First 3 Years of Berklee in 20 Minutes
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- Опубликовано: 11 сен 2024
- Learn what you would in your first 3 years of Berklee, without the lifetime of crippling debt. In this video, you will learn exactly what a cadence is, what to play over any dominant chord, secondary dominants, and tritone substitutions. This video is like winning the lottery, except better, because you won't win the lottery.
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#guitar #lesson #dominant
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. :)
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 !
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
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"
This sounds brilliant! I'll go watch it again now until I fully understand it 🤔 That will probably take me 3 years.
Well . . . . I've just found my favorite new channel. This video is loaded. Back to the shed for me.
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.
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 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
🤯 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
this video lesson is gold for intermediate players... kudos. also, Ritchie Kotzen eyebrows rock.
I think I might need the 3 years instead of the 20 mins.
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!
man, what a good educator you are. Sincerely thank you sir.
Excellent. Thank you. I have to work on this for some weeks. Great
Dude, you are a genius! Thank you! (And I went to Berklee)
I've always wondered why you were treating your dominants differently. This is the video I was waiting on. Makes total sense now! Thanks.
Excellent lesson. Explains a lot of concepts I’ve seen in different places but all in one lesson.
🤯 you just put it all together!
I have some practicing to do 😳
My Grand Ma jazzes hard after I sent her this vid. Thanks!
This is by far the "Greatest Music Theory Lesson" I have ever had. My mind just went "Kaboom". I learned the entire Sal Salvador Mode Method as a child, and now that I'm in my 50s I still gravitate to Major or Minor 6 Scale or Pentatonic Maj/Min. Understanding the "Why" in the other modes just makes so much sense. I hear this in every one of importance in the guitar fusion/jazz word use these techniques and I always considered they know some secret gimmick or trick but its not,... they just know and understand this. F'n Amazing! I'm going to be studying this till the day I die in every key. I'm just absolutely floored by this. You had me at HARMONC MINOR! I love that scale however, had absolutely no idea that it truly had a purpose. Thank you Thank you Thank you for posting!
Sure! Consider joining our Patreon for more of this style of teaching and help with this concept
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
Great lesson with massive implications - love the enthusiasm 🙂
Thanks! 😃
Thank you. You just saved me from a 6 figure student loan debt.
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 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 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!
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.
Great job laying this out!
Wow, this video is gold! Thank you so much!
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...
I always thought of resolution as something btw chords, not something btw scales.
Blew my mind!
This is fantastic! The explanation of tritone subs makes things so much easier to digest.
Glad it was helpful!
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 fantastic! I’m going to make every student I have watch this 😂❤ Thank you for sharing
Oh my … youre doing some serious brain expanding on us rn. Subbed instantly. Thanks a lot for this lesson 🙏
Great video!! Thanks Dani!
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...
Love your teaching style. I have the JB book and I’m working through the first 20 licks now!
Wonderful!
This is a brilliant lesson. To the point.
Fantastic lesson thanks Dani, you are the best!
Very well explained. Nailed it
Finally .... a tritone substitution lesson that helps. Nice one.
Some might not like it that Dani has strong opinions...but he's always right!
Simply said ….AWESOME! Thank you!
This lesson is going to break the guitarnet world 🌎 🎸 🔥
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 🤝👌👍
THANK YOU for covering the harmonic minor side aswell. The missing piece for me!!!
Great explanation ! Thumbs up
There is method in all the beautiful madness of jazz music. Aha!
Nice work.
Thank you
Thank you
You struck a gold mine with this podcast. Is it the title?
@@rabinserious1 yes
This was super helpful. Thanks!!!
Wowww thank you!!!!!!
Fantastic video !
Dani your lessons are a fucking goldmine.❤
Absolutely they are
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.
That's really great!
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.
Incredible lesson!!!!
Fantastic lesson! (Joined as Free member but couldn't find tabs, thanks.)
Great explanation and examples. Keep up the great work!!
Thanks, will do! Check out our patreon
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
אלוף דני,ייקח לי הרבה זמן ללמוד את זה אבל איך שאתה מסביר את זה 👏👏👌
Thank you..
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.
Secondary dominants & tritone substitutions
This is great. I'm wondering, where do the Altered chords and Altered scale fit the picture?
Altered is the 7th mode of melodic minor
Basic knowledge
1 every note has a pre note usually the major 7 if looking from c major position.
The b note
Bis the 3rd of G GBD
G is dominated to c by a ratio 3:2
Every note has this ratio
So why do you say right at the start that you don't know where any note goes to by preference it's always a 3:2 ratio which means frets apart and five left over c to g then d if adding up it's simple but it goes also the other way especially the fourth degree is always dominant to the 1st and some forget that if in minor the dominance chord is always major on the 4th than minor which you seem to see in music and can easily confuse the beginner when transposing or getting the grips with
Put the pipe down bro
I graduated from Berzerklee in 78.
You’re teaching the same things.
You wouldn’t believe how serious Berklee was when I went.
It didn’t have any of this social justice garbage.
It was serious Jazz..
You could only be absent 1 day a semester.
@@jamiemorgan4146 I believe that and would talk trash about that era
Thank you. 🙏 ❤
Holy shit man. Fuckin hell. Thank you
Welcome
Thank you. I subscribed.
Brilliant!!
Mixolydian b2b6 is called simply Phrygian Dominant.
I've been doing the jazz thing for about 7 years, and have never managed to get a grip on the whole sub and secondary sub theory, this is so much easier to wrap my head around. I have one question, do you always resolve to the mode of the associated chord of the major scale that your aiming for, or can you pass over it somehow, to lead to the next 'sentence'?
You don’t have to do anything. That’s the wrong way of looking at it. When you do something it sounds a certain way.
Ignoring chords in a progression when soloing has more to do with harmonic rhythm and phrasing than anything else.
I recommend our Patreon or better yet private lessons with me for more clarity
Yes Sir:) Thank You
Thanks man! Super good content! Have to watch it two times. But your guitar is a bit out of tune...which drives me a bit crazy :D
funniest opening description ever... unless of course you did sign up...
Great lesson. Can we get a part 2 showing some examples
@@CasualT840 yes on the Patreon
Why didn't you upload this video 20 years ago when I started playing guitar 😢
So when I see a Dom7 chord I need to know if it's part of the major family or minor family to determine which mode to use. Either the Mixolydian or the Phry Dom (or flat 2 flat 6) hmmmm okay.
Great lesson When will you discuss melodic minor ?
Soon
So ok, from the first half of the lesson- with the minor chords, my V to ii, I would use the phrygian dom scale of the V chord? You say to use the harmonic minor scale for where I'm going. What does that mean? I'm trying to rewatch and grasp but it's a bit confusing. But I'm rewinding! (Maybe it's explained more if I keep watching) Edit- got it! Now on to the 2nd half!
@@monkface E7 A7 and B7 in the key on C major all get their own Phrygian dominant modes
@@marbinmusic Which is simply the harmonic minor scale of each chord I'm resolving to! Yes it's that easy.
What does stacking thirds mean?
Stacking means playing things as chords rather than single notes in a scale.
C Ionian stacked in
2nds is CDEFGAB
3rds is CEGBDFA
4ths is CFBEADG
5ths is CGDAEBF
6ths is CAFDBGE
7ths is CBAGFED
If you take the first 4 notes of the stacking thirds line you get the chord that defines the mode. Do it with every mode and you get all the diatonic chords in this tonality
I'm still trying to figure out how a Strat can get so much wear and tear around the top horn where the strap is attached.
@@martinheath5947 you focus on the right things!
Ok as I've learned all the 5 of something chords and their corresponding modes, and I think (and hear you say) play these modes over each chord, then I think....play....what exactly? Just the straight scale followed by another isn't anything at all but an exercise. So, some sort of lick or melody? But even that is extremely limited and predictable. And that can even sound off, for example the V of ii. Ok play the phrygian dominant, then the Dorian. Well it doesn't quite flow. What am I missing? The ability and talent to make actual music itself ?? Some strategy? Patience? Knowledge? Certainly not frustration!
What you are missing is the point. You always have to go for it when you play music. If you’ve decided you are playing a jazz tune then you improvise over that jazz tune and go for it even if you’re not sure how exactly to go about it. Then you listen back and you start asking yourself questions about how you’ve failed and you come up with a theory about the gaps in knowledge that you have to bridge in order to get better. Then you work on it for a while and try again.
All that harmonic theory can provide is a safe palette of color on each chord canvas.
It’s silly to blame the Lego set for an inability to enjoy the time you spent playing with them because you are frustrated with the structures that you created.
You need to love playing and love updating your toolbox as you go through music and refine your abilities and tastes.
Resolving the chord usually ending? Only to start the progression over or end? . What happens if you’re right ‘strumming hand’ does all the work. Most of your chords progressions are 1, 7, 6, 5 in in the key of E minor, D, C, and B7? Cadence?
I don’t understand the question
When you borrow 5 from 4, how much interest when the check comes due?
Is this an accounting joke?
@@marbinmusic yes, but also crowd interest when you do this live.
Fantastic. By the way why doesn’t your strat hum?
It’s a suhr. They figured it out
I know all that stuff but it took me at least five years to do it.
Whoa!! 🤘
👏❤️🔥🙌
Lost me completely I’m afraid….😳! 🍷
That is acceptable
Thanks from a bassist.
You guys are musicians too I guess :)
I’ve heard Berklee are owned by Boeing. Watch your back Dani.
Dani, do you give online lessons ?
Yes hit me up at 6175048126
Am I missing the V of VII?
@@pomegranatesour there is no such thing because you can’t have a cadence into chords that have a diminished triad
Oh right duh! Thanks
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. 🫠
This is nice for the beginner, sure, but you're saying you'd spend three years of a university music degree on learning the very fundamentals of harmony that a prospective student would know by the end of high school? People do all of ABRSM and they wouldn't have seen cadences? Secondary dominants? That's absurd. This is stuff that makes up your very first harmony class.
Most people pretend to know this stuff
Don't get me wrong, it's great to have this kind of educational content, but it's certainly not three years in a conservatory. Not that your jazz degree is all about theory to begin with, but that's beside the point. Nothing wrong with saying that a video is for beginners.
@@NotLegato people graduate from Berklee every year with the skill set and knowledge of beginners.
@@marbinmusic So your saying :Learn what you would in your first 3 years of Berklee , without the life crippling debt. (And still be at the beginning fundamentals of harmony).
@@slipstreammonkey yes
You got the stolen guitars back?!
I wish. That's a new one.