Well. This is without a doubt, the best video about triad pairs in guitar I have ever found on YT. Clear, concise, and full of guitar specific insight.
Not as a badge of honor, more a badge of laziness,but I have never in my 10+ years of enjoying RUclips ever commented on a video, but this is, for my skill level, the most brilliant explanation of creating altered tension I have ever seen. The way you explained how to transform the A7 into a temporary secondary dominant was incredibly elegant, and gained a meta-like quality as, quite hilariously, it felt like it took forever before you re-stated that A7sus could work as harmonic «primer» before introducing more overt altered tension. Bravo!
In A, ii = Bm is the diatonic 5th chord of V = E7, whuch is the diatonic 5th of A, which is the diatonic 5th of D, which is the diatonic 5th of G#m7b5... ii V I IV vii iii vi ii
Thanks for the comment! Quick answer (in the key of C): Dm7 - G7 - C△ = ii -V7 - I G7sus = F/G F/G = Dm7/G Dm7 = G7sus G7sus - G7 - C△ = V7sus - V7 - I△ V7sus = ii/V The 'minor 7' chord can be seen as sharing the same notes as a Dominant '7sus' chord. Transitioning from 'V7sus' to 'V7' creates a gradient of tension, shifting from a less tense Dominant sound to one with greater tension (both still acting as the 'V7'). This is how we can see/hear the function of a 'ii - V7 - I'. Hope that helps for now, thanks again for watching!
Hey just wondering if we could call the Maj13#11 - Maj6/9 (add#11). Obv not the point of the vid at all.. But in any case, the IV + V chords would have the combined formula of a R 2 3 #4 5 6, right? Been thinking, and I made a chart about this stuff too, but our chord names didn't match on that one. And whats in a name anyway? Though i find it can sometimes affect how my brain stores the information. Only reason it stood out to me. And F#/E is just fine too obv.. but for a full singular name, the rule i go by is that only in the presence of a 7, does 6 becomes 13. Anyway I could be missing something there too.. or a lot of things haha. Let me know what you think about that though. Great voicing(s) and great vid! I'll have an eye out for more
Thanks for the great question! You can definitely label the voicing a Maj6/9(add#11). As you pointed out, this indicates that there shouldn’t be any 7th present within the chord (unlike Maj13#11, which implies that the chord is harmonised up to the 13th and therefore can include the 7th). That said, I believe it’s possible to use voicings that omit certain chord tones or extensions while still conveying the sound of a more complete chord structure. This is particularly relevant for guitar, where the number of notes we can voice is limited. We often have to be selective, and while the guitar part might omit the 7th, it doesn’t rule out the possibility that another instrument in the arrangement includes it. Calling a chord Maj6/9 vs Maj9 suggests a specific sound tailored to a particular harmonic moment. How we choose to voice it ultimately depends on what best serves the music which can depend on many factors. My decision to describe the voicing as Maj13#11 in that instance reflects the broader harmonic context I was discussing, specifically, the Lydian scale. When using this concept to construct other possible Lydian voicings, there is no reason we can’t create ones that do incorporate the 7th. This is great stuff to think about and I love your attention to detail. I have very specific ways I like to write/communicate harmony or chord voicings depending on the scenario. I’ve certainly obsessed and given these things a lot of thought over the years, and like yourself, thinking about these things definitely helps me store the information (+ gives me lots of joy!). Awesome stuff. Thanks for checking out the vid!
May I ask what program you use in order to incorporate music notation stems and do they come from Sibelius? I'm a teacher in a public school and I would like to work on some online lessons for my students... merci!
Triad pairs are diatonic triads found within/derived from a chosen scale or mode. In the video, I explain that they are a strong way to organise a scale and, therefore, a useful musical device for bringing out the character of a particular scale or mode.
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
Thanks for checking out the video! PDF material available on my Patreon: patreon.com/robbiebarnby
Pound for pound, you're definitely one of the best guitarists on all of youtube. Thanks man!
Watching Robbie's lesson while sipping my morning coffee. Now this is what I call the start of a perfect day!
This is one of the best lessons I've seen in a long time, great job and thanks
The quality of these instructions, edits, and playing is dumbfounding! Always. If you are new to Robbie, check out his other stuff. CLASS.
Well. This is without a doubt, the best video about triad pairs in guitar I have ever found on YT.
Clear, concise, and full of guitar specific insight.
That's too kind, thanks so much for watching!
Babe wake up! The new Robbie Barnby video is out!!! 🍿
Another incredible video from one of the best guitarists and educators on RUclips - amazing!
Amazing as usual!!!
This channel and Chris Whiteman’s are two of the best. Thanks for all you, Robbie! Your teaching and playing are sublime. 🌹🎸🌹
“That gets pretty tricky…” 😂
Outstanding and inspiring as always, Robbie!
Simply amazing. Best tutor on youtube
First video I've seen from you. You explain this concept so well and quickly that I'm inspired to try it rather than feel overwhelmed.
That's great to hear, thanks for checking out the vid!
best triad pairs explanation. Great use examples, thanks. You are fantastic teacher
Thanks so much!
Yours is a great explanation of something that sounds so rich in the right context. Nice graphics too.
Thank you!
Not as a badge of honor, more a badge of laziness,but I have never in my 10+ years of enjoying RUclips ever commented on a video, but this is, for my skill level, the most brilliant explanation of creating altered tension I have ever seen. The way you explained how to transform the A7 into a temporary secondary dominant was incredibly elegant, and gained a meta-like quality as, quite hilariously, it felt like it took forever before you re-stated that A7sus could work as harmonic «primer» before introducing more overt altered tension. Bravo!
That is amazing Robbie. Cheers.
Thank you!
Another great video Robbie! Cheers for this one. Great playing man.
Beautiful playing as always, clear and easy to understand, easy to extract concepts for practice. Great job Robbie!
Thanks a lot!
best lessons explained in RUclips, please compose smth for your audience so we can just enjoy your talent.
Man this channel rules. Thanks for all you do!
Fantastic video as always 🎸👍 thanks so much!
Thanks for checking it out!
Amazing as always!
Thank you so much!
This is great content. Havent been there for a while. Man, you have grown as educator and musician. Thank you.
Thank you!
Great as ever Robbie!
Thanks a lot!
Amazing. Subscribed
Thanks!
Merry CHRISTmas 🎄🎁
😏🙃
All of your videos are like a masterclass on the subject. Thank you sir 🍻
Glad you like them! Thanks for watching!
Robby !! It’s been a while. So glad you are doing well, and bringing another 🔥 lesson 💯💪
Thanks for the lovely comment and checking out the new vid!
This video is so great! helped me so much, thank you!
My pleasure, that's awesome to hear!
Wow! 🤯 @17:50 “the ii in a ii-V7-I really is a V but with lesser tension”. You’re going to have to explain that one Robbie.
In A, ii = Bm is the diatonic 5th chord of V = E7, whuch is the diatonic 5th of A, which is the diatonic 5th of D, which is the diatonic 5th of G#m7b5...
ii V I IV vii iii vi ii
Thanks for the comment! Quick answer (in the key of C):
Dm7 - G7 - C△ = ii -V7 - I
G7sus = F/G
F/G = Dm7/G
Dm7 = G7sus
G7sus - G7 - C△ = V7sus - V7 - I△
V7sus = ii/V
The 'minor 7' chord can be seen as sharing the same notes as a Dominant '7sus' chord. Transitioning from 'V7sus' to 'V7' creates a gradient of tension, shifting from a less tense Dominant sound to one with greater tension (both still acting as the 'V7'). This is how we can see/hear the function of a 'ii - V7 - I'.
Hope that helps for now, thanks again for watching!
xmas gift has arrived :) thank you, Robbie!
Hey just wondering if we could call the Maj13#11 - Maj6/9 (add#11). Obv not the point of the vid at all.. But in any case, the IV + V chords would have the combined formula of a R 2 3 #4 5 6, right? Been thinking, and I made a chart about this stuff too, but our chord names didn't match on that one. And whats in a name anyway? Though i find it can sometimes affect how my brain stores the information. Only reason it stood out to me. And F#/E is just fine too obv.. but for a full singular name, the rule i go by is that only in the presence of a 7, does 6 becomes 13. Anyway I could be missing something there too.. or a lot of things haha. Let me know what you think about that though. Great voicing(s) and great vid! I'll have an eye out for more
Thanks for the great question! You can definitely label the voicing a Maj6/9(add#11). As you pointed out, this indicates that there shouldn’t be any 7th present within the chord (unlike Maj13#11, which implies that the chord is harmonised up to the 13th and therefore can include the 7th). That said, I believe it’s possible to use voicings that omit certain chord tones or extensions while still conveying the sound of a more complete chord structure. This is particularly relevant for guitar, where the number of notes we can voice is limited. We often have to be selective, and while the guitar part might omit the 7th, it doesn’t rule out the possibility that another instrument in the arrangement includes it. Calling a chord Maj6/9 vs Maj9 suggests a specific sound tailored to a particular harmonic moment. How we choose to voice it ultimately depends on what best serves the music which can depend on many factors. My decision to describe the voicing as Maj13#11 in that instance reflects the broader harmonic context I was discussing, specifically, the Lydian scale. When using this concept to construct other possible Lydian voicings, there is no reason we can’t create ones that do incorporate the 7th. This is great stuff to think about and I love your attention to detail. I have very specific ways I like to write/communicate harmony or chord voicings depending on the scenario. I’ve certainly obsessed and given these things a lot of thought over the years, and like yourself, thinking about these things definitely helps me store the information (+ gives me lots of joy!). Awesome stuff. Thanks for checking out the vid!
May I ask what program you use in order to incorporate music notation stems and do they come from Sibelius? I'm a teacher in a public school and I would like to work on some online lessons for my students... merci!
Thanks for the question! I use both Sibelius and Musescore.
@ thanks !and for video edits ?
Very similar concept to gmc right?
I know this (great) stuff is supposed to be inspiring but I’m thinking trying painting or collecting stamps after that…
2:46
:
I try and try and just dont get it!
Sublime! Dare I give one little criticism on the video though. The red color on the graphics is hard to read, but that might be me…
Thanks for the feedback!
It's not clear how triad pairs relate to modes.
Triad pairs are diatonic triads found within/derived from a chosen scale or mode. In the video, I explain that they are a strong way to organise a scale and, therefore, a useful musical device for bringing out the character of a particular scale or mode.
@RobbieBarnby Thanks for the reoly. I wish those words meant something to me, but the essence of the concept isn't grabbing hold. U will watch again.
Marry me!❤
You'll have to get through me first.
le boss de fin de niveau a la fin de daRk souls 3