So much great info! Especially in the beginning where using the inversions as SUBS for the regular chords! That explains SO much music from the 70's where the harmony was fairly basic but had a depth of modal interchange. More of this please! You seem to use it so freely.
You put so much value in a 24 minutes video. You are an awesome person. A lot you have exposed that many really need to know. It is a luck to get this video watched for me. Thank you
5:51) I'm a real cracker jack on the guitar when it comes to the cycle of keys. This is absolute gold. I especially like the first two progressions. At least you're getting my views. I'll remember to click the like button and recommend your channel to others. Jens Larsen asked if there were any other RUclipsrs that we could recommend on his channel in the comments section. When I get the time, I'll give you a mention. Your channel is very intuitive.
I've been thinking about borrowed chords recently, but I never went out of my way to look it up for some reason. It's like someone or something guided me to this video. Thanks for sharing! What does the (dor) mean below the ♭VII? Does that mean it's in Dorian mode? Also, what is the I 6 above 4, IV6, and V6 mean? I've been seeing that recently on Hooktheory, and it's nothing I've ever come across when I was learning the piano.
I'm glad the video found you! Yes the (dor) means it is borrowed from the parallel Dorian key. The small 6 means it is a first inversion chord, the 6 and 4 mean a second inversion.
![Writing Progressions with Borrowed Chords: Songwriting Lesson [MUSIC THEORY - MODAL INTERCHANGE]](http://i.ytimg.com/vi/7IdttvJSedg/mqdefault.jpg)
Learn how to write major key songs here ruclips.net/p/PLxJaS3gjOSqrlcTTa9FSq27V5ZN2oa_QM
So much great info! Especially in the beginning where using the inversions as SUBS for the regular chords! That explains SO much music from the 70's where the harmony was fairly basic but had a depth of modal interchange. More of this please! You seem to use it so freely.
Glad it was helpful! I'd not made the 70s connection before but I agree. I'll see if I can make a follow up video about this in the future.
You put so much value in a 24 minutes video. You are an awesome person. A lot you have exposed that many really need to know. It is a luck to get this video watched for me. Thank you
You are so welcome
Don’t forget the Flatted 2 Major7 borrowed from Phrygian. Get’s me everytime
That is a good one I use it all the time before ending songs and for good job.knowing it it a great one for song write Dynamics major keys or minor
Thanks! Needed this.
Thanks for the support Lee!
Very interesting .. flat 3, flat 6, flat 7 reminds me of progressions in many rock pop songs of the 70's.
5:51) I'm a real cracker jack on the guitar when it comes to the cycle of keys. This is absolute gold. I especially like the first two progressions. At least you're getting my views. I'll remember to click the like button and recommend your channel to others. Jens Larsen asked if there were any other RUclipsrs that we could recommend on his channel in the comments section. When I get the time, I'll give you a mention. Your channel is very intuitive.
Thanks for the support, I'm glad you are enjoying the videos!
Oh my god! This was so helpful! I now get all these terms that I've heard before!
I'm glad you found it helpful!
I've been thinking about borrowed chords recently, but I never went out of my way to look it up for some reason. It's like someone or something guided me to this video. Thanks for sharing! What does the (dor) mean below the ♭VII? Does that mean it's in Dorian mode? Also, what is the I 6 above 4, IV6, and V6 mean? I've been seeing that recently on Hooktheory, and it's nothing I've ever come across when I was learning the piano.
I'm glad the video found you! Yes the (dor) means it is borrowed from the parallel Dorian key. The small 6 means it is a first inversion chord, the 6 and 4 mean a second inversion.
@@WriteASong Thank you for answering.
Thanks
Thank you for the support, I really appreciate it!
Why does approaching flat VII from those four chords avoid harmonic ambiguity?