Like: C#7 going to C you suggest G# Melodic Minor could we use as well C# Mixolydian (F# Major)? D#7 going to Dm you suggest A# Melodic Minor could we use as well D# Mixolydian (G# Major)? E#7 (F7) going to Em you suggest B# (C) Melodic Minor could we use as well E# Mixolydian (A# Major)? F#7 going to F you suggest C# Melodic Minor could we use as well F# Mixolydian (B Major)? G#7 going to G you suggest D# Melodic Minor could we use as well G# Mixolydian (C# Major)? A#7 going to Am you suggest E# (F) Melodic Minor could we use as well A# Mixolydian (D# Major)?
You could do anything you want, the only question is what it sounds like. The only note that’s different when comparing a Lydian dominant mode and a mixolydian mode is their 4th. Lydian dominant has a #4 and mixolydian has a 4. The problem that you run into is that the 4th degree is an avoid note on mixolydian so it’s not as useful of a color in many situations. With that said, that particular mismatch is used extensively by people like Benson and Montgomery but they use a different subset from the key of that subV mixolydian sound. If you think of a II V I in C (Dm G7 C), a guy like benson would play a B maj7 arpeggio over the G7. The logic is that it’s the IV chord from that key where Db7/C#7 has a mixolydian function (Gb/ F# major) . That’s a tricky concept to digest and you’d need to hear what that sounds like when done well.
To say it in words of my favorite teacher on RUclips: "Thank you so much" You really helped to connect some dots in my brain, now I need to find time to practice more. 🫠
But what if I'm using a capo? Jk...Great stuff man. Loved catching you all a bit back and also thank you for doing a clinic that day at the last minute.
9:00 Is there a reason you're not using Mixo b6 (from Melodic Minor) as a chord scale for V of ii? Assuming the key is C, the diatonic pitch in the key is B, which is a 9 on V of ii . If a chart simply says A7 then Mixo b6 (with a natural 2) is what I think of as a "go to" / "step one" framework. It's ironic because I was taught this at Berklee 20 years ago (the leading tone of a secondary dominant chord comes from outside the key, while the remaining notes of its chord scale are simply whichever notes exist in the key). If a specific chart in C has an A7(b9) moving to a Dm minor chord, then Mixo b2 b6 makes sense to me.
I think I might need the 3 years instead of the 20 mins.
😂 …yea, hold a seat for me!
😂too much B flat and you are flat on the bed 😅
😂😂😂
Yup me to
You, my friend are possibly the best intermediate advanced guitar teacher on RUclips. I can’t wait to sign up for your Patreon.
Dude, there are ears bleeding all over the world. right now. Never has it been explained in a better, clearer, linear fashion. I've got one student heading to that school that will not be named in Jan. A real head banger, just this week he started turning onto these ideas; it was like that scene when Helen Keler learned how to sign for water! I nearly cried. The conversation just gets more and more interesting. Thanks again.
Glad it connected some dots for you
Excellent said in 20 minutes! Unfortunately it still needs 3 years to get used to it...
That's music. One can learn a concept quickly and then spend the rest of their life trying to master it. :)
This is really kind of mind blowing. Not just the musical knowledge, but how you managed to compress everything into the absolute essentials with nothing extra. I'm not exaggerating when I say the amount of critical information conveyed here is more than I've gained in many MANY hours of watching those hour-long instructionals. I came away from this feeling like I really leveled up instead of feeling like I wasted my time for a drop of honey. Keep it up!!
Thanks Jonny, I'm glad the lesson was helpful!
דני שמע זה אחד השיעורם הכי מטורפים ביוטיוב אי פעם ואני אחד שחורש בחיפושים אחרי אלה.
כולם מוכרים משהו אבל ממך ממש למדתי מלא דברים חדשים שמקפיצים בעשר רמות.
אתה תותח על ותודה. אולי יום אחד תגיע לארץ נזכה לראות אותך זה יהיה גדול
תודה !
@@lirong2 תודה אחי! תצטרף לPatreon
@@marbinmusic מה! לא הייתי מנחש לעולם שאתה משלנו. תשמע, שנתיים ברימון ואני עדיין נפעם כל סרטון מחדש איך אתה מסביר הכל יותר טוב מכל מורה שהיה לי.
@@Wick3DSteely יאללה לפרוש וללמוד אצלי פרטי
I wish videos like this existed when I was in music school in the early 90s. It would’ve saved me so much time. What an amazing era we live in.
My new favorite music theory channel
The MOST clear and digestible explanation of sub 5’s and their corresponding modal relationships. Makes the jazz program I attempted to learn from seem more irrelevant than I thought lol
You make it sound so easy. Very cool and over my head. Thank you.
This is brilliant teaching. Just so naturally explained and discussed. I can't thank you enough for this lesson.
@@robertlukas3036 joining the Patreon is thanks enough ;)
BEST explanation of tritone subs I've ever heard. Holy cow. I just learned it as "oh well the dominant because altered when you make it tritone sub cuz magic"
I agree with the goldmine. I learn more from Danni then I have in my whole career of playing guitar
Take some one on one lessons and get your mind expanded bro
How sweet it is. Sure, MAJ makes sense, now, finally THE explanation of harmonic minor, how , why it works. The joy of a formal music education. Now to work the sweet spots between nat min, harm minor and major. Ah, life is good. Thank you kindly:)
Deep! For some like me, this is a video I will save and watch until the end of time. Section by section. Thank you!
I have an entire playlist of guitar lessons videos saved on my account. If you use RUclips regularly you should try making playlists, I love it!
I gave you a thumbs up for your description of this video alone.
00:24 is crazy work
Pause
Ayoo
Best and most complete lesson of harmony applied to guitar of the history!!!
Well . . . . I've just found my favorite new channel. This video is loaded. Back to the shed for me.
man, what a good educator you are. Sincerely thank you sir.
Dude, you are a genius! Thank you! (And I went to Berklee)
This is brilliant. I've been using all that is described in the video but never actually learned the theories behind them. Saved for rewatch
Great video. All of this is explained in The Berklee Book of Jazz Harmony for those who learn best from books. It’s almost a must-have.
I'm glad to hear that, because I own that book!
Excellent lesson. Explains a lot of concepts I’ve seen in different places but all in one lesson.
Underappreciated awesome stuff! Very clearly communicated
This is fantastic! The explanation of tritone subs makes things so much easier to digest.
Glad it was helpful!
This has tied together so many concepts i thought i had an okay understanding off, amazing video!
daaamn. that is amazing content ! thank you for sharing !
This is a rewatcher for sure, had me for awhile but i got overloaded, I'm just a bedroom guitarist, but starting to work on song writing and trying to understand these concepts. Thanks for the dense video and hope i can get more info as I keep rewatching it.
My Grand Ma jazzes hard after I sent her this vid. Thanks!
Freakin' brilliant lesson. You not only know this stuff, but lucky for us, you can explain it clearly! Glad to see your subscribers going up. Should be much higher!
this video lesson is gold for intermediate players... kudos. also, Ritchie Kotzen eyebrows rock.
This is a great way of viewing and retaining the info of all dominant functions. Thank you!
Hey Dani! I happen to click on your video and immediately thought you looked familiar and glanced down and realized who you were. Been listening for years and not terribly long ago was blessed to watch Marbin play in my friend's back yard in Missouri. I still wear your shirt nearly every week. But anyways, I also want to thank you for this concise video. This opened up a new plateau for me :) Take care, ya'll!
@@enjoybrad81 hi bro! Welcome to the channel
Great lesson with massive implications - love the enthusiasm 🙂
Thanks! 😃
Great job laying this out!
My friend, this tutorial most defintely qualyfies top ten among all turorials that produce a radical change in music language comprehension, mannnn I thank the lord I speak english (i´m fron argentina) you literally blow my mind. Just what I needed to be able to actually understand wtf is going on in a song. For ever grateful.
Thanks man. Join our Patreon !
I've always wondered why you were treating your dominants differently. This is the video I was waiting on. Makes total sense now! Thanks.
It's amazing what is being said here because it's not just explained theory for guitar players - it applies everywhere! Tell your bass friends. Piano player probably knows it. Get that rhythm section in the pocket. Thanks for the knowledge and super kudos to the style of expression.
Rock on!
Ok this is the best video on the internet for this stuff. By far the clearest explanations.
Thanks for sharing!
Wow! Triton... resolving! Mind blowing, thank you so much 🙏
This was a fantastic lesson! I imagine the Patreon content will really help with integrating these concepts into my playing. I'll be checking that out when I have some time to work on it.
It's crazy to think that it took me years to find such clear explanation, and that after a year of music school I had absolutely no clue and couldn't understand all of these concepts ! that's how it should always be taught ! Huge thanks.
Quit school and join our Patreon
@@marbinmusic Gotta get that degree sir...
Wow, this video is gold! Thank you so much!
This is the video I wish I saw at the beginning, I limped along a long time knowing a lot of pieces but not the big picture presented here. Appreciate your effort here seriously, I'm watching this on repeat for awhile.
Would really love another video someday of going even further, how you think about using this whole thing in writing progressions...
At the end of this video….i will have an awareness of what you are teaching, I can’t imagine how I could implicitly know this information let alone intuitively apply it in my playing. Thanks for the moment of clarity, wish I could catch and keep it!
Fantastic lesson thanks Dani, you are the best!
This is the advanced music theory lesson ive been searching for the last decade. I know all of the terms explained here, except their applications in a practical way and better yet, a way to practice them. SUBBED for sure and you earned it.
Wow, that’s way you explain things is great, thank you.
Glad it was helpful! Check out the Patreon for much more
This is the best educational video on youtube man, its like general relativity for dogs, you are an absolute genius
Finally .... a tritone substitution lesson that helps. Nice one.
The funny thing is that there are people that writing amazing music without knowing almost anything of this and other than know everything but they are not able to make a hit song Certainly I don't mean that this is useless but for me atlas for songwriting the most important thing is the capability to write good melody and this is a matter of pure talent, most just can t
Excellent. Thank you. I have to work on this for some weeks. Great
There is method in all the beautiful madness of jazz music. Aha!
Nice work.
Thank you
Thank you
This is a brilliant lesson. To the point.
Lets slow this vid down to where it takes 3 years to finish and i think i can keep up! No joke seriously well made vid and i love your tone
This is the best explanation I’ve ever come across. Amazing. Thanks so much
Glad it was helpful!
This sounds brilliant! I'll go watch it again now until I fully understand it 🤔 That will probably take me 3 years.
Man, I just love your content. Thanks a lot.
Glad you enjoy it!
Love your teaching style. I have the JB book and I’m working through the first 20 licks now!
Wonderful!
So, I gather from all of this brilliantly presented information, data and psychoacoustics that I can make folks tense, then relax them, then make them tense again, and repeat until the final statement. But maybe the aesthetic and energetic model I seek is different?
Very good, man. I like that you use tritone sub for major and harmonic for minor. That's how it's supposed to be. Some Aebersolds or other real book put alt7 everywhere in minor keys but it's not right. Also I think in the first 3 years they probably teach the diminish chord/scales (dominant and/or passing) and Whole tones scales which are really interesting for improvisation.
Maybe Barry Harris for those scales is interesting to watch. Take care
I have been there (berklee) in the 80's, and it does not work this way ! Harmony program is : Harmony 1 first semester, Harmony 2 second semester and so on until harmony 4. Then modal harmony. This is harmony 2 program, very basic knowledge that one can find everywhere. Also this video is good, but not the way chord scales are being taught at Berklee, for ex chord scales for secondary dominant and resolution to their diatonic target chords are different. Only thing common is the use of lydianb7 on sub V's. Anyhow this kind of basic knowledge, or even much more advanced knowledge will not make a jazz genius of anyone, that's for sure. ! If you are interested, the berklee harmony workbooks 1 2 3 4 are very easy to find online , check them out, you will see by yourself and go deeper about what i am talking about. One more thing : all of this is kind of pure BS, just the very basic grammar of elements that are used in music and improvisation, but certainly not the jazz language ! I teach all of this, and always tell my students that knowing all your scales will definitly NOT help you to play jazz NEVER ! Harmony is much wider
subject, and after 4 semester at berklee they go much deeper : Modal interchange, reharm of diminished chords, related II minors of subV's, different types of modulations, etc etc. Once again all of this is available online in those harmony workbooks. But nothing , nothing comes close to transcribing the masters and doing analysis of what they do. Jazz lessons videos on YT is an excellent channel and what is there is close to the real thing, because... There are top class musicians that are teaching ! No BS, Jazz language analysed and played. Have a good musical trip and good luck on this journey that never never ends...
Gonna be honest.. this video appears to be really helpful and the comments clearly support that. For the first few minutes of this video I felt the gears turning in my head and I was starting to get what you were talking about. After that, the video unfortunately started to feel like it was speeding up a lot in terms of advanced terminology and made some assumptions about what the viewer already knows. I will come back to this video eventually and see if it makes sense then!!
ah yes, it's gonna take me about 3 years to fully understand those 20 minutes. but that's on me, the vid is amazing!
THANK YOU for covering the harmonic minor side aswell. The missing piece for me!!!
Excellent Dani! Please, can you share an example or give a nice tip to organize the practice sessions with the guitar in order to improve that knowledge in a practical way? Thanks!
Excellent! Thank you.
You struck a gold mine with this podcast. Is it the title?
@@rabinserious1 yes
Simply said ….AWESOME! Thank you!
I always thought of resolution as something btw chords, not something btw scales.
Blew my mind!
Great video!! Thanks Dani!
🤯 Danny you are an amazing teacher. That actually made so much sense. I will have to go over it a hundred times so it all sticks but I'm finally kind of understanding how dominant chords work. Thank you so much.
Happy to help. Let me know if you have questions
🤯 you just put it all together!
I have some practicing to do 😳
Incredible video. Thank you.
Glad you enjoyed it!
Oh my … youre doing some serious brain expanding on us rn. Subbed instantly. Thanks a lot for this lesson 🙏
This was super helpful. Thanks!!!
Great explanation and examples. Keep up the great work!!
Thanks, will do! Check out our patreon
This was the best summary of music theory I’ve ever found!
This lesson is going to break the guitarnet world 🌎 🎸 🔥
Some might not like it that Dani has strong opinions...but he's always right!
On C tonality: Emily Remler
1. she says she uses Ab melodic minor over G7, when it will resolve to C
-this is the same as G altered scale
2. She says she uses D melodic minor over G7, if it does NOT resolve to C
-this is the same as G Lydian dominant scale
3. She says she uses C lydian over C maj 7
4. She says for the m7b5 she uses the lydian scale up a flatted fifth
-this is the same as using D locrian for Dm7b5 (makes sense because it is the II of C minor tonality- it has the same notes than C natural minor)
5. She says for minor chords she uses lydian up a flatted third
-over Cm (tonic), this means Eb lydian, which is the same as C dorian mode!
Great explanation ! Thumbs up
nice work!!
The best tutorial ever thank you so much master/teacher Danni,always grateful for the amazing knowledge that you share with all those that admire your awesome talent 🤝👌👍
You're going to put yourself out of business with a video like this. ;) This is awesome, such a great presentation. Thank you.
Wow, thank you!
@@marbinmusic - I really love your playing and teaching style. I went to Berklee in '91. Did 3 semesters. I'm still trying to put it all together. Music is wonderful that way. Maybe you can make some videos about how to do what you did in this video but for minor keys? Anyway, such good stuff.
@@gabrielperrymusicthis might be a studpi question, but how would a minor key be any different? Its just the relative to the major key isnt it? Like the 6th th is the new starting point in relation to this isnt it
@@chilipeet4610 - Well, sort of. One has so many other choices with minor keys. For instance, one could use a Melodic Minor or Harmonic Minor scale as the parent scale and build harmonies accordingly. One doesn't just have to use a Natural Minor scale. So, I'm really asking, how does one approach Melodic and Harmonic Minor keys using the same kind of analysis and approaches presented in this fine video.
This is all so enlightening, thank yoi. The only question I am left with is- what is the main purpose of knowing all of these dominant pathways? I would assume to serve as “doorways” or transition points through the changes… as well as to change the direction of the chord progression?
You can use it to superimpose sounds on a vamp but the main use is to know what to play over what when studying tunes. Without that knowledge you don’t really know which mode fits on what chord
Ah that makes sense when it comes to playing over the changes. I guess I am just curious when it comes to the chords themselves why so much focus on dominants. But maybe that is just because they are important chords when it comes to forming cadences.
@@pomegranatesour there are three functions in music
Tonic- release/arrival
Sub dominant - distancing/ going somewhere else
Dominant - tension/ heading home
Western music decorates time with cadences. Cadences are the interplay between those three functions
I will have to watch this a dozen times with pen and paper 😅
Very well explained. Nailed it
Amazing lesson, many many thanks man!
Just a question: On the Sub5 you say to use the melodic minor, but coule be used as well the mixolydian mode? Like:
C#7 going to C you suggest G# Melodic Minor could we use as well C# Mixolydian (F# Major)?
D#7 going to Dm you suggest A# Melodic Minor could we use as well D# Mixolydian (G# Major)?
E#7 (F7) going to Em you suggest B# (C) Melodic Minor could we use as well E# Mixolydian (A# Major)?
F#7 going to F you suggest C# Melodic Minor could we use as well F# Mixolydian (B Major)?
G#7 going to G you suggest D# Melodic Minor could we use as well G# Mixolydian (C# Major)?
A#7 going to Am you suggest E# (F) Melodic Minor could we use as well A# Mixolydian (D# Major)?
You could do anything you want, the only question is what it sounds like.
The only note that’s different when comparing a Lydian dominant mode and a mixolydian mode is their 4th. Lydian dominant has a #4 and mixolydian has a 4. The problem that you run into is that the 4th degree is an avoid note on mixolydian so it’s not as useful of a color in many situations.
With that said, that particular mismatch is used extensively by people like Benson and Montgomery but they use a different subset from the key of that subV mixolydian sound.
If you think of a II V I in C (Dm G7 C), a guy like benson would play a B maj7 arpeggio over the G7. The logic is that it’s the IV chord from that key where Db7/C#7 has a mixolydian function (Gb/ F# major) .
That’s a tricky concept to digest and you’d need to hear what that sounds like when done well.
To say it in words of my favorite teacher on RUclips: "Thank you so much"
You really helped to connect some dots in my brain, now I need to find time to practice more. 🫠
But what if I'm using a capo? Jk...Great stuff man. Loved catching you all a bit back and also thank you for doing a clinic that day at the last minute.
Like if you believe this is one of the best youtube channels
Mixolydian b2b6 is called simply Phrygian Dominant.
אלוף דני,ייקח לי הרבה זמן ללמוד את זה אבל איך שאתה מסביר את זה 👏👏👌
Fantastic video !
9:00 Is there a reason you're not using Mixo b6 (from Melodic Minor) as a chord scale for V of ii?
Assuming the key is C, the diatonic pitch in the key is B, which is a 9 on V of ii . If a chart simply says A7 then Mixo b6 (with a natural 2) is what I think of as a "go to" / "step one" framework. It's ironic because I was taught this at Berklee 20 years ago (the leading tone of a secondary dominant chord comes from outside the key, while the remaining notes of its chord scale are simply whichever notes exist in the key).
If a specific chart in C has an A7(b9) moving to a Dm minor chord, then Mixo b2 b6 makes sense to me.
Rapid-fire information taught in a digestible way. No other music theory video is this informative in 20 mins!
Fantastic lesson! (Joined as Free member but couldn't find tabs, thanks.)
Secondary dominants & tritone substitutions
Incredible lesson!!!!