You KNOW you've gone down the jazz hole when you sub the tri-tone sub... and just casually point at it like "no big deal my next chord is an F7sus4". This is mind-blowing stuff, Rick!
Remember how you said that people watch music videos hundreds of times, but no one watches your videos more than once? I will be going back over this one several times with a notepad.
A most excellent study, Rick!!! Everyone, write all of this out, record each example playing chords, spend one week doing nothing but listening to the changes WITHOUT soloing, then start noodling within the harmony until it becomes natural TO YOU. In 6 months, your playing will be transformed!!
I have just shown this to a guitar playing friend who also builds guitars. This has inspired him to concentrate on building them rather than playing them! As someone who started off as a self-taught musician, over the last 25 years I have been to see many guitar teachers for lessons and most of them have asked me why the heck I want lessons (with a few of them actually having a few lessons from me as a result). Rick Beato is why I have been seeking further tuition for so long. I have been to many 'master class' sessions with top players, which are always good but only ever single sessions, but finding a teacher who can show you something new on a regular basis is something that will become harder the better that you get. Thank you Rick for these sessions, they really help to satisfy the craving for continual improvement. I still expect to die before I actually master this music thing, but learning to this level does give us all a reason to live.
Really cool! I'd love to see some of these examples played by you, particularly the blues changes you described later in the video, as well as the Coltrane blues!
Brilliant work Rick. This reminds me of a book by Teddy Baker, from the 1950s I believe, 'How to play modern jazz and hot guitar' or something like that. It really is an excellent book, the introduction states that 'this book is not for beginers, if you practice for two hours a day you might get through the two books in as little as two years, then just in case he hadn't scared away enough wannabe guitarists on the next page there is a chord chart with the heading 'These are the 26 chords that you need to memorize straight away', and a note telling you to memorize the chords before you go any further into the book. I believe that it is still in print.
Hey thanks my piano teacher just gave me a condescendingly easy blues pattern to learn so I'd been considering ways to spice that up to show him at the end of the week. You're the best.
Cool sounds! A small question: How would you notate F B E with your F Q notation? That's the only one missing right now, and having a notation for stacks of 4ths would be very useful!
Dude, your videos are killer! Very good and informative. I learn new things every time I watch your vids. I'm trying to be a composer and your lessons are such a good supplement. Now, I just need to internalize all of your intense schoolage. Keep up the good work, dude!
Once again excellent stuff. Still a lot of stuff to work through in the pdf file. But I'm so happy I found your channel. It has put new life in to my playing, and the way I look at the fretboard.
Yes Rick, another brilliant video! This is exactly what I needed, you have such a clear and concise explanation of substitutions. Before this video there were parts of these concepts that were a little mysterious to me.
rick, k-dub here, (the GV connection, we met @ vic's show) musta been sleepy, it took me a minute to realize in bar 10 the c#-7 F#7 was a tritone chord sub of F7 because the c#-7 F#7 is a ii/V of B which is the tritone of F7. eeesh! thanks.
We should all record ourselves watching This video with our instruments then align them all by the audio on your video, see what comes out. Bluesy Chaotic Scandal I propose to call that.
Thanx, Rick. Always something interesting. Nice confirmation on smth I've always thought:the super imp distinctions are in bars 1 and 5. Lots of new/fun ideas: I will imm steal/model them. Keep on keeping on, MusicBrother. This Jazzer is drinking it all in=Positive Stretch. 🌹😎🌹
Wow! Thanks. I'm gonna have to watch this about 100 times more to grab half of what you said. LOL. Thanks for these videos and for sharing your knowledge.
Impossible not to subscribe with such a great content!!! it is impossible not to say thank you for such great mine of gold super awesome explanation. So after this explanation my mind forced me to subscribe right away. ! subscribed at once!!!
Great video .....well about band with ears... sounds are becoming our friends eventually we learn to recognize them just by using them over and over again. anyway good comments from all...I definately learn things from those also
OMG That was crazy...been really getting in to jazz Theory recently so I understood a lot this video was great. I would like to hear the other examples like you did in the ending.
Good video, all I'd say is that when you go through lots of examples of how to reharmonise, but stand in front of the board the entire time, it makes it very hard to see/play through the entire progression. Other than that, your channel and lessons are all really great :)
I'm prolly gonna use some of this for own songs. Sounds really interesting and I'm kinda bored of the standard 'easy' stuff. Cheers for another helpful insight in reharm.
This is hard to digest, i.e. inverted, augmented, sharp over C, Bflat, C11, A+ altered, pedal point blues. IF we cannot hear examples of each one and then see how the changes are applied. I always appreciate knowledge shared, I do, but more examples could be easier to make the connections.
Rick Beato Do that, and with this and that lesson I'll be set for months of practicing! 😁 All (truthful) jokes aside, thank you so very much for the knowledge!
Great stuff Rick :-) Would love a video in terms of scales to use on the cords especially on the dominant 7th chords. Maybe go into how Coltrane, parker, Michael Brecker would aproach the chords/scales? Was really into your channel for the classical/orchestration stuff but being a bass player this is a great bonus. It's awesome - Thank you so much :-)
I'd probably be able to hear it (with the exception of the bitonal changes and pedal point reharm), I just wouldn't have the time to start playing the substituted changes well.
well I can usually tell something's not the way it should be (played with a much better guitarist than I am yesterday, took us a while to realise we're playing the same song in a different key because the keys were closely related so it just sounded like a more modern harmonisation) but adapting to it in real time (and knowing just what exactly has changed and how) is something I still need to put loooads of work into.
Hi, loved the video, but if you could stand away from the writing for few seconds at times so I can pause it and try playing over it it'll be really nice! The 5th and the 9th bars were almost always covered.
I just found a great blues cadence! F minor to Stroke Major! I just hit it, and that was wonderful.. I think. Just kidding. Love your work!! Keep on confusing me and I'll keep on insisting on understanding it, OK?
This is a great series of vids. On this one however there's a bit I just don't get. I've watched a couple of times and I'm still not understanding the theory behind, or the derivation of, the 'bitonal turnarounds' at 14:55 and 17:28. How do they work? I can't work out why pattern of movement in either the roots or the triads would lead to the next tonality in each case, or to subs. How are they arrived at?I saw Rick use bitonal chords in the 'harmonising a melody' vid but in that case the triads followed the melody. Could someone more knowledgeable explain? Cheers.
Thank you so much for this! Just one question: some substitutions you mentioned are justified simply by the chords being from the same scale? For example, at 16:40 you mention the substitution of F#7 for Emaj7(#5). Both come from the C# melodic minor scale (F#7 being a lydian dominant chord), so that's why you substitute one from another? If that's the case you don't think of functions of chords (tonic subdominant dominant) when dealing with chords from uncommon scales?
Well you can (and often should) be omitting some of the less important notes in a chord, you're usually fine not playing the fifth and even the root because the bass player should have that covered. There's no way to play a complete 13 or altered chord on a six string guitar anyway, and playing too many notes can make the sound a little too muddy. It's better to distribute the more complex chords between instruments (when part of the composition) or just outline them by playing the characteristic notes in chords and maybe arpeggiating the rest.
oh! so the part Eb/B E/G F#/E G/Eb in the second last version, the letter after the slash is a whole major triad instead of just a bass? And is there a lesson already published on bitonal chords? How they work and how to use them, that is
Another excellent video. I have to say that in the final musical example, the 'blues' feeling is mostly in the swing and the 12-bar structure - the chords have a pretty abstract relationship to the basic changes. I'm not sure a musically uneducated listener would hear it. (This isn't a criticism, by the way.) Incidentally, how would you reharmonise a John Lee Hooker one-chord blues? : )
Holy Hell... You just taught over a semester's worth in 21 minutes.
You KNOW you've gone down the jazz hole when you sub the tri-tone sub... and just casually point at it like "no big deal my next chord is an F7sus4". This is mind-blowing stuff, Rick!
This is a bad exemple of (north) american pragmatism: “I do not understand but I employ”.
Remember how you said that people watch music videos hundreds of times, but no one watches your videos more than once?
I will be going back over this one several times with a notepad.
If Rick really said that, I'd like to add that I watched the Joe Pass Part I at least 6 times :) and still need more...
A most excellent study, Rick!!! Everyone, write all of this out, record each example playing chords, spend one week doing nothing but listening to the changes WITHOUT soloing, then start noodling within the harmony until it becomes natural TO YOU. In 6 months, your playing will be transformed!!
I have just shown this to a guitar playing friend who also builds guitars. This has inspired him to concentrate on building them rather than playing them!
As someone who started off as a self-taught musician, over the last 25 years I have been to see many guitar teachers for lessons and most of them have asked me why the heck I want lessons (with a few of them actually having a few lessons from me as a result). Rick Beato is why I have been seeking further tuition for so long. I have been to many 'master class' sessions with top players, which are always good but only ever single sessions, but finding a teacher who can show you something new on a regular basis is something that will become harder the better that you get. Thank you Rick for these sessions, they really help to satisfy the craving for continual improvement. I still expect to die before I actually master this music thing, but learning to this level does give us all a reason to live.
Really cool! I'd love to see some of these examples played by you, particularly the blues changes you described later in the video, as well as the Coltrane blues!
insaneintherainmusic
I was stopping the video to play these changes as he went through but I wish he'd get his bloody arm out of the way.
Everyone : It takes a lifetime to grasp all the kind of blues you can play
Rick Beato : Hold my beer
Glorious that this level of sophistication exists in this world....
That's it. I need the book. I didn't think I needed the book. But I do. I need the book.
Thanks for this Rick, it really opens your eyes as to what you can do with such a simple form.
Love the way you teach. No fuckin dwelling, you keep it moving, no blabbering, great chalk board system, clear and concise. Don't change a thing !
Brilliant work Rick. This reminds me of a book by Teddy Baker, from the 1950s I believe, 'How to play modern jazz and hot guitar' or something like that. It really is an excellent book, the introduction states that 'this book is not for beginers, if you practice for two hours a day you might get through the two books in as little as two years, then just in case he hadn't scared away enough wannabe guitarists on the next page there is a chord chart with the heading 'These are the 26 chords that you need to memorize straight away', and a note telling you to memorize the chords before you go any further into the book. I believe that it is still in print.
Simply the best.
It is extraordinary that you share such great knowledge with all of us here ! Thank you ! This is priceless !
I understood coltrane changes much much clearly today.
Thanks a lot.
Hey thanks my piano teacher just gave me a condescendingly easy blues pattern to learn so I'd been considering ways to spice that up to show him at the end of the week. You're the best.
Rick, I said this before and I say it again: You are the Carl Sagan of Music Theory. :-)
Cool sounds!
A small question: How would you notate F B E with your F Q notation? That's the only one missing right now, and having a notation for stacks of 4ths would be very useful!
I never knew about substituting a Maj7alt a whole step down for a dominant. Great stuff!
This is brilliant
Holy crap, what a video! I've only watched for the first 6 minutes but now I have to pause and go play these changes before advancing further!
Somehow, that sweater makes you look like a federation officer from Star Trek. The button is your communicator.
About talents ,Playin great is one thing , clear explainings are an other , glad you ve got both jahlove
Great, just great!
WOW!! SO INTERESTING!
Fantastic!!
WOW mind blown!
Dude, your videos are killer! Very good and informative. I learn new things every time I watch your vids. I'm trying to be a composer and your lessons are such a good supplement. Now, I just need to internalize all of your intense schoolage. Keep up the good work, dude!
love your work!!
Once again excellent stuff. Still a lot of stuff to work through in the pdf file. But I'm so happy I found your channel. It has put new life in to my playing, and the way I look at the fretboard.
This is nuts!
Still really thankful for this lesson!
Wow! Just f'n wow!
That last reharmonization sounded like Keith Jarrett. Great video. That opens up a whole new world of possibilities.
Yes Rick, another brilliant video! This is exactly what I needed, you have such a clear and concise explanation of substitutions. Before this video there were parts of these concepts that were a little mysterious to me.
Thank goodness for the RUclips 'slow down feature'--very useful as the chord changes fly by at the end of this video. Very interesting lesson!
+MaxTooney I didn't know you could do that?
Click on the little cog wheel in the lower right hand corner. One of the options is to change playback speed.
rick, k-dub here, (the GV connection, we met @ vic's show) musta been sleepy, it took me a minute to realize in bar 10 the c#-7 F#7 was a tritone chord sub of F7 because the c#-7 F#7 is a ii/V of B which is the tritone of F7. eeesh! thanks.
We should all record ourselves watching This video with our instruments then align them all by the audio on your video, see what comes out. Bluesy Chaotic Scandal I propose to call that.
ahaha imagine that orchestra
Take up the challenge with me and play this whole thing yourself guys. I'll be blown away
This Channel is awesome. Loving all the videos. Thank you so much.
Dang this is like giving us a brute diamond to make us polish it, very neat stuff here Rick.
Rick ... the boss.
So very useful and enlightening!Thanks a lot, Rick! I´ll put it good to use and get back to you.
those are some awesome ideas. thank you Rick!
Such a wise master you are Ricky boy. Also burn that sweater
Thanx, Rick. Always something interesting. Nice confirmation on smth I've always thought:the super imp distinctions are in bars 1 and 5. Lots of new/fun ideas: I will imm steal/model them. Keep on keeping on, MusicBrother. This Jazzer is drinking it all in=Positive Stretch. 🌹😎🌹
Wow, that's beyond awesome.
Personally? I had trouble with smooth voice leadings on guitar with the bitonal slash chords.Very interesting, all in all.
Wow! Thanks. I'm gonna have to watch this about 100 times more to grab half of what you said. LOL. Thanks for these videos and for sharing your knowledge.
Impossible not to subscribe with such a great content!!! it is impossible not to say thank you for such great mine of gold super awesome explanation. So after this explanation my mind forced me to subscribe right away. ! subscribed at once!!!
Great video .....well about band with ears... sounds are becoming our friends eventually we learn to recognize them just by using them over and over again. anyway good comments from all...I definately learn things from those also
Inspiring yes, but that last blues is insane! Thanks for posting.
OMG That was crazy...been really getting in to jazz Theory recently so I understood a lot this video was great. I would like to hear the other examples like you did in the ending.
Great lesson! Thank you
This is fantastic! Nice chord progressions - very well explained. I will have to check out some of them on the piano myself...
Mind Blown!
Thank you!
You are most generous.
IOU
Thanks a lot Rick. really appreciate this lesson. Grazie 😉
Very cool, great ideas and analysis! 👊👊
Top stuff, Rick! Thank you!
Awesome as always but...slow Down! Love it.
+Kevin Morrison Haha!
It would be interesting to hear how these reharm soun
Good video, all I'd say is that when you go through lots of examples of how to reharmonise, but stand in front of the board the entire time, it makes it very hard to see/play through the entire progression. Other than that, your channel and lessons are all really great :)
I like this lesson !
BRILLIANT !! NUTS !! LOVE IT !!
this is great, thanks for sharing
this is amazing
Awesome lesson bro!
I'm prolly gonna use some of this for own songs. Sounds really interesting and I'm kinda bored of the standard 'easy' stuff.
Cheers for another helpful insight in reharm.
This is hard to digest, i.e. inverted, augmented, sharp over C, Bflat, C11, A+ altered, pedal point blues. IF we cannot hear examples of each one and then see how the changes are applied. I always appreciate knowledge shared, I do, but more examples could be easier to make the connections.
Gotta jam along to this later! FAM!
Thanks a lot.. Keep going ?...
Dann good video!!
great - thanks
Geez Rick. At the end of the video, you said "Thats it for now". You mean there's more? LOL!! Thanks so much for sharing your knowledge!!!
This is gold! Thankyou!
I'd love to see some examples played by you as well, for reference that I'm following you correctly with my guitar.
I was hoping for some examples too.
at 7:20 , i think that the F#7 is T.T.Subs of C7 (the V7 of F scale)
I think I might write a blues for the combo I play in using the devices from the last two reharmonizations.
This is amazing ! Thank you ! Can you please do the same for soul/gospel music ?
Renan Fernandes absolutely!
Rick Beato Do that, and with this and that lesson I'll be set for months of practicing! 😁
All (truthful) jokes aside, thank you so very much for the knowledge!
Oh, that will be awesome, can't wait.
Cannot wait for this
that would be great
Great stuff Rick :-)
Would love a video in terms of scales to use on the cords especially on the dominant 7th chords. Maybe go into how Coltrane, parker, Michael Brecker would aproach the chords/scales?
Was really into your channel for the classical/orchestration stuff but being a bass player this is a great bonus.
It's awesome - Thank you so much :-)
"All you need to do is have a band that has the ears..." Ha!
i wish i knew where to find that sort of band.
I wish I had that kind of ears... :)
I'd probably be able to hear it (with the exception of the bitonal changes and pedal point reharm), I just wouldn't have the time to start playing the substituted changes well.
Absolutely, this music has always operated in this way.
well I can usually tell something's not the way it should be (played with a much better guitarist than I am yesterday, took us a while to realise we're playing the same song in a different key because the keys were closely related so it just sounded like a more modern harmonisation) but adapting to it in real time (and knowing just what exactly has changed and how) is something I still need to put loooads of work into.
Hi, loved the video, but if you could stand away from the writing for few seconds at times so I can pause it and try playing over it it'll be really nice! The 5th and the 9th bars were almost always covered.
when analyzing with roman numerals, is there a standardised way of notating a chord with a dual function?
I just found a great blues cadence! F minor to Stroke Major! I just hit it, and that was wonderful.. I think.
Just kidding. Love your work!! Keep on confusing me and I'll keep on insisting on understanding it, OK?
Dear Teacher Beato, would you like some day to talk about "tumbao" in salsa music?
Can you please analyse Footprints change?
Nice detailed thoughts. The vid would be more engaging if you played some of these examples for context though.
+kjel I guess you didn't watch the whole video
This is a great series of vids. On this one however there's a bit I just don't get. I've watched a couple of times and I'm still not understanding the theory behind, or the derivation of, the 'bitonal turnarounds' at 14:55 and 17:28. How do they work? I can't work out why pattern of movement in either the roots or the triads would lead to the next tonality in each case, or to subs. How are they arrived at?I saw Rick use bitonal chords in the 'harmonising a melody' vid but in that case the triads followed the melody. Could someone more knowledgeable explain? Cheers.
I wish you would give audio examples of these chord progressions even if you freaking use band in the Box
Thank you so much for this!
Just one question: some substitutions you mentioned are justified simply by the chords being from the same scale? For example, at 16:40 you mention the substitution of F#7 for Emaj7(#5). Both come from the C# melodic minor scale (F#7 being a lydian dominant chord), so that's why you substitute one from another?
If that's the case you don't think of functions of chords (tonic subdominant dominant) when dealing with chords from uncommon scales?
A lot of these are piano only chords. Be interested in seeing this translated on guitar.
Well you can (and often should) be omitting some of the less important notes in a chord, you're usually fine not playing the fifth and even the root because the bass player should have that covered. There's no way to play a complete 13 or altered chord on a six string guitar anyway, and playing too many notes can make the sound a little too muddy. It's better to distribute the more complex chords between instruments (when part of the composition) or just outline them by playing the characteristic notes in chords and maybe arpeggiating the rest.
boom!
i got the blues vertigo with a blue bedspread , i got the blues inside and outside my head ..
17:36 boom
Hi Rick - I greatly appreciate your videos. Some feedback - I did get confused between slash chords and bitonal chords as "/" was used for both.
oh! so the part Eb/B E/G F#/E G/Eb in the second last version, the letter after the slash is a whole major triad instead of just a bass?
And is there a lesson already published on bitonal chords? How they work and how to use them, that is
Great content Rick! Do you have examples of tunes that use the cycle blues? How about the pedal blues and the more modern versions?
Platinum lesson! What the hell, Mr. Beato, is there anything you don't know about Music?!
How cool is this? Go RB
Another excellent video. I have to say that in the final musical example, the 'blues' feeling is mostly in the swing and the 12-bar structure - the chords have a pretty abstract relationship to the basic changes. I'm not sure a musically uneducated listener would hear it. (This isn't a criticism, by the way.)
Incidentally, how would you reharmonise a John Lee Hooker one-chord blues? : )
Very heavy stuff Rick.... Could you reharmonize the Minor Blues for us?