ALL the chords you ACTUALLY need as a musician
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- Опубликовано: 1 окт 2024
- This video will teach you to build all the chords you actually need to function as a musician, along with the fundamental structure of chord theory.
Edit : I realized much to my horror that I forgot to include 6 chords in there, and I think they should have been included, because they are quite frequent. It's quite simple. Both major and minor triads can have a 6th added to them (a major sixth). Rookie mistake. Peace!
2nd Edit : I wish I could add more nuance concerning diminished fifths. I said in the video that only minor chords can have their fifths diminished. While this is by far the most frequent, major chords can also have their fifths diminished, for instance in the Simpson's theme, or in a french augmented sixth chord. When writing the script, I thought all instances of b5 on major chords could be reduced to being #11ths, but this is not the case.
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Best thing i got from this was the 9=2, 11=4, 13=6. Neat little trick.
Critical epiphany for me too! I love the 13 above the 7, which creates its own 7th interval. That rub, to my ear, is what gives the 13 chord family its distinct flavor.
It's not a "trick".
@@codetech5598na but subtracting 7 to get the interval is
13-7=6 n so on
@@1jvk1 It's basic music theory.
Great chord video. I took piano for 8 years until I turned 17. Then I quit when I started studying theory on my own and told my teacher about half diminished 7s and minor major 7s. She said, "you can't have a HALF diminished chord! That doesn't exist. A chord is either diminished or it is not." and "you can't have a major AND minor chord at the same time."
This experience made me realize that not only many teachers don't teach theory, but they don't even know theory themselves. This experience annoyed me because she thought I was the stupid one. I'm 25 now and without theory I could have never learned how to play the things I play now. I can now play a lot of music by ear because I understand the theory behind the songs. I recognize the chord progressions and intervals within the chords. Some people think I am a genius, but I am not. I am good with music, but I also just studied what the teachers don't teach you. I don't just know music, I understand it.
I am glad someone has put in the effort to educate the musical masses on chord theory because many piano teachers are not teaching it. Love your videos. Keep it up. While a lot of stuff you teach I am familiar with, you do say some things I have never heard before. Its nice to learn from a real music theory nerd.
Beautiful, keep it up, many people are completely unable to hear the way you do!
To be fair, the name "half diminished" is *slang for "minor 7 flat 5".*
In self taught and transition into harmonies and complex theory. This is helpful and I appreciate you ❤️
C5 (or just the any 5 chord), is called, by guitarist, the power chord, and is used all the time, espacialy in hardrock, speedrock and metal.
This is excellent! Glad to see teaching tools coming out of people's experiences rather than just regurgitated things someone else has taught them.
Thank you 🙏
Math and music goes hand to hand when it comes to generic tones (pitch classes. eg. 0,1,2... 11) and intervals. When it comes to detailed qualities for intervals (major, minor) and notes names (sharp and flats) the math becomes a bit more complicated.
EDIT: This post was meant as reply to other post from @retired4365. I don't know how it ended here lol
Why are you "Glad to see teaching tools coming out of people's experiences rather than just regurgitated things someone else has taught them"?
So Pasteur, So if we apply all of the above to the 24 (36) main chords of the circle of fifths, we are beyond golden... Is that close to your view?
Simple and straight to the point. A lot of people make music theory sound like rocket science and reason why some stay away from it
Thank you very much I am struggling with theory and at 64 it is a real nightmare but you are a dreamy source of hope I can figure this out before I am too old to remember ...
Brilliant glad to be of help :)
Thanks for the chord tree! I was trying to figure out some kind of chord hierarchy like this, you just nailed so beautifully and effectively!
Cool! My pleasure!
This is great! Thank you so much. Really clear, intelligent, and practical explanation. And the tree graphic is dope.
This channel is absolute gold, i respect tf out of people who teach to understand
Awesome video. I appreciate how thorough you are while keeping the video easily digestible. I would like to hear more about which extensions are used in which situations and how they resolve… specifically thinking about b9/#9 and dominant alterations. That’s something that I still struggle with understanding.
Yes that is actually a great idea. Might be me next video 👍
@@purpasteur that would be wonderful. You mentioned a little (and of course it makes sense) that each chord with its own extensions will resolve in a certain way. So yeah, it would be awesome to hear you explain where they could fit into a progression or harmonic sequence :) thanks!
dang this is so good ! haha i like your approach to this thing called music theory.
3:15 all guitarists entering the chat 🙃
Excellent video, very informative. I will never forget this video because of the excellent information and brilliant explanations and way you pronounced “adjacent and infamous”…… it’s like flattening the 5th of a major chord 🧐
HAHA excellent
how do you actually pronounce adjacent
@@purpasteur"ad-jay-sent"
@@KalebPeters99 that still leaves a lot of room though. feel like reading that, you'd intuitively say "ad" like advertisement and "sent" like the word sent. idk the ipa (and ipa symbols aren't really helpful for most anyway) but i think "uh-jay-sint" works and wont make you say like. "ahd-jay-sehnt." its late and im going to sleep bc i cant keep my eyes open, havent actually HEARD him say adjacent so there may be something i'm missing. also to clarify im not throwing shade or anything cause text cant easily show that im not being sarcastic
i super dislike the way people teach chords and theory but this video is so refreshing. breaking it down for the layman is what we need, i don’t read sheet music like that so the little “tips and tricks” is really useful for someone like me who plays more by ear. and you got the visuals and audio along with everything, thank you sir 🙏🏻
For anyone wondering why a dim7 isn't just a 6th and why a #9 isn't just a minor 3rd (an octave higher):
Traditional Western harmony is “tertial”, that is, it works by stacking thirds. A 5th is the 3rd of a 3rd, then a 7th is the 3rd of that 5th, then a 9th is the 3rd of that, and so on. Turns out you hit the odd numbers one after another as the video points out.
There's two kinds of 3rd, major and minor, which gives the two big branches of the tree. Then if you stack each kind of 3rd on top of a minor 3rd you get a normal 5th or a flat 5th. (Hence no #5 on minor chords!) While if you stack the on top of a major 3rd you get a normal or an augmented 5th. (Hence no b5 on major chords).
If you stack three 3rds, you get “four” types of 7th depending on how many of them are minor or major: the diminished 7th, which is three minor 3rds; the normal 7, which is one major, two minor; the M7, which is two major, one minor; and... well, three major 3rds on top of each other is an octave, which doesn't count. That's why there aren't four types of 7th but just three.
When stacking another 3rd to make a 9th, a similar thing happens. Four minor 3rds is an octave, so nevermind that. That gives the three kinds of 9th: flat, normal, sharp.
Yes, all of these notes have multiple names (#5 being the same as a b6, etcetera). The reason why they get the names they do is that, in Western music, it's useful to think of chords as built by stacking 3rds.
Great explanation. What he said 👆
What are you talking about?!
There’s SEVEN different types of seventh chords, from the permutations of stacking just major and minor thirds …
And this obviously has flow-on effects for the number of possible extended chords (permutations) beyond that (9, 11 & 13) …
@@kierenmoore3236 I think what @fengardice was saying is that there 4 types of sevenths, not four types of chords with seventh
@@kierenmoore3236 Oh i didn't say types of seventh chords, i said types of seventh, the types of interval called a “seventh”.
You're correct though. There's 8 ways of stacking major and minor thirds to get a seventh chord, but one of those gets you an octave instead of a “seventh”, hence 7 types of seventh chord. You're right.
@@purpasteur … diminished, minor, major and augmented … 7th intervals … yeah, OK. Strange to go into proper depth on this, whilst cutting corners on everything else, though, I think … ?! Also, I’m pretty sure you CAN diminish the 5th on a major chord … and make C(b5), for example … It doesn’t give rise to the same problem as trying to augment the 5th on a minor chord, which seemed to be implied in your video?
THANK YOU. ABC. EAZY.
Hello! Love the video and explanations. Just curious, though...why do call C7 "normal" per se when really the Cmaj7 is more "normal" diatonically to the major scale? Thank you 😃
Thanks, yeah one explanation could be the natural harmonics, the minor 7th is the first one you get. Another could be just usage, the Vth and iind degrees are where we first started adding 7ths to chords and both are minor
Very useful, and creative film,
I'm waiting for more yours thoughts ❤
"Five chords like C5 are never used in practice". Except for almost all of metal, punk and rock...
I said almost never, and this is a good example, still if you look at the big picture, it's a small fraction
Love those videos
You are brilliant. Have learned something super useful in this video. Thank you.
This is great!
Why did you suggest building them on F and G as a next step? Was that because they have one accidental or a different reason?
Yes, when you build them on F the chords will look almost the same as C. Then G will be a bit different because of the F#
Thank you!
Guitarist here but liked and subscribed cause your lessons are top notch especially for the folks that are in the beginner and intermediate level and wanna learn fast...i dont even play the keys but iam pretty sure that i could practice and run chords and arpeggions on the piano way faster by just viewing your explanations...
Video is “sus” if it doesn’t have 6 chords… ;)
Agreed. See description
"...5 chords are almost never used in practice..." ???? - Have you never heard rock/metal guitar?
Fair point! Did not think of that in the moment, could have mentioned it
This info is gold. Thank you.
“Music Theory isn’t logical” 👏🏾 Great work bro!
This is incredibly helpful. Thank you so much.
I might be too much of a beginner for this video. I’m trying to understand what chords are and what I should learn, but I feel like there’s lots of missing context here.
Seems I’ll have to come back to this a little later
Yes i might go down to the rock bottom basics in a future video. Good luck!
@@purpasteur awesome, I look forward to it.
And thank you! : )
Keep up the amazing content
Great points and why people say music and math go hand in hand. Learning music theory on guitar and piano and loving breakthroughs like this. 🤯🤘🤘
Thank you and best of luck with both instruments
Math and music do go hand to hand but then the math becomes very complicated very quickly.
Great teaching! You explain practically. Even if i knew some of the stuff, i learned some other stuff too.
Thank you, great to hear.
This is awesome. I knew all this stuff already but having it spelled out visually is still really helpful.
It made it clearer for me, as well
@@purpasteur I do have one question though. I've always wondered why the "normal" 7 is considered the b7 and we have to specify the major 7 for major 7 chords, when the b7 isn't diatonic to the I chord.
@@chrisSo91 yeah, my guess would be that the first chords on which composers started to put 7ths on is the V chord and the II chord, both of which have a minor seventh, so it might just be a question of which one was most frequent at a certain point
I’m concerned you are going to confuse people with your corner-cutting, especially if they want to go deeper with music theory …
eg. It’s not a ‘normal 7th’ … it’s a dominant 7th or minor 7th, depending on the full context. You could say it’s a b7, either way … OK … but ‘normal’?!
ie. There’s nothing abnormal about a major 7th.
Also, a “minor major 9” chord makes perfect sense theoretically … it’s just one extended form of ‘the James Bond chord’ (minor major 7).
It makes as much sense as a dominant 7th chord’s alternative name: major minor 7.
Thank you for your input. I can clarify what I mean by normal 7th. I'm not implying that the other ones are abnormal or weird. What i mean is : if you get only the indication 7, where are you gonna put it. This is what is mean by normal.
Then, for the minor Major 9 chord. When I said that it doesn't make sense theoretically, I'm not meaning that the chord doesn't make sense, or sounds weird. I'm saying that the notation minMAJ9 doesn't really make sense, I can explain why. When we say minMAJ7, we mean a minor 3rd and a major 7th, all good. But when we say minMAJ9, what we actually mean is : minMAJ7(9) . So the MAJ in minMAJ9, actually refers to the 7th (!!), considering that the 9th is already in its normal position and doesn't need to be specified as major. But that makes no sense, because there's nothing that tells us that the MAJ refers to the 7th in minMAJ9.
I would appreciate anyone's input on that last bit because, i've never actually debated this with anyone
The “Maj” MUST refer to the Seventh, because the 9 is Major by default (which is likewise what you meant by “normal” vis-a-viz the Seventh, n’est-ce pas?). The Major would be redundant, were it not part of “Minor/Major” (ie telling us about the Seventh, and not the Ninth). So, it is context and convention that tell us that the Major refers to the Seventh … which is why a crash course in music theory (and perhaps especially notation!!!) could be a ‘dangerous’ thing …
There’s also the issue of reading a chord name/description (notation), versus hearing it spoken. Though either (reading or speaking) is obviously hindered, by not knowing the conventions.
I would agree that some forms of notation/writing are clearer than others … eg “minor/major 9”, “minor-major 9”, are both arguably more clear than just hearing (or even reading, especially as a ‘noob’) “minor major ninth”, but as with all languages/things, if one knows the conventions, one has a much better chance of understanding - whether reading notation, or hearing a spoken chord name/description … and for that reason, teaching/learning the conventions is (much) better than trying to eg dumb-down notation, I would strongly argue.
Thanks for the great video man. Subbed
Hello, thank you, Sir, for that sheet. I am a beginner. There is a lot to learn to do all what you told me in this video.
Thanks mate, starting piano and your being a huge help!
Wow, beautiful work, thank you 🙏🙏
Thanks so much man! quick question: could you explain the sentiment of modes?
Yes i'm doing a video exactly on that. will come out in a few days
@@purpasteur Amazing!! thanks
You are awesome brother, Thank you so much. Subscribed.
Thank you so much for making this! Definitely gonna save me some time. You have a great way of explaining complex topics as simple chunks that are easy to understand
Yeah but youre using C as a zero point. The perfect 5th is actually the 8th semi tone of all 13 notes from C to C.
Great video. Made good sense of the theory. If only there was one as well done for guitar.
Love your vids keep up the great work brother :)
Most useful RUclips video literally
Amazing bro, keep up the good work
Thank you man! I learned a lot in a short amount of time. Although I had been exposed to this information, you taught it in a way that was simple, easy to digest, and hopefully apply. I really loved the color coding. Anyways. Thanks! And may God bless you
Glad to help out!
Genius! 12 minutes and absolutely clear and entertaining. Thank you 🙂
Crazy good video man. Even if you know the theory, it still acts as a great way to freshen up real quick. Rare gem. RIP my man sus2 tho :(
Hahaha thanks man. True I had to make some hard decisions.
what mozart piece is he talking about? I cant find anything for “kelia elisium” lmao
Kyrie Eleison haha
From the Requiem in D minor
Thank you!!!
Thank you, great vid!
Thank you. An Informative and a ractical approach.
Thank you for making such complicated things easier to learn❤
Great info. Thank you
Great information presented in simple ideas, wonderful stuff
Power Chords!!!! tehehehehe
wait minor 3rd IS and odd number?? also what about sus2??
this video was SUPER, SUPER helpful to me, I'm just being a butt lol. Thank you!!!!!!
Sus 2 exists but is way less common than sus 4. And yes power chords and a good instance of 5 chords
@@purpasteuryour super cool for responding, watching periodic table of modes right now. KEEP UP the GOOD WORK!!!!!!!!!!
Thank you
4:18 You taught kids??? Well explains why you're so good at simplifying the concepts!!
Yes haha, true
Great lesson ! Tq very much for uploading !
You're very welcome
Excellent, thanks
Superb explanation! I would have loved to see this video when I was a beginner. That would have saved me tons of time and provided much-needed clarity on these subject’s
Thank you. Yes these things were taught to me in a confusing way as well
In my mind I’m like wait why don’t they usey 8 10 and 12 then I’m like oh that’s basically the same major chord with higher octaves of itself in the chord 😅
hahaha been there :)
Thank you very much 😊
Thank you so much. Really helped. Wish you had been my teacher.
Glad to hear :)
@@purpasteur so glad I found you. I shall be certainly watching out for your channel now! Where have you been hiding? I have watched a lot of these RUclips videos and streams and seriously without being sycophantic or ingratiating, not too much anyway lol, you have a way of not only putting things across in a simple and comprehensible way; I have also found a few things that you've addressed which I have struggled with during the many years of my playing Classical piano.
I am sure that this is the tip of the iceberg and am very excited to watching and learning more tips and tricks from you. Merci infiniment monsieur. Je vous ai vu jouant Neiges au piano. C'était genial! Ça dèchire grave. C'ètait une improv? Ça a de ouf. Merci encore!
@@ScarletteFiesci merci!! Neiges a commencé comme une impro mais elle s'est "cristallisée" dans une pièce écrite
@@purpasteur Vraiment. Ça a du lourd. Vous savez ce que sera la prochaine question non MDR?
Nice
Why the fuck did we make a bunch of dots on paper so niche and complicated
Because it's fun :)
wait, how is it possible that minor 13 is A while note A is not in the c minor scale?
It would be confusing if 13 meant A in some cases and Ab in minor cases
A video like this would be extremely helpful to anyone who wants to learn more about chords. One thing that skipped your mind would be that there aren't any suspended chords on that chart.
Regardless of that, great video!
Thanks. I do mention them at the end!
One thing I actually forgot though, is 6 chords, which are quite common
Good break down!
Brilliant! I'm reinterpreting your lesson onto my guitar fretboard (not always possible it seems, with the extended chords. I know there are workarounds). I'm loving this.
Great video, you helped me understand it with some "Wow! Now I get it!" so thank you.
You also make me realize that for a X13/Xm13-chord I can play with my LH the X7/Xm7 and with the RH the (X+1)-chord, so a C13 would be a C7 with the LH and a Dm with the RH (which is the second degree in the scale) and a 5-13-chord could be a G7 LH and an Am on RH, right?
Also, the 7 colors into the 7 notes of the scale is also great, but a proposal so that it could be more comprehensive in a chord sense could be:
C->red D->cyan E->orange F->blue G->yellow A->purple B->green
this way the relationship of the chord is maintained as with the color.
Although in my mind I think of them as:
C->red D->green E->yellow F->cyan G->orange A->blue B->purple
which preserves that color consistency either.
Anyway...
Cheers, greetings and thank you again :)
Thank you for the input. Yeah these colors are baked in the software that I use so I can't fiddle with them. You're totally right with the chord building techniques, I could have mentioned that in passing! Thanks for watching.
What you're describing (with splitting chords across the hands) is a variation of 'chord voicing' (another deep rabbit hole of study), in this case, sometimes called 'upper structure (triads)' and can be a useful 'sneak' for playing the more complex chord structures.
Great! Thank you! @@ozboomer_au
Should i start learning chords first or practice scales first?
Both at the same time because they are all one and the same 🙃 Hahaha
@@purpasteur so it's like this if I'm learning cmajor. I should learn all the fingering first then chords then arp pattern. Then after getting comfortable with one scale i should move to other?
Voice-leading is very important. Chords don't really mean much out of practical application. With voice-leading you realize harmony is just dressing up a nice melodic line. Inversions, familiarity with intervals is far more important than learning "shortcuts".
2:45 I can tell you a few songs with these!
Indeed i should have mentioned rock and metal here, if that's what you're talking about
@@purpasteurI think 2:58 is Amelie?
I appreciate the organization of chords you've highlighted here. It seems to present a very logical way to picture how chords are constructed.
Along those lines I did a Google search for "chords in the key of C". What I got was two things. First, some showed chords with the root note of "C", as you've done here. Second, they show a list of the basic triads (Cmaj, Dmin, Emin, Fmaj, etc...). The triad list seemed more practical but was limited to seven chords. The list of "C" chords was more comprehensive, but seemed less practically useful. I bought some of those chord "bible" books and tried to compile a list of chords in the key of C. That was done by flipping through they entire book, looking at all of the different chords in the different keys and picking out the ones that only contained C major scale notes. Yes, that was painful and it left lots of duplicates (mostly inversions, I think), and no easy way to organize them (or so I thought until recently). That process was hard enough but seemed even more daunting in other keys.
But I kept wondering why no one presented chords in a given key. I did not find an answer to that question but I eventually figured out the way chords are named and how the basic triads are constructed. Ultimately, I decided the chord naming convention is the basic culprit. I'm not smart enough to know if the current naming convention is the best possible or if there's a better alternative. But it does appear to be the reason why everyone takes the easier road to organize chords around the root note rather than by key. Why? Because building a model around the key is harder to picture and harder to conceptualize, at least in a neat picture or chart.
The naming convention seems pretty straight-forward, with chord names based on the notes in a chord relative to the major scale of the root note of that chord. (Say that three times fast!) And, once I understood that it was a short step to understand why the sequence of basic triads in a key are Maj, min, min, Maj, Maj, min, dim.
I know you know, but let me lay it out and see if it makes sense, using the key of C as an example. The C major scale consists of C, D, E, F, G, A and B. Starting at C, and using the major scale (as per the convention), the 1st, 3rd and 5th notes are C, E, and G. That seems to work. Now move to the second note in key of C - namely D. We would then use the root note (D) major scale as a starting point. That scale consists of D, E, F#, G, A, B,C#. And, the 1st, 3rd, and 5th in the D major scale are then D, F# and A. But, F# is not found in the key of C, but we can flatten it to an F to make it fit. That would leave us with D, F, and A. And if we look at the "D" chords we know that D, F, A are the 1st, the flat 3rd and the 5th (or 1, b3 and 5). That "D" chord is the Dmin. And there you go. All of the other triads in the key of C can be constructed that way and that yields a sequence of chords that by character are Major, minor, minor, Major, Major, min, dmin. (which in Roman Numerals is written (I,i,ii,IV,V,vi, vii* -- where * is dim (since I don't know how to do the right sign for dim).
So what does that mean? To construct a comprehensive list of chords in a given key you need to know the major scales for all of the keys in that scale PLUS know what adjustments need to be made to those notes to push the notes back into the scale you are working with. Again pretty straight-forward, not an easy picture to wrap one's mind around. (I'm guessing it gets easier as the keys get clearer in ones mind, but still not easy....)
The second thing I picked up on in your video was a comment about music theory not being logical. I think you said that about counting the note positions (1 as a starting point vs. 0). I thought that too. And, the phrase I read along those lines that almost made my head explode was: "The 3rd is 4 semi-tones above the root and the 5th is 3 semi-tones about the 3rd". I won't embarrass myself by saying how long it took me to figure that out or how "frozen" I was until I did.
But it turns out that we use two systems -- the diatonic and the chromatic -- to describe the octave. In so much of what I read people switched back and forth between those two systems without explanation or warning. That confused me until I understood there are two different systems and how they worked. After that I slept better and was less irritable. I know you know how this works but I'll include it for anyone else who might be interested. To bring it full circle to your comment, once it becomes clear how the systems use numbers differently, it becomes clear why the diatonic starts on 1 and the chromatic starts on 0.
As you know, the diatonic system uses an 8-note octave, with the numbers representing the position in the scale -- or scale degrees. That's 1st, 2nds, 3rds, and 5ths, etc. The chromatic system uses a 12-note octave with each note a (whole) tone or 2 semi-tones apart. The numbers in the chromatic system measure the distance as measured in tones or semi-tones (whole-steps or half steps).
To summarize: this is how to think about numbers in these systems: Diatonic = position, Chromatic = distance. That means, the first note in a diatonic system scale is the first or 1 for counting and the first note in a chromatic scale system is the root or reference note that is 0 tones away from itself. But the second note (D in a C major scale, for example), would be 1 tone away. And that's why thy are counted that way.
Sorry for being long-winded but did want to add that I have watched and enjoyed a number of your other videos as well...
even if i didnt read this comment, but i love that comment.
Oh, it's an advert.