Dude, you're my new Johnny Carson! Calm, pleasant, concise, knowledgable, and both interested and interesting without being a flake. Your lessons are extremely well designed and delivered with clarity. I'm trying to learn theory and jazz in particular after many years of playing. There's a ton of lessons on youtube but not very many good ones. Yours are outstanding and totally professional. Thanks for being a stable and clear voice in the internet jungle! cheers --Rob
amazing, this is the first time that a teacher, a true teacher has made it so easy to understand theory, without feeling like it is trigonometry class. what a really great teacher, worth moving into the area just to study with him. sounds dramatic, but most musicians, student and pros, know exactly what I mean. subscribing
Great lesson, I have been looking for this particular information all over the net! everybody else skips over the theory and goes straight to the progressions. THANK you
The Dorian and Aeolian scales are simply modes of the major scale, so as in the video example key center of "C Major" the third degree chord D minor is the Dorian quality and the Aeolian is built off the fifth degree chord being A minor. So if you wanted to use the same chords but with a different modal harmony you would start on D minor for Dorian or A Minor for Aeolian.
You deserve a medal for this lesson! I know how to play a few chord subs on the guitar, simply because I know where they're located on the fretboard, but I've never had a clue as to WHY they work. You are the first person to explain for me clearly and simply precisely why they work. Now I totally get it. Thank you!!
Excellent teacher. I am rather new to music, lack training. Just one listen feels like you've given me a half step up the ladder. Many rungs to go. Thanks.
Dear andrew i love your videos your doing a real service and teaching very well to where it is easy to understand and i was wondering if you could do me a favor and mabye do a lesson over some jazz fusion ideas in the style of allan holdsworth i love the mans playing but some of the stuff people explain it with seem to confuse me even more than it helps many thanks and keep up the good work
awesome information... funny how theory actualy can be translated to feelings like this... or the other way around... thx! makes me wanne go deeper realy.
Good lesson. anybody wondering on ideas can try this out. Utilize 7th chords because their tonality matches these relative chords much more. You'll see what I mean. As an example try a G minor 7th and a C7 or a C add 9. They sound very similar. But in perfect fifth tonality you get more much more variation. Or a D minor 7 and a F major in perfect fifth. Almost exactly the same sound.
I tried this with a standard I, IV, V blues prog. Unless I'm doing it wrong, seems you have to be careful when and how often you sub them (sporadically, as kind of a passing tone)...except for the VII, which subs perfectly every time
Hmmm. Hey Andrew, I understand the underlying concept of 'similar tones'. For eg, Cmaj=CEG. The tonic subs of (III)Em=EGB and (VI)Am=ACE both have 2 tones in common with the Cmaj chord. What I dont really get is that u emphasized that the chords give similar 'emotion effect'. Im having difficulty wrapping my head around this bcuz both the III and VI are minors in that key so I find it difficult to see how they can be giving the same emotional effect with C being major and the others being minor.
Hey Andrew, awesome lesson I was wondering : when you showed us which chords could be substituted to one another, using the degrees (eg : IV- II) Does that work for every scale ? If I take let's say a D scale, could it's 4th degree be substituted to the chord based on the second degree of said scale ? Thanks in advance, and keep up the great lessons =D
Hi Andrew I am just learning this stuff and I'm fascinated by it, although it hasn't all sunk in yet. A question I have been wondering about is: How do these majors work if a song begin in say Am? Would it still belong to say the C-E-G Major Triad?
Okay, so lets see if I got this. The V chord resolves to the tonic because it uses the 7th and the 2nd of the tonic scale. But the IV chord moves Away from the tonic, because it still uses the tonic tone. Is that right?
great lesson. but can anyone tell me what are the chordfamilies for a minor scale? or are they all the same families? Like the dorian scale and the Aeolian scale have the same chord families or are they different? Thanks again.
Thank you very much for your video. Question: I have a melody over c maj d maj f maj back to cmaj. It appears the riff is in cmaj but the d minor does not work with the melody. Might the riff really be in another key, but is just sounding to me as if it's in cmaj?
Well I guess that if you play Dm and then Db, you are modulation to Fm tone, and should use the Lydian scale over Db. And if you play C and then C#m, you are modulating to E tone, and should use the Aeolian scale over C#m. Am i right?
if you were going in measures of 4 it's C C F G. you could resolve on C or go to A minor and change the whole songs chord progression. and then resolve back on the C to bring it back.
You change to the other chords when the song you're playing moves there. Chord substitutions are basically a way of switching things up harmonically, but keeping enough of the same chord tones that the over all sound is the same. An example is playing A or E minor where the song calls for C Major. A minor sounds like an inverted C Major 13 chord (the 13 is just the root note of the minor chord sounding like an extention of c major) where as E minor sounds like an inversion of C major 7. It just adds variety.
Yea so basically yes. Because I am understanding exactly what you mean. That's all this is. A minor 7 and c major exact same chords but with one extra A and one less C. A 145 progression A D E can be A Ab dim and G13. Ok it makes sense with my ears. Moving on. It's so you can make chromatic walking lines. Why are explanations so bad on here. People need to explain the purpose and application. I got it now. Use relatives and tritones that have 2 out of three.
Exactly. It's just about variety. If you want to understand chord substitutions better I'd recommend learning about drop voicings (ex: drop 2) They help you start to really see the fretboard more openly. Start with going through the major scale chord relationships (C maj7, d min7, e min7, f maj7, g7, a min7, b min7 flat5, c maj7) and go through each inversion on the top set of string (d g b and e strings.) the cool thing once you get all of the inversions is you can find the root on any of those four strings you're using, so it stays in the same register (high or lowness like a flute or a bass) and as long as you know can find the root note (which is easy after about a week) you can make any chord type because you have the root, third, fifth, and seventh, and can just raise or lower them accordingly (like if you wanted a c min 7 you could find the c maj7 drop 2 voicing, and flat the third and seventh.) Last thing to see the fretboard better is the first learn all five positions of the pentatonic scale, and then the five positions of the major scale (pentatonic first because the notes resolve better, and less notes is easier to learn. Plus once you learn those five shapes the five positions of the major scale fit into those shapes.) this was long, but hopefully helpful (sorry I just really love music theory haha. It's so fun to me to see how the guitar and its patterns work!)
really liked it when a person who knows music theory, explains it - now I can see the light...authentic, concise & true!!!
Dude, you're my new Johnny Carson! Calm, pleasant, concise, knowledgable, and both interested and interesting without being a flake. Your lessons are extremely well designed and delivered with clarity. I'm trying to learn theory and jazz in particular after many years of playing. There's a ton of lessons on youtube but not very many good ones. Yours are outstanding and totally professional. Thanks for being a stable and clear voice in the internet jungle! cheers --Rob
amazing, this is the first time that a teacher, a true teacher has made it so easy to understand theory, without feeling like it is trigonometry class. what a really great teacher, worth moving into the area just to study with him. sounds dramatic, but most musicians, student and pros, know exactly what I mean. subscribing
u r the first person to make theory seem fun and really interesting
Great video. This will make writing songs much more interesting and improve the results at the same time.
Great lesson, I have been looking for this particular information all over the net! everybody else skips over the theory and goes straight to the progressions. THANK you
The Dorian and Aeolian scales are simply modes of the major scale, so as in the video example key center of "C Major" the third degree chord D minor is the Dorian quality and the Aeolian is built off the fifth degree chord being A minor. So if you wanted to use the same chords but with a different modal harmony you would start on D minor for Dorian or A Minor for Aeolian.
You deserve a medal for this lesson! I know how to play a few chord subs on the guitar, simply because I know where they're located on the fretboard, but I've never had a clue as to WHY they work. You are the first person to explain for me clearly and simply precisely why they work. Now I totally get it. Thank you!!
wow! what a great lesson.without a doubt the best teacher i have ever seen.will be sure to donate to this cat.
was looking for the diatonic family & substitution info everywhere. knew he'd have it :-)
This video is so useful in understanding how chords can be interchanged. Thanks a lot!
THANK YOU so much, this is PERFECTLY my skill level.
Excellent teacher. I am rather new to music, lack training. Just one listen feels like you've given me a half step up the ladder. Many rungs to go. Thanks.
Hi Andrew. Your videos have been really useful for me . Would you be able to make a video on "How to create chrod progressions" ?
Reply to Question: thermalegoogle,
Yes, every key is the same in Major.
Thanks for watching,
Andrew W.
Dear andrew i love your videos your doing a real service and teaching very well to where it is easy to understand and i was wondering if you could do me a favor and mabye do a lesson over some jazz fusion ideas in the style of allan holdsworth i love the mans playing but some of the stuff people explain it with seem to confuse me even more than it helps many thanks and keep up the good work
Thanks for these lessons, Andrew! You are a really good teacher.
Very good lesson on theory, thank you.
thanx a lot,,,it helped me a lot...really a wanted lesson
awesome information... funny how theory actualy can be translated to feelings like this... or the other way around... thx! makes me wanne go deeper realy.
Thanks Andrew, you're the best.
Good lesson. anybody wondering on ideas can try this out. Utilize 7th chords because their tonality matches these relative chords much more. You'll see what I mean. As an example try a G minor 7th and a C7 or a C add 9. They sound very similar. But in perfect fifth tonality you get more much more variation. Or a D minor 7 and a F major in perfect fifth. Almost exactly the same sound.
Awesome as always.
I tried this with a standard I, IV, V blues prog. Unless I'm doing it wrong, seems you have to be careful when and how often you sub them (sporadically, as kind of a passing tone)...except for the VII, which subs perfectly every time
Another awesome video!
thanks andrew for this awesome input
Hmmm. Hey Andrew, I understand the underlying concept of 'similar tones'. For eg, Cmaj=CEG. The tonic subs of (III)Em=EGB and (VI)Am=ACE both have 2 tones in common with the Cmaj chord. What I dont really get is that u emphasized that the chords give similar 'emotion effect'. Im having difficulty wrapping my head around this bcuz both the III and VI are minors in that key so I find it difficult to see how they can be giving the same emotional effect with C being major and the others being minor.
Hey Andrew, awesome lesson
I was wondering : when you showed us which chords could be substituted to one another, using the degrees (eg : IV- II)
Does that work for every scale ? If I take let's say a D scale, could it's 4th degree be substituted to the chord based on the second degree of said scale ?
Thanks in advance, and keep up the great lessons =D
Hi Andrew
I am just learning this stuff and I'm fascinated by it, although it hasn't all sunk in yet. A question I have been wondering about is: How do these majors work if a song begin in say Am? Would it still belong to say the C-E-G Major Triad?
Okay, so lets see if I got this. The V chord resolves to the tonic because it uses the 7th and the 2nd of the tonic scale. But the IV chord moves Away from the tonic, because it still uses the tonic tone. Is that right?
great lesson. but can anyone tell me what are the chordfamilies for a minor scale? or are they all the same families? Like the dorian scale and the Aeolian scale have the same chord families or are they different? Thanks again.
@creativeguitarstudio very very helpful!!!!
Great job with these videoes.
Thank you very much for your video.
Question: I have a melody over c maj d maj f maj back to cmaj. It appears the riff is in cmaj but the d minor does not work with the melody. Might the riff really be in another key, but is just sounding to me as if it's in cmaj?
does this apply to the natural minor scale as well and its chord family?
Awesome, thank you!
hello andrew!can this theory be applied to the other major scales modes and minor scales modes? would appreciate the answer thanks!
good
I have a doubt: what do these chords have in common - C and C#m, and Dm and Db and what scale should i use over them?
Well I guess that if you play Dm and then Db, you are modulation to Fm tone, and should use the Lydian scale over Db. And if you play C and then C#m, you are modulating to E tone, and should use the Aeolian scale over C#m. Am i right?
+diego santiago marinho that's chromatic.
if a song is in a key of major C when do I change to F or G and when do we use the minor?
if you were going in measures of 4 it's C C F G. you could resolve on C or go to A minor and change the whole songs chord progression. and then resolve back on the C to bring it back.
You change to the other chords when the song you're playing moves there. Chord substitutions are basically a way of switching things up harmonically, but keeping enough of the same chord tones that the over all sound is the same. An example is playing A or E minor where the song calls for C Major. A minor sounds like an inverted C Major 13 chord (the 13 is just the root note of the minor chord sounding like an extention of c major) where as E minor sounds like an inversion of C major 7. It just adds variety.
Yea so basically yes. Because I am understanding exactly what you mean. That's all this is. A minor 7 and c major exact same chords but with one extra A and one less C. A 145 progression A D E can be A Ab dim and G13. Ok it makes sense with my ears. Moving on. It's so you can make chromatic walking lines. Why are explanations so bad on here. People need to explain the purpose and application. I got it now. Use relatives and tritones that have 2 out of three.
Exactly. It's just about variety. If you want to understand chord substitutions better I'd recommend learning about drop voicings (ex: drop 2) They help you start to really see the fretboard more openly. Start with going through the major scale chord relationships (C maj7, d min7, e min7, f maj7, g7, a min7, b min7 flat5, c maj7) and go through each inversion on the top set of string (d g b and e strings.) the cool thing once you get all of the inversions is you can find the root on any of those four strings you're using, so it stays in the same register (high or lowness like a flute or a bass) and as long as you know can find the root note (which is easy after about a week) you can make any chord type because you have the root, third, fifth, and seventh, and can just raise or lower them accordingly (like if you wanted a c min 7 you could find the c maj7 drop 2 voicing, and flat the third and seventh.) Last thing to see the fretboard better is the first learn all five positions of the pentatonic scale, and then the five positions of the major scale (pentatonic first because the notes resolve better, and less notes is easier to learn. Plus once you learn those five shapes the five positions of the major scale fit into those shapes.) this was long, but hopefully helpful (sorry I just really love music theory haha. It's so fun to me to see how the guitar and its patterns work!)
This guy is a guitar wizzard.
dude this shit is to legit to quit!!!!!!!