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Yes - they have a really epic sound. You can think of them as compressed quartal or quintal chords (i.e., chords built of perfect fourths or fifths), and I think that's what gives them that feeling of openness and also the strange blend of harmonic stability/instability they can bring to a chord progression.
Nice! Playing around with inversions can really transform sounds that you think you got tired of, such as maj 7ths for me lately. I just tried your Dm7 followed by Db7 (but in 1st inversion) closing with C in the bass and inverting the top to B-E (losing the 5th) and while I'm still closing with a major 7th it sounds so different in mood (and for me preferable for now as a close - that top E makes it more "acceptable":) In this video you've taken simple concepts but combining them really transforms the game! I guess we need to be more creative though! For example, if you hadn't suggested it here I wouldn't've thought to play a Db7/G (the G being the leap of imagination) yet now it makes complete sense!
Thanks for this. I'm trying to learn the changes working around the Circle of Fourths and Fifths. There has to be a pattern for moving around. Sorry, I asked the question too quickly since you addressed it at the end.
The 251 sounds like a resolve to the one; however, I heard somewhere it could be used as a passing chord to get to the next chord in the progression; therefore, the resolving sound makes its sound like a home chord [1 chord] rather than a chord in a progression. Maybe I'm wrong-I don't know; honestly. Anyways.
You're right! I think what you're describing is a deceptive cadence, where V (or ii-V) resolves to another chord in a progression other than I - am I right?
As my wife says, I have a great face for radio! Nope, I don't, though I've done quite a bit of video/audio/TV work in my "other" (and to an increasing extent, former) life as an advertising creative :)
Hey Bill, i was kind of wondering since you said that the 2-5-1 chord progression is mostly an addition into the middle of a chord progression, will it be ok if i used it in the middle or after C G A F chord progression from your previous tutorial? i don't know if you're ever gonna be able to read this, since the video is quite dated but i gotta give a shot. great job on these tutorials by the way, i've been making "Leaps and Bounds" ;) thanks to them! keep 'em coming!
Thanks for the kind words! Yep, I still see comments on old videos, and I always try to reply (eventually - been away this week!) so post them wherever you like :) The short answer to your question is "yes": ii-V-I can be (and frequently is) used in the the middle of progressions to get back to the tonic. You could indeed find a way of tacking it to the C-G-A-F progression, but bear in mind that functionally F (IV in the key of C) and Dm (ii in the key of C) are functionally quite similar, so you might not need the ii - just go IV-V-I (i.e., F-G-C). Does that make sense?
Hello: would you please, since you are great, do a chromatic ii V I chord progression. Say in the C Major Chord the ii of the IV the F and the V7 of the V the C. Please let me know respects,
I have acquired a digital piano and the keys clunk as do yours. Does my piano need ' fixing', or is it supposed to sound clunky. I find it distracting. The
Clunky keys are a very common problem on digitals - it's basically the result of the keys being switches, rather than one end of a mechanical action, as they are on a real piano. Your piano probably doesn't need fixing: it may be something you have to learn to live with, I'm afraid! You do learn to tune it out in the end...! (Btw, if you're thinking of changing your piano in a few years, higher-end digitals intended for home use - ie, not "stage pianos", as mine is - do tend to have quieter keys. The Yamaha Clavinova range is a good example.)
Bill Hilton thank you, you have put my mind at rest as I thought it was going to cost an arm and a leg. I will in the future, provided I save enough, replace it, and I will look into your recommendation.
Hello Mr. Hilton, awesome lesson. I wanted to know why progressions are almost always listed in 3 chord progressions but when i see music production they always use 4 chord progressions. For example I always see 1-4-5 progression but never see 1-4-5-3?
It's purely chromatic. If you wanted to think of it in terms of scales, you could think of it as being borrowed from the Aeolian or Phrygian modes or some of the bebop scales. As with all alterations to chords, it's best to play around on the keyboard first and work out cool sounds rather than try to work outwards from theory!
CHECK OUT MY BOOKS AND OTHER DEALS
30% off bundle deal on my ebooks: www.billspianopages.com/bundle
All six of my Piano Packs for £16.95: www.billspianopages.com/pianopacks
Support me on Patreon (great benefits): www.patreon.com/billhilton
Those sus chords are really something else. Really opens up the playing.
Yes - they have a really epic sound. You can think of them as compressed quartal or quintal chords (i.e., chords built of perfect fourths or fifths), and I think that's what gives them that feeling of openness and also the strange blend of harmonic stability/instability they can bring to a chord progression.
Great tutorial! Thanks so much!
Your logical explanations are brilliant and easy to follow. You give the best piano tutorials I’ve found yet on You Tube - thank you!
Pp
Perfect. Thank you so much
You're welcome!
Thank you, Bill! Brilliant useful videos, clear explanation, and straight to the point!
You're welcome, Noelle!
very good explanation
Thank you sir for sharing your talent. May God bless you more. You are a blessing.
Thank you, and you too!
Mr Hilton. Thank you very much indeed.... V clear I like your apprauch..... You're great gentleman.... ✌️. Great vedio.
You're very welcome, Nader - I'm really glad it helped!
this is useful to me
thanks for the upload
You're welcome!
Nice! Playing around with inversions can really transform sounds that you think you got tired of, such as maj 7ths for me lately. I just tried your Dm7 followed by Db7 (but in 1st inversion) closing with C in the bass and inverting the top to B-E (losing the 5th) and while I'm still closing with a major 7th it sounds so different in mood (and for me preferable for now as a close - that top E makes it more "acceptable":) In this video you've taken simple concepts but combining them really transforms the game! I guess we need to be more creative though! For example, if you hadn't suggested it here I wouldn't've thought to play a Db7/G (the G being the leap of imagination) yet now it makes complete sense!
Cool! Keep playing around with those sounds - you're taking exactly the right approach!
Thanks! :)
Thanks for this. I'm trying to learn the changes working around the Circle of Fourths and Fifths. There has to be a pattern for moving around. Sorry, I asked the question too quickly since you addressed it at the end.
Thanks Bill just purchased the book too.
Thanks - hope you like it. Give me a shout if you have any questions!
The 251 sounds like a resolve to the one; however, I heard somewhere it could be used as a passing chord to get to the next chord in the progression; therefore, the resolving sound makes its sound like a home chord [1 chord] rather than a chord in a progression. Maybe I'm wrong-I don't know; honestly. Anyways.
You're right! I think what you're describing is a deceptive cadence, where V (or ii-V) resolves to another chord in a progression other than I - am I right?
@@BillHilton Exactly! Am sorry I couldn't express myself too well. Still learning the language of music [jargons used].
Thanks, great lesson. Be better if you could reduce the thumpy key sound but increase the piano volume so the chords are clearer.
Wow you covered a lot in his tutorial!
Thank you so showing me how to use the 251 really help me to improve my piano 🎹 playing greetings Pianist from Malaysia
You're welcome, Richard - glad it helped!
just wondering if you do voiceovers too? you sound like headspace and school of life teaching piano!
As my wife says, I have a great face for radio! Nope, I don't, though I've done quite a bit of video/audio/TV work in my "other" (and to an increasing extent, former) life as an advertising creative :)
Thanks, very clear instruction, and a great 2-5-1 review.
please remember me what it means 'over' Fmaj/G is that a combi of those two chords? so just the F note change to a G note ? thanks for your answer!
Nice Bill.
If it is possible, can you sing or have a singer singing while you are playing?
Woohoo. Thanks for the great video.
Synth is kinda quiet
Hey Bill, i was kind of wondering since you said that the 2-5-1 chord progression is mostly an addition into the middle of a chord progression, will it be ok if i used it in the middle or after C G A F chord progression from your previous tutorial? i don't know if you're ever gonna be able to read this, since the video is quite dated but i gotta give a shot. great job on these tutorials by the way, i've been making "Leaps and Bounds" ;) thanks to them! keep 'em coming!
Thanks for the kind words! Yep, I still see comments on old videos, and I always try to reply (eventually - been away this week!) so post them wherever you like :) The short answer to your question is "yes": ii-V-I can be (and frequently is) used in the the middle of progressions to get back to the tonic. You could indeed find a way of tacking it to the C-G-A-F progression, but bear in mind that functionally F (IV in the key of C) and Dm (ii in the key of C) are functionally quite similar, so you might not need the ii - just go IV-V-I (i.e., F-G-C). Does that make sense?
@@BillHilton ohhh no wonder i get the sense of repeated sound between those 2 notes! Yes, it totally makes sense! Thanks again Bill!
Hello: would you please, since you are great, do a chromatic ii V I chord progression. Say in the C Major Chord the ii of the IV the F and the V7 of the V the C. Please let me know respects,
See my reply on the other comment thread, Ruthe!
Sir: where is the other comment thread. thank you,
I have acquired a digital piano and the keys clunk as do yours. Does my piano need ' fixing', or is it supposed to sound clunky. I find it distracting. The
Clunky keys are a very common problem on digitals - it's basically the result of the keys being switches, rather than one end of a mechanical action, as they are on a real piano. Your piano probably doesn't need fixing: it may be something you have to learn to live with, I'm afraid! You do learn to tune it out in the end...! (Btw, if you're thinking of changing your piano in a few years, higher-end digitals intended for home use - ie, not "stage pianos", as mine is - do tend to have quieter keys. The Yamaha Clavinova range is a good example.)
Bill Hilton thank you, you have put my mind at rest as I thought it was going to cost an arm and a leg. I will in the future, provided I save enough, replace it, and I will look into your recommendation.
@@carolaspinall1562 No problem, Carol - glad to be of help. If you ever need any buying advice, just give me a shout!
Hello Mr. Hilton, awesome lesson. I wanted to know why progressions are almost always listed in 3 chord progressions but when i see music production they always use 4 chord progressions. For example I always see 1-4-5 progression but never see 1-4-5-3?
C Em G D, never heard that?
Last Kiss, Zombie... and many others :^)
That's not the question lol.
They aren't tho, that's what I mean. Mostly a mix between 1 2 4 5 and 6s
Progression 2 5 1 mi bemol
F- Bb Eb
Hi Bill - at 15.40 just wondering how does the dm7flat5 fit in where does that a flat come from?
It's purely chromatic. If you wanted to think of it in terms of scales, you could think of it as being borrowed from the Aeolian or Phrygian modes or some of the bebop scales. As with all alterations to chords, it's best to play around on the keyboard first and work out cool sounds rather than try to work outwards from theory!
Thanks !
It comes from C harmonic major scale or can also be borrowed from A harmonic minor scale
you should consider using 7th chords
great video but we don't hear you piano good enough
Sorry about that - I'm just in a new space, so still experimenting with the levels. Hopefully will be sorted in time for the next one...!
sorry not advanced enough for me