I just want to say that I really appreciate you posting full tutorials with clear theory rather than trying to sell a contrived "system" and DVD sets like so many jazz and gospel channels on RUclips do. This video has so many great ideas that will improve my playing and composition.
This is the perfect video for me *RIGHT NOW*! I actually watched (and liked) this video over a year ago, but I guess I was not ready. But now I feel like I understand it enough to start practicing my passing chords with your guidance!
At 7:07 you mention how the C#/Db diminished works because it is similar to a C7 chord, which is similar to a Cmaj7 chord. I just want to point out an alternative analysis. If you look at the notes in C# diminished you have a C#, E, G, Bb. You could easily interpret this as an A7b9 rootless voicing. Of course any A dominant type chord will lead nicely into Dm. That makes this Diminished #1 case very similar to the Secondary V case you outline a bit later in the video.
Lucas Cram right with you.. most things that work like that are related.. I do a thing like this which involves the d minor 7. .. it's really fun to play.. I think I was playing aHammond b3 I was improvising.. here it is 2 hits on notes of c six egac 2 hits on on e flat diminished eflat gflat a c and then 2 hits on d minor 7 d f a c.. I found this by accident its repeat several times . I guess the a and c are pedal points and the the other notes go down chromatically.. have you ever used this and how do you describe it.. on your original comment just putting a c 6 and then a c sharp .. makes an a seven.. these things are amazing.. Jerry Reed was called a thinking guitarist.. you had to be to play with the likes of Mr guitar Chet Atkins who started out on fiddle and had a music teacher dad.
Walk That Bass I from time to time come to your channel and always enjoy it and leave comments that the people may enjoy or already know but I read comments and learn alot so check my comments to lilucas out.
He said C#dim is SIMILAR to C7 - which it is: C#dim: C#, E, G, Bb and C7: C, E, G Bb - well, how about that - 3 of the 4 notes are the same, sure looks similar to me. Too bad you quit after this point - you missed a lot of good information! From a harmonic stand point, using a C#dim as a passing chord going from the CMaj7 to the Dm works quite well!
Your videos are awesome! Very good presentation of rather complex topics straight to the point. Thank you so much for expanding my harmonic vocabulary :-)
I've been really enjoying watching your videos for the past few days, and I'm learning a lot! Thanks so much for your clear and interesting explanations :) I have a question: in this video you explain about passing chords from a major 7 chord to a minor 7 chord. Would anything be different if we were to pass from a minor chord, or to a major chord (or both)? Would anything change if the origin or target chords were in a different form, like dominant 7, diminished, etc.?
Wow!! it is the best video on this subject that I have seen, that is very easy to understand , and with your demonstration with All of me , it can not be more clear, it's a lesson of great value. thank you very much to share it. :-)
Fantastic teaching and i like your summary slides in your tutes I’m sure you went to university and understand how helpful and beneficial a summary slide can be 😉thnx heaps mate
The style and clarity of that lesson is awesome.. You are a great teacher sir and I bow down to you like 'Ekalavya' bowed down to 'Dronacharya' (A little dose of hindu mytholgy for you)
Hi. This was great thank you.I play the guitar and Iam working at developing single lines using passing chords.Its very hard but as Iam progressing I can say that what matters the most is the rythm.So I think when one wants to understand passing chords especially non diatonic is to understand the tension- release concept and landing the harmonic strong notes in the stong beats.
+Kostas Charitou Hey Kostas. Yep, I agree. The tension-release concept is very relevant in regards to passing chords. You can play whatever notes you like and create as much tension as you like as long as you can fall back on a strong note/guide tone at the right time. Bill Evans once said 'There are no wrong notes, only wrong resolutions'. I think that's true.
I had a question, the first passing chord (Dm7) that you used in "All of Me" is a whole tone away from the next chord. I understood that it should be a semitone away or have I understood wrong?
You can use both. You could do: C7 Db7 | E7 --> this would be an approach chord Or you could do: C7 Dm7 | E7 --> this could be classified as a 'diatonic' passing chord, with C7 = V of F Major & Dm7 = vi of F Major and then moving to E7. But really, works well because the bass note is moving up in constant intervals - C to D (tone) then D to E (tone). And that symmetry makes it sound good.
Thank you for your reply. I understand how C7 is the V of F major but how does Fmajor come into the picture? I understand that Dm is relative to F major. Anyways perhaps if you can tell me if there is another video that explains this because I don't want to trouble you again with all my questions. You are a super teacher. You explain things so well what I have been so thirsty for. Thank you!
You have the Secondary V as C A7 Dm. What about the tritone substitution for the A7? Would that work well in this situation, and if so, how does it sound to your ears?
+Bass Player Yep you can definitely do that and it sounds great. In fact, the tritone substitution of A7 is Eb7, which is the chord I use in chord progression 5 - Approach #2. So a tritone substituted Secondary V becomes an approach chord. I think that sounds quite good and really smooth. Approach chords generally work well. And if you play a 3rd inversion Eb7 (with the Db on the bottom) you can create a little bit of a chromatic walking bassline which can also sound good (it them works kinda like the Dbdim7, but with an Eb instead of an F).
Brian O'Donnell nice observation . I have seen people play these kind of chords and they do not know music theory..it's in the human psyche .. my granddaughter got on the piano last week and was trying to play marry had a little lamb..and was missing a note.. ocd kicking in tried to correct her.. no luck.. she went back to just banging on the piano all white keys .I said she could hit the black keys also .. then I said try both.. I heard all kinds of classical music.. told my wife said that's how I started.. I felt sorry for my grand parents.. .
This is a great video but I have a question. What is the harmonic logic of example #1? It works in this case when the next chord is a whole step above the previous one and it would probably work when the next chord is a half step below the previous one (in this case it would lead to some type of B chord), but would it work in all cases? I just don't see how a system that relies on the previous chord would always work since there is no information about the next chord coming up, and harmonic tension is about resolving to the next chord.
The problem though with that application of the A7 is that your melody note is a b3 of A7 and you voice your chord with a natural 3 on top in your left hand. Major 7 intervals don't practically work for your ear if that note is the melody. It's a major and dominant sound that really clashes.
Yeah but you can drop the melody for a second to get the use of the secondary dominant then bring the melody back in when you land on the D-7. Then it becomes like a counterpoint. It's not uncommon in jazz and gospel etc to have passing chords that temporarily clash with the melody. The same is even true for passing tones in classical music.
So passing chords don't need to contain the key melody note of a bar as they're not harmonically important right? So unacceptable or weak harmony KMN can be played over passing chords?
Thank you very much , I appreciate your effort, I have a question but my english is too week to explain what I want to know so please try to get me . ( if I chose the passing chord C7 in the left hand for example and in the same time I have the note f in the melody or the right hand as I learned from you the note f is avoid note with C7 in this case what can I do ? is it ok to play f with c7 because it is passing chord ? Or I should change the type of passing chord to be fit with the melody ??? Thank you again for your effort 🙏🏻
It is ok to play an F over a C7 chord if C7 is just a passing chord (so is played very quickly) or if F is a passing note (so is played quickly). Chord and notes that are played quickly can clash because they pass too quickly for your ear to hear the dissonant harmony.
When you put in the passing chord does that change how long you play the original chords to the right or left of it so that it still fits into, for example,a 4/4 time signature?
I just entered a rabbit hole here: I go to a video, and then he sends me to another video. So off I go, but there is another video nested in that one. I fell like I'm in a recursive algorithm with no root solution. I gotta go to sleep! XD
at 4:18 what is the theory behind using the tritone substitution for C7 as a passing chord to get to the Dminor??? I know if we use a C7 or C9 we can use the Gb7 as a substitute for those chords but i don't get why your using the Gb7 as a passing
hey did you ever find and answer to your question I'm wondering the same thing and even sort of questioning what he means by tritone of past chord or future chord. by tritone of past chord does he mean a tritone substitute for the dominant chord formed off the root of the chord youre on or going to. also did you find the theory behind it?
@@3056bigman haha yea i noticed i even checked your channel saw you posted a video a few weeks ago figured ide ask. this guy is the mvp for making these vids but sometimes things like this happen. i read some of the other comments and it looks like he sort of didnt fully explain he meant from a c7 but that still makes me wonder why a c7 when the chord progression is a c major and if some of these substitutions are less general knowledge and maybe something he noticed in songs that he decided to inform us on.
@@nicholashoffman259 very very possible . Honestly bro let’s say in context I’ll use a substitution chord instead of C7, it’ll have to be in the key of F. Reason being it’s the 5th note in the scale of F , which we all know playing a 2-5-1 , the 5 is the tension builder creating that uncomfortable yet unique sound . All I’ll do is substitute it like that . Because I want to stick with context Sorry for the long comment
Yeah, so technically Gb7 is a tritone of a C7 chord. But passing chords a pretty flexible, they can be practically any chord, and any quality. So I was just a bit lax with my language there. It's not technically a perfect substitution, it's just a chord a tritone away.
the song sheet sweet five foot two Reyes of blue has any one seen my girl is full of dominants c e7 a7 d7 g7 and back to home 1 3 6 2 5 1. I think of the the as a jumping off point. love to play these type on guitar.
Yeah, that's a great little chord progression. Sounds fantastic and fun to play on - plus it's interesting to analyse sequential dominants, as they are nonfunctional...anyway, thanks for the comment :)
I just want to say that I really appreciate you posting full tutorials with clear theory rather than trying to sell a contrived "system" and DVD sets like so many jazz and gospel channels on RUclips do. This video has so many great ideas that will improve my playing and composition.
This is the perfect video for me *RIGHT NOW*! I actually watched (and liked) this video over a year ago, but I guess I was not ready. But now I feel like I understand it enough to start practicing my passing chords with your guidance!
Holy heck dude. Your treatment of the theory is super useful for beginner jazz musicians.
This is the most clear and concise explanation of this idea I have ever heard, thank you for your contribution to humanity you are Much appreciated 💯🏁
Finally a passing chord framework that speaks to me. Perfect!
I enjoyed the video, but PLEASE get that piano tuned!
+Chase Matthews Piano is now tuned. New videos are in tune. (Y) :)
At 7:07 you mention how the C#/Db diminished works because it is similar to a C7 chord, which is similar to a Cmaj7 chord. I just want to point out an alternative analysis. If you look at the notes in C# diminished you have a C#, E, G, Bb. You could easily interpret this as an A7b9 rootless voicing. Of course any A dominant type chord will lead nicely into Dm. That makes this Diminished #1 case very similar to the Secondary V case you outline a bit later in the video.
+Lucas Cram That's brilliant. I didn't think of that. I've added an annotation to make that precise point. Thanks!
Lucas Cram right with you.. most things that work like that are related.. I do a thing like this which involves the d minor 7. .. it's really fun to play.. I think I was playing aHammond b3 I was improvising.. here it is 2 hits on notes of c six egac 2 hits on on e flat diminished eflat gflat a c and then 2 hits on d minor 7 d f a c.. I found this by accident its repeat several times . I guess the a and c are pedal points and the the other notes go down chromatically.. have you ever used this and how do you describe it.. on your original comment just putting a c 6 and then a c sharp .. makes an a seven.. these things are amazing.. Jerry Reed was called a thinking guitarist.. you had to be to play with the likes of Mr guitar Chet Atkins who started out on fiddle and had a music teacher dad.
Walk That Bass I from time to time come to your channel and always enjoy it and leave comments that the people may enjoy or already know but I read comments and learn alot so check my comments to lilucas out.
Yes, C#dim has nothing to do with C7 but everything with A7. This guy has a misunderstood on harmony. I quit after this point.
He said C#dim is SIMILAR to C7 - which it is: C#dim: C#, E, G, Bb and C7: C, E, G Bb - well, how about that - 3 of the 4 notes are the same, sure looks similar to me. Too bad you quit after this point - you missed a lot of good information! From a harmonic stand point, using a C#dim as a passing chord going from the CMaj7 to the Dm works quite well!
Thank YOU SO MUCH for this jewelry LESSON the greatest I ever found
When you say diminished are you talking about fully or half diminished? Amazing video. Best jazz tutorial channel on RUclips.❤
You explain this so well!! This has really helped me. Thank you!!!
This is very helpful once you understand music theory. Thank you.
All of me is a great tune to master, the swing feel in every notes.
finally a passing chord video that i understand :)
Your videos are awesome! Very good presentation of rather complex topics straight to the point. Thank you so much for expanding my harmonic vocabulary :-)
No worries, mate. My pleasure.
I've been really enjoying watching your videos for the past few days, and I'm learning a lot! Thanks so much for your clear and interesting explanations :)
I have a question: in this video you explain about passing chords from a major 7 chord to a minor 7 chord. Would anything be different if we were to pass from a minor chord, or to a major chord (or both)? Would anything change if the origin or target chords were in a different form, like dominant 7, diminished, etc.?
these lessons are amazing thank you for going into so much depth
No worries, mate. My pleasure.
😊🙏
Wow!! it is the best video on this subject that I have seen, that is very easy to understand , and with your demonstration with All of me , it can not be more clear, it's a lesson of great value. thank you very much to share it. :-)
Fantastic teaching and i like your summary slides in your tutes I’m sure you went to university and understand how helpful and beneficial a summary slide can be 😉thnx heaps mate
The style and clarity of that lesson is awesome.. You are a great teacher sir and I bow down to you like 'Ekalavya' bowed down to 'Dronacharya' (A little dose of hindu mytholgy for you)
+Avisek Ganguly Why, thank you kindly. I will make sure to Google both those names and read up on my Hindu Mythology.
Excellent explanation... Very useful while designing songs.. Superb !
Very well explained buddy omg you are genius thank you SO Much
No worries, Saad. Thanks for the comments.
Super useful video , thank you !
No worries. Thanks for the comment :)
Thank you so much Sir for the lesson.. Greetings from Indonesia :D
No problem at all, santo eko. Greetings from Australia :)
Hi. This was great thank you.I play the guitar and Iam working at developing single lines using passing chords.Its very hard but as Iam progressing I can say that what matters the most is the rythm.So I think when one wants to understand passing chords especially non diatonic is to understand the tension- release concept and landing the harmonic strong notes in the stong beats.
+Kostas Charitou Hey Kostas. Yep, I agree. The tension-release concept is very relevant in regards to passing chords. You can play whatever notes you like and create as much tension as you like as long as you can fall back on a strong note/guide tone at the right time. Bill Evans once said 'There are no wrong notes, only wrong resolutions'. I think that's true.
Thank you for this Great Video
+BlaqstarHD No worries, BlaqstarHD.
The most useful video. Thank you so much!
No worries, Sara. Glad you thought so :)
I had a question, the first passing chord (Dm7) that you used in "All of Me" is a whole tone away from the next chord. I understood that it should be a semitone away or have I understood wrong?
You can use both. You could do:
C7 Db7 | E7 --> this would be an approach chord
Or you could do:
C7 Dm7 | E7 --> this could be classified as a 'diatonic' passing chord, with C7 = V of F Major & Dm7 = vi of F Major and then moving to E7. But really, works well because the bass note is moving up in constant intervals - C to D (tone) then D to E (tone). And that symmetry makes it sound good.
Thank you for your reply. I understand how C7 is the V of F major but how does Fmajor come into the picture? I understand that Dm is relative to F major. Anyways perhaps if you can tell me if there is another video that explains this because I don't want to trouble you again with all my questions.
You are a super teacher. You explain things so well what I have been so thirsty for. Thank you!
Also, do you have a video that explains how to take a melody and choose your own chords to play with it? Thanks again.
Thanks a lot!
Thanks a lot for that!
What a great tut! Probably the best I've seen! Thank you! 👏👍
I see you haven't used half dim. Chords, any reason? Thanks.
Love it
Great !!! thank you so much !
No worries, Jan :)
Can you please make a video on how to play the left hand root chords and the advance and intermediate ways of playing the left hand chords
You have the Secondary V as C A7 Dm. What about the tritone substitution for the A7? Would that work well in this situation, and if so, how does it sound to your ears?
+Bass Player Yep you can definitely do that and it sounds great. In fact, the tritone substitution of A7 is Eb7, which is the chord I use in chord progression 5 - Approach #2. So a tritone substituted Secondary V becomes an approach chord. I think that sounds quite good and really smooth. Approach chords generally work well.
And if you play a 3rd inversion Eb7 (with the Db on the bottom) you can create a little bit of a chromatic walking bassline which can also sound good (it them works kinda like the Dbdim7, but with an Eb instead of an F).
Brian O'Donnell nice observation . I have seen people play these kind of chords and they do not know music theory..it's in the human psyche .. my granddaughter got on the piano last week and was trying to play marry had a little lamb..and was missing a note.. ocd kicking in tried to correct her.. no luck.. she went back to just banging on the piano all white keys .I said she could hit the black keys also .. then I said try both.. I heard all kinds of classical music.. told my wife said that's how I started.. I felt sorry for my grand parents..
.
Thanks
Thank you 🙏
Whao! nice one dude! =)
Thanks, mate :)
great vid
This is a great video but I have a question. What is the harmonic logic of example #1? It works in this case when the next chord is a whole step above the previous one and it would probably work when the next chord is a half step below the previous one (in this case it would lead to some type of B chord), but would it work in all cases? I just don't see how a system that relies on the previous chord would always work since there is no information about the next chord coming up, and harmonic tension is about resolving to the next chord.
The problem though with that application of the A7 is that your melody note is a b3 of A7 and you voice your chord with a natural 3 on top in your left hand. Major 7 intervals don't practically work for your ear if that note is the melody. It's a major and dominant sound that really clashes.
Michael Daugherty #9, dude. Not b3
Yeah but you can drop the melody for a second to get the use of the secondary dominant then bring the melody back in when you land on the D-7. Then it becomes like a counterpoint. It's not uncommon in jazz and gospel etc to have passing chords that temporarily clash with the melody. The same is even true for passing tones in classical music.
I know I'm 2 years late, but a #9 in the melody on a dominant chord happens literally all the time in Blues and Jazz.
So passing chords don't need to contain the key melody note of a bar as they're not harmonically important right? So unacceptable or weak harmony KMN can be played over passing chords?
great thanx
Thank you very much , I appreciate your effort, I have a question but my english is too week to explain what I want to know so please try to get me . ( if I chose the passing chord C7 in the left hand for example and in the same time I have the note f in the melody or the right hand as I learned from you the note f is avoid note with C7 in this case what can I do ? is it ok to play f with c7 because it is passing chord ? Or I should change the type of passing chord to be fit with the melody ??? Thank you again for your effort 🙏🏻
It is ok to play an F over a C7 chord if C7 is just a passing chord (so is played very quickly) or if F is a passing note (so is played quickly). Chord and notes that are played quickly can clash because they pass too quickly for your ear to hear the dissonant harmony.
Walk That Bass 🙏🏻
When you put in the passing chord does that change how long you play the original chords to the right or left of it so that it still fits into, for example,a 4/4 time signature?
I just entered a rabbit hole here: I go to a video, and then he sends me to another video. So off I go, but there is another video nested in that one. I fell like I'm in a recursive algorithm with no root solution. I gotta go to sleep! XD
bravo maestro
You're too kind :)
My world is richer now
at 4:18 what is the theory behind using the tritone substitution for C7 as a passing chord to get to the Dminor??? I know if we use a C7 or C9 we can use the Gb7 as a substitute for those chords but i don't get why your using the Gb7 as a passing
hey did you ever find and answer to your question I'm wondering the same thing and even sort of questioning what he means by tritone of past chord or future chord. by tritone of past chord does he mean a tritone substitute for the dominant chord formed off the root of the chord youre on or going to. also did you find the theory behind it?
@@nicholashoffman259 lol this was 3 years ago , but once I get on the keyboard I’ll let you know 👌🏽
@@3056bigman haha yea i noticed i even checked your channel saw you posted a video a few weeks ago figured ide ask. this guy is the mvp for making these vids but sometimes things like this happen. i read some of the other comments and it looks like he sort of didnt fully explain he meant from a c7 but that still makes me wonder why a c7 when the chord progression is a c major and if some of these substitutions are less general knowledge and maybe something he noticed in songs that he decided to inform us on.
@@nicholashoffman259 very very possible . Honestly bro let’s say in context I’ll use a substitution chord instead of C7, it’ll have to be in the key of F. Reason being it’s the 5th note in the scale of F , which we all know playing a 2-5-1 , the 5 is the tension builder creating that uncomfortable yet unique sound . All I’ll do is substitute it like that . Because I want to stick with context
Sorry for the long comment
why is the gb7 the tritone substitute for cmaj7 ?
Yeah, so technically Gb7 is a tritone of a C7 chord. But passing chords a pretty flexible, they can be practically any chord, and any quality. So I was just a bit lax with my language there. It's not technically a perfect substitution, it's just a chord a tritone away.
6:37 isn't the seventh of an Eb7 chord a D and not a Db? (assuming we are in the key of Eb7)
I think that would be an EbMaj7
Welcome to jazz, where you’ll never find a chord with less than four notes...
I got my song confused I meant five foot two eyes of blue...has anybody seen my gak..
the song sheet sweet five foot two Reyes of blue has any one seen my girl is full of dominants c e7 a7 d7 g7 and back to home 1 3 6 2 5 1. I think of the the as a jumping off point. love to play these type on guitar.
Yeah, that's a great little chord progression. Sounds fantastic and fun to play on - plus it's interesting to analyse sequential dominants, as they are nonfunctional...anyway, thanks for the comment :)
The content is top notch, unfortunately the piano tuning hurts my ears.
Tune the piano, please!!! It hurts 😣😣😲😵😵😵😵😵
fuck....666th like
nice video but the pitch of that piano is bad
I'm sure you're an awesome pianist but your piano needs tuning. Thanks for your content.
Interesting course. Try to improve the quality of the sound of your vids. Almost painful for our ears
Enjoyed this video! thanks
+julio munoz Glad to hear it, Julio. No worries.
great vid