@Julian Diaz Maybe I can solve the "mystery". In the graphic above the keyboard, the F# minor scale is shown to have an A# (oops!), so maybe that's what the guy was referring to. The graphic appears around 3 minutes in. :) ruclips.net/video/gvRvXDgBcT4/видео.html
Wow, that was so easy and effective. Thanks for the easy visual explanation with the chord names on screen. I got it right away with the only exception of resolving the last chord with jewelry
For the last couple of years, when creating my own music, I've been going through same old chord progressions, unable to break out of the 'mold' that I've created in my playing...eventually using some clever chord substitutions, but always somehow feeling enclosed by that mold. I wondered what's the trick that good players use to 'break out', and I've watched many tutorials on many youtube channels but haven't really gotten help on that topic...You can't imagine how happy I am that you've shown this trick today. This is literally the thing that I've been looking for.
Write the melody first, and then use good 'ol trusty 2-5-1 progressions. Dictate where you're going with dominants. Normal 7th's are often easy, but you can spice them up with anything 6, 9, b9, 11, #11, 13, b13, b5, #5, #9 (major7#9, the Jimi Hendrix chord). If you're at a loss play a Ebmaj9, instant inspiration right there. Mediants are cool, especially 2nd degree mediants (for example Cmaj7 to A7/C# (and to Dm9 to finnish it off)). There are no limits. Then again there is no shame in using the same progressions over again, there are only so many viable options.
Mangold, I appreciate all the content you upload. I can only peck out block chords on piano, working on that. I LOVE taking your lessons and ideas and translating them to my guitar playing. Very beautiful and musical for sure. You're teaching guitar too, congrats!
Honestly, The opening progression brings me to tears every single time I listen to it. So beautiful. I'm getting there Mangold, I'm on my way there thanks to you.
F# Minor and A Major are not exactly the same. Although they're relative keys, minor keys give you the freedom of using different types of minor keys, so if he decided to use harmonic or melodic F# Minor instead of just the natural minor scale, he could've used chords that are not in the key of A Major.
I would've never even given it a thought while transcribing/listening to a solo of, say, Robert Glasper or Hiromi Uehara. They do it quite a bit, and I think I somewhat picked it up without realizing it when I first started playing. It's a known tool, now that it's been shown to me and explained. It's dope for my ears, despite its simplicity.
Movement of a 3rd whether it's a minor 3rd or major, relative keys or a chromatic mediant relationship always have a tendency of perking up our ears. I think it's because those keys and chords we move to contain so many of the same notes from the previous tonality that it blurs the line between whether we've really made an abrupt modulation or just gone out of our way to heavily tonicize the m3/M3rd, m6/M6th of the scale prior.
I believe the answer is in the first statement: movement of a 3rd. Yes, our brains register the subtle changes, especially when they're made incredibly obvious, even if individual listener's can't accurately describe what they've heard. At least that's my guess anyway based on how easily people develop relative pitch.
I see someone already pointed out the A# should be A in your scale on the screen so just to alert people. But I think we should also say why this works. The F# scale is the natural minor form of the scale, which is the relative minor of the A major scale, hence the term conjugate minor. It is very common to go between A major and F# minor therefore because they share notes and chords. Going between A minor and F# minor is only a subtle difference.
hey mangold, just a quick message to thank you for your job. Im a (jazz?) saxofone player trying to learn more about harmony and your videos help a lot. Its always a great moment to learn more about this amazing world of music. Take care ! Mat (french sax player from Chile) :)
Thank you Mat. One of my favorite musicians is a sax player (Frank Foster, who played with Count Basie's band for many years). I've copied his sax solo on Little Pony from one of Basie's records to the note on the piano!
I think you might consider the trick of playing the relative minor scale of a minor scale, so you could do that from A minor to F# minor but even from F#minor to D#minor in the same piece. should be just consider as another way or tool to modulate.
Yes since f# is the relative minor of A major . You could say that he is switching between parallel keys A major an A minor ., but with the only exception that they don't share the same tonic
Some people might miss a major concept here.. This is new to me and I love the idea, but it seems the magic of it is because YOUR RIGHT HAND STAYS IN A MINOR. If I'm not mistaken, as I watch your right hand, it's NOT MODULATING, and that's what makes it special.
In the last example, just going back and forth, it really suggests a theme of someone trying to talk about one thing, and then ending up talking about another, and then saying "but no, it IS the other thing that's more important," and so on. Sometimes in life you really can't decide what's more important, or where the real theme is, and it's a clever musical mimicry.
I use this alot. I basically think about it as tertiary harmony. The keys C major and A major are separated by Major third and they share the common tones, A and E which change function as the key changes. In C they are active tones. In A they are Stable tones.
when i was in a band we used to do this all the time. I always liked going > example changing from E natural minor to G natural minor to get kinda a fantasy sound
Frankly. I play guitar and I dont know one key on piano from another but that was an awesome lesson. Clear, immediately useful and inspiring. Thanks. I just subscribed
For a change to something radical sounding you should modulate from the A minor scale to a series of chords where they're all major #5 and see what you get from that. Actually the late jazz player, Mulgrew Miller does this in his rendition of "Body and Soul" in the in the first several measures and then when that pattern repeats later again returns to this modulation.
Great lesson. You can, of course, take this idea to the next degrees of that symmetric tonic system, i.e. you can go from Am to Cm, or Am to F#m then to Ebm, etc. The more even transitions seem to come from adjacent steps through this symmetric system, i.e. Am to Ebm requires some more finesse to make it work, but Am to Cm (sounds best of course if you approach via G) and Am to F#m are relatively smooth. For that matter, you can rotate through any symmetrical system to similar effect (i.e. go from Am to C#m to Fm, or Am to Fm).
Where did you learn all this stuff? I don't know where I'd go to learn ANYTHING before youtube. The college music schools don't even teach it. It's crazy. You had another video that expands the chord tool box to the relative minor scale. I saw a website where the author mentioned borrowing chords from the parallel minor. What do you think of this? Obviously, that would mean learning C and Cm instead of C and Am. Which is more important to be able to know and use? I'm already ready to throw in the towel and just focus on melody writing, then trying to come up with the best option of all chords available in the universe instead of trying to overthink it. It's chord selection that's slowing me down, so I figured I'd come here to try and learn how to narrow it down. Which videos of yours show how to harmonize a song once the melody is written, or how to come up with both at the same time?
I've seen this technique also applied between major and minor scales moving from the major scale to the minor 3rd. I'm no theory guru by no means. Thanks for sharing.
Great video mate but I think by mistake you wrote an A# on the F# minor scale instead of a regular A note other than that great explanation thanks for sharing...cheers
Better than when the singer changes key without telling the instrumentalists.......Did you hear the one where the accompanist stops, throws up his hands in frustration and exclaims "I play on zee vite keys, I play on zee black keys, but you, you sing in zee slits!"
What an incredible tutorial. I've always wondered how to play that sort of movement. Now I know...and knowing is half the battle. The other half, for me at least, is to apply it in practice on my instrument of choice, which is guitar. Thanks for sharing your vast knowledge. I hope to see more videos on various modulation techniques very soon as these are extremely valuable tutorials. After studying a bit, I've noticed that you're modulating to the closest chord of the new minor key, as in the Em - F#m (except in the case of the F#m - Dm, which is major 3rd down...btw, the F#m could be substituted by an F#7#9). Am I correct? Also, how would you write a modulation such as this using the numbering system ( ie ii - V7 - I )? For my last question, what type of chord are you playing for the Gmaj? Since the progression is in Cmaj, G would be the V; but it doesn't sound like you're playing a dominant chord. Is it some sort of 11 chord?
Merci for these videos. These techniques are out of my pay grade...for now. But your explanations are based on logical ideas based on music theory and help throw another bone to learn chords and scales.
:( The thing that frustrates me the most about this video is the chord voicings! The progression and theory sounds so beautiful but I can't reproduce it right now because the voicings are hard to keep up with
This kind of thing is a real art. He will often play upper extensions so your chords might have a 9th or 11th thrown in. You get to know how to space out the left hand voicings, avoid duplicates and cluster dissonant notes
My biggest help in understanding notes and progression is to think of everything in flats. Correlate minor to major and you've just taken away half of thought. A minor is c major. G flat minor is a major. Now apply circle of 5ths.
i don't know everything you're talking about, but your technique has my subscribed. I hope i'll learn a few tricks from you, as each and everyone of them is important to me and to my short bag of tricks.
Thank you : ) and I have another suggestion, if you don't mind make a video about weird phrases like the one in ( Tarkus ) or low piano notes in Horror films.
Very interesting, I must study this. It would be less confusing if you specified major and minor onscreen: Am Dm Em F G. You do for a few seconds at 1:40.
Very, very cool video. I'm a little lost on the chords, are you just playing 7th chords in different inversions as you go and "leading" with the high notes by double tapping them? (G to A, etc)?
Sean Chase he adds many 7,9,11 and even 13 to make the chords sound more interesting, you should try to make it a habit as it is playing almost 100% in more advanced jazz or even classical rock.
yup, that's it - in jazz harmony it's called modal interchange. your diatonic chords which you can use in major are I: Cmaj7 II: Dmin7 III: Emin7 IV: Fmaj7 V: G7 VI: Amin7 VII: Bmin7(b5) you are now free to add the following (originating from the c minor scale!) chords in your improvisation whenever you want ---> you take chords out of a different mode (aeolic in c: c d eb f g ab bb c) ---> modal interchange I: Cmin7 II: Dmin7(b5) bIII: Ebmaj7 IV: Fmin7 V: Gmin7 bVI: Abmaj7 bVII: Bb7 Totally ok to just mix these chords (one originating from major mode (ionic) the other from minor (aeolic)! Cheers
Right on, and that's an interesting way to think about it, basically he's playing off the vi of C major diatonic triad series (Amin) (as musicfromhenja points out) and the vi of A (F#min) as the key centers, then also playing vi, ii, iii, IV, and V of C and A. Very creative way to use and abuse the major diatonic triad/tetrad progression ;-). However the sound you're getting is largely due to the key center sounding minor. There is a minor diatonic triad/tetrad series but it's not as versatile as the major because the chords get unpleasant. Thanks for the new sound and the creative insights.
Very interesting concept. Really sounds Jazzy, and reminds me of classical composers like Brahms and Debussy, most of there romantic work. Appreciate you sharing!!!
I really get the theory behind this, but the tricky part really is how to use good chord voicings to make it sound better. any suggestions? love your videos by the way :)
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
I could listen to this progression all day. Reminds me of Robert Glasper.
I thought the same thing!
Don't forget Casey Benjamin
If you want to learn how to play piano like a pro then visit this website here: HootPiano.info
Michael Reyes no here
This is something you would hear in the black church as "talking music". Thank you for sharing the theory behind this!!!
Never heard of talking music. Thanks for sharing!
MangoldProject surely you've heard of "talk music" not "talking" I doubt. Thanks for sharing. Loved it.
i will def be usuing this as background talk music. thanks a million.
"And I KNOW that the LORD JESUS..." *modulation intensifies*
@@MangoldProject it's basically background music played during an interlude like announcements.
OMG! I was doing this by ear, but now I understand how to do it. It's an excellent tool for any scale.
There is no a# in F#m
49jubilee What? A major doesn't mean A#, and there's no A# in F#m or A major
@Julian Diaz Maybe I can solve the "mystery". In the graphic above the keyboard, the F# minor scale is shown to have an A# (oops!), so maybe that's what the guy was referring to. The graphic appears around 3 minutes in. :) ruclips.net/video/gvRvXDgBcT4/видео.html
I was about to say.
Yeah, I came here to say the same thing. :)
Ok b flat, yeah yeah. You understood it Jesus give him a break guys lmao
I find it impressive how you come up with those inversions so quickly and on the spot
It's all about drilling it into your head with repeated practice.
Daniel K
Daniel K
Daniel K
Daniel K
the plug for your sister's website was so sweet!!
Wow, that was so easy and effective. Thanks for the easy visual explanation with the chord names on screen. I got it right away with the only exception of resolving the last chord with jewelry
:)
You’re a great teacher ... very blessed to have found you on line .
Many thanks HD.
This is my first time listening to you and I must say you're the best teacher I've ever heard and watched. thank you very much.
Why, thank you Thomas.
Really nice you helping yur sister
For the last couple of years, when creating my own music, I've been going through same old chord progressions, unable to break out of the 'mold' that I've created in my playing...eventually using some clever chord substitutions, but always somehow feeling enclosed by that mold. I wondered what's the trick that good players use to 'break out', and I've watched many tutorials on many youtube channels but haven't really gotten help on that topic...You can't imagine how happy I am that you've shown this trick today. This is literally the thing that I've been looking for.
Write the melody first, and then use good 'ol trusty 2-5-1 progressions. Dictate where you're going with dominants. Normal 7th's are often easy, but you can spice them up with anything 6, 9, b9, 11, #11, 13, b13, b5, #5, #9 (major7#9, the Jimi Hendrix chord). If you're at a loss play a Ebmaj9, instant inspiration right there. Mediants are cool, especially 2nd degree mediants (for example Cmaj7 to A7/C# (and to Dm9 to finnish it off)). There are no limits. Then again there is no shame in using the same progressions over again, there are only so many viable options.
I'm impressed by how nice this video looks, good job! And thanks for not keeping secrets to yourself! It makes life better when you share :)
THIS is exactly what I need, right to the point.Excellent .Thanks for all the giving.
Mangold, I appreciate all the content you upload. I can only peck out block chords on piano, working on that. I LOVE taking your lessons and ideas and translating them to my guitar playing. Very beautiful and musical for sure.
You're teaching guitar too, congrats!
Then maybe I can watch my own videos and learn some guitar myself :)
Honestly, The opening progression brings me to tears every single time I listen to it. So beautiful. I'm getting there Mangold, I'm on my way there thanks to you.
Thank you Annissa for your kind words.
Absolutely Brilliant Mangold. Thank you so much for your wonderful lessons. I follow every one video and its as interesting as the next one.
Thank you for these lessons! Really learning a lot and excited to explore these concepts
Thanks for this! I've heard this in so many acid jazz/broken beat tunes and never even thought about what they were doing.
He just did modal mixing. F# Minor's the same as A major. He played A minor first and then moved to A major (parallel scales).
Why explain simply when you can do it in a complicated way? ^^
F# Minor and A Major are not exactly the same. Although they're relative keys, minor keys give you the freedom of using different types of minor keys, so if he decided to use harmonic or melodic F# Minor instead of just the natural minor scale, he could've used chords that are not in the key of A Major.
I would've never even given it a thought while transcribing/listening to a solo of, say, Robert Glasper or Hiromi Uehara. They do it quite a bit, and I think I somewhat picked it up without realizing it when I first started playing. It's a known tool, now that it's been shown to me and explained. It's dope for my ears, despite its simplicity.
Movement of a 3rd whether it's a minor 3rd or major, relative keys or a chromatic mediant relationship always have a tendency of perking up our ears. I think it's because those keys and chords we move to contain so many of the same notes from the previous tonality that it blurs the line between whether we've really made an abrupt modulation or just gone out of our way to heavily tonicize the m3/M3rd, m6/M6th of the scale prior.
I believe the answer is in the first statement: movement of a 3rd. Yes, our brains register the subtle changes, especially when they're made incredibly obvious, even if individual listener's can't accurately describe what they've heard. At least that's my guess anyway based on how easily people develop relative pitch.
i have always wondered how these progressions worked. thanks!
Thank you, sounds beautiful! The graphic has an A# for a "F# minor scale"?
I think ur right, it should be A not A#. Otherwise, perfect video!
km4hr Yeah it should be A, not A# F#minor is the relative minor of A major.
Really dug your work in putting the graphics up. They really helped me to "see" what you were discussing. thanks for the video!
That's why I put effort into them. Without the graphics it becomes a lot more abstract. I try to explain things the way I see them in my head.
I see someone already pointed out the A# should be A in your scale on the screen so just to alert people. But I think we should also say why this works. The F# scale is the natural minor form of the scale, which is the relative minor of the A major scale, hence the term conjugate minor. It is very common to go between A major and F# minor therefore because they share notes and chords. Going between A minor and F# minor is only a subtle difference.
hey mangold, just a quick message to thank you for your job. Im a (jazz?) saxofone player trying to learn more about harmony and your videos help a lot. Its always a great moment to learn more about this amazing world of music. Take care !
Mat (french sax player from Chile) :)
Thank you Mat. One of my favorite musicians is a sax player (Frank Foster, who played with Count Basie's band for many years). I've copied his sax solo on Little Pony from one of Basie's records to the note on the piano!
Beautiful chord progressions and voicing. Thank you for the idea 💡
You're welcome.
I like the graphic above the keyboard illustrating the shifts between scale degrees
Thanks! That took me a while to prepare ...
Tip: in a major II V7 I, play the IIm7 dorian then go UP a minor 3rd !
Dm7 => DEFGABC
G7 => FGAbBbCDEb=> G7(b13/9alt) !
It is essentially switching between A minor and major ;)
That is another way of looking at it :)
It's a very simple basic thing in jazzing up things. But when you make a RUclips video, each basic thing has to be called a _secret_. ;)
I think you might consider the trick of playing the relative minor scale of a minor scale, so you could do that from A minor to F# minor but even from F#minor to D#minor in the same piece. should be just consider as another way or tool to modulate.
Yes since f# is the relative minor of A major .
You could say that he is switching between parallel keys A major an A minor ., but with the only exception that they don't share the same tonic
In my opinion yes and no lol. Since A is no longer 1, F# is. I could be wrong but that's what I got from this video.
Some people might miss a major concept here.. This is new to me and I love the idea, but it seems the magic of it is because YOUR RIGHT HAND STAYS IN A MINOR. If I'm not mistaken, as I watch your right hand, it's NOT MODULATING, and that's what makes it special.
Exactly, the chord tones in A min become extensions over F# min - providing color.
In the last example, just going back and forth, it really suggests a theme of someone trying to talk about one thing, and then ending up talking about another, and then saying "but no, it IS the other thing that's more important," and so on. Sometimes in life you really can't decide what's more important, or where the real theme is, and it's a clever musical mimicry.
The minor chord progressions for both the call and response combined with conjugation pretty much always = that feeling of intense soul searching.
Excellent done. I will follow your examples and work it through. Thumbs up.
Thanks Tor. I really appreciate all the nice comments you & the other viewers leave on my videos.
I use this alot. I basically think about it as tertiary harmony. The keys C major and A major are separated by Major third and they share the common tones, A and E which change function as the key changes. In C they are active tones. In A they are Stable tones.
when i was in a band we used to do this all the time. I always liked going > example changing from E natural minor to G natural minor to get kinda a fantasy sound
Can't wait to try it. Thank you MP.
Frankly. I play guitar and I dont know one key on piano from another but that was an awesome lesson. Clear, immediately useful and inspiring. Thanks. I just subscribed
So much easier to follow in later videos with the spilt screen keyboard. I'll be hitting that pause button!
Yep ... I might redo some of my older videos in the new format.
@@MangoldProject Just to be clear. love your work! Just so much easier with the newer format.
Great video: tangible, bite sized concept with clear repeated examples to apply to playing today.
Thanks!
For a change to something radical sounding you should modulate from the A minor scale to a series of chords where they're all major #5 and see what you get from that. Actually the late jazz player, Mulgrew Miller does this in his rendition of "Body and Soul" in the in the first several measures and then when that pattern repeats later again returns to this modulation.
A good example is “After The Love Has Gone” by Princess, the middle 8 does this type of modulation.
Very cool modulations professor. Trainning good here😊
Great lesson. You can, of course, take this idea to the next degrees of that symmetric tonic system, i.e. you can go from Am to Cm, or Am to F#m then to Ebm, etc. The more even transitions seem to come from adjacent steps through this symmetric system, i.e. Am to Ebm requires some more finesse to make it work, but Am to Cm (sounds best of course if you approach via G) and Am to F#m are relatively smooth. For that matter, you can rotate through any symmetrical system to similar effect (i.e. go from Am to C#m to Fm, or Am to Fm).
I love this switch up to the new key. Taking notes :D
Are those notes in or out of key? ...
I love the way it sounds
Cool!
Where did you learn all this stuff? I don't know where I'd go to learn ANYTHING before youtube. The college music schools don't even teach it. It's crazy.
You had another video that expands the chord tool box to the relative minor scale. I saw a website where the author mentioned borrowing chords from the parallel minor. What do you think of this? Obviously, that would mean learning C and Cm instead of C and Am. Which is more important to be able to know and use? I'm already ready to throw in the towel and just focus on melody writing, then trying to come up with the best option of all chords available in the universe instead of trying to overthink it. It's chord selection that's slowing me down, so I figured I'd come here to try and learn how to narrow it down. Which videos of yours show how to harmonize a song once the melody is written, or how to come up with both at the same time?
I reverse engineered the playing of my favorite pianists (Lyle Mays mostly).
I've seen this technique also applied between major and minor scales moving from the major scale to the minor 3rd. I'm no theory guru by no means. Thanks for sharing.
Excellent information and demonstration! Thank You!
You're welcome!
Great video mate but I think by mistake you wrote an A# on the F# minor scale instead of a regular A note other than that great explanation thanks for sharing...cheers
Ok, let's change the key but don't tell the singer you're modulating!
haha lol
Better than when the singer changes key without telling the instrumentalists.......Did you hear the one where the accompanist stops, throws up his hands in frustration and exclaims "I play on zee vite keys, I play on zee black keys, but you, you sing in zee slits!"
@@kathleenegbert1989 😅
What an incredible tutorial. I've always wondered how to play that sort of movement. Now I know...and knowing is half the battle. The other half, for me at least, is to apply it in practice on my instrument of choice, which is guitar. Thanks for sharing your vast knowledge. I hope to see more videos on various modulation techniques very soon as these are extremely valuable tutorials.
After studying a bit, I've noticed that you're modulating to the closest chord of the new minor key, as in the Em - F#m (except in the case of the F#m - Dm, which is major 3rd down...btw, the F#m could be substituted by an F#7#9). Am I correct? Also, how would you write a modulation such as this using the numbering system ( ie ii - V7 - I )? For my last question, what type of chord are you playing for the Gmaj? Since the progression is in Cmaj, G would be the V; but it doesn't sound like you're playing a dominant chord. Is it some sort of 11 chord?
James Robinson
Thank you Mangold for another great lesson
Merci for these videos. These techniques are out of my pay grade...for now. But your explanations are based on logical ideas based on music theory and help throw another bone to learn chords and scales.
Thanks. You have a very clear accent. Knowing the basic English language, it's easy for me to understand you
Doin' my best.
This sounds so good. Excelent ideas! Thanks for sharing!
You're welcome Jorge.
Thank you, thank you! Love ❤️ this!
That is amazing, thank you.
So can we relate each chord to a function?
Great trick!!!!🙏🏾🙏🏾🙏🏾
Thank you for sharing... really needed something like this to practice.
You got it :)
really dig the progression at 6:50
LucidVoid coulda looped it for a dope beat
:( The thing that frustrates me the most about this video is the chord voicings! The progression and theory sounds so beautiful but I can't reproduce it right now because the voicings are hard to keep up with
I have many videos on chord voicings you should check out. But I'll take your advice to heart and spell out voicings more clearly in future videos.
If you want to learn how to play piano like a pro then visit this website here: HootPiano.info
Hey Adam slow it down to 25% or 50% speed at critical times...
This kind of thing is a real art. He will often play upper extensions so your chords might have a 9th or 11th thrown in. You get to know how to space out the left hand voicings, avoid duplicates and cluster dissonant notes
My biggest help in understanding notes and progression is to think of everything in flats. Correlate minor to major and you've just taken away half of thought. A minor is c major. G flat minor is a major. Now apply circle of 5ths.
Errata in top of vídeo: F# Minor scale => no A#, but natural A.
Observation: excelent vídeo! Thank you! 👏🏽👏🏽👏🏽👏🏽👏🏽
So glad I found you again. I subbed. Thanks bro!
Welcome aboard.
i don't know everything you're talking about, but your technique has my subscribed. I hope i'll learn a few tricks from you, as each and everyone of them is important to me and to my short bag of tricks.
Hi mangold, great job, thanks for your valuable tips,
I wonder if can explain how to improvise out of key, like playing Dm and solo on F#
That's a great topic, but for another video :) I'll think about it!
Thank you : )
and I have another suggestion, if you don't mind make a video about weird phrases like the one in ( Tarkus ) or
low piano notes in Horror films.
Nice trick Mangold thanks. Love it 👍👍
F-sharp minor does not have an A-sharp. The graphic is wrong at 2:46
@@BryWMac Take a tiny piece of black tape, paste it over that # while watching this video and you'll be just fine.
Thank you so much, very easy to understand!
Mind blown 🤯Thank you!! 🎹
YOU ARE OPEN MY EYES THANK YOU
Very interesting, I must study this. It would be less confusing if you specified major and minor onscreen: Am Dm Em F G. You do for a few seconds at 1:40.
very cool. I'm going to try this right away.
This will be all I practice till I have it in the bag. So worth it hahaha beautiful sound!
Awesome. Beautiful sound.
Very, very cool video. I'm a little lost on the chords, are you just playing 7th chords in different inversions as you go and "leading" with the high notes by double tapping them? (G to A, etc)?
Sean Chase he adds many 7,9,11 and even 13 to make the chords sound more interesting, you should try to make it a habit as it is playing almost 100% in more advanced jazz or even classical rock.
Mangold,This is an excellent idea. Do you have any other modulations that we can try out and explore? Thanks.
very nice i'll practice that for sure, it sounds jazzy :)
This is wonderful! Well explained
Thanks.
Reminds me of the Sims
Very creative. Thank you.
I have to say that I absolutely love your videos! I learn so much with them.. I attend to your classes eeevery day :) keep doing videos like this!
Can we modulate it to some other key? other than f# minor.. .or there is some specific reason of choosing f#minor...
Yes, read the comments.
Thanks for the tutorial. Sounds nice.
Thank you Asher!
Its like moving from A minor to A major because F sharp is the relative minor of A major
That's a very interesting observation. I never thought of it that way. Thank you for sharing.
yup, that's it - in jazz harmony it's called modal interchange. your diatonic chords which you can use in major are I: Cmaj7 II: Dmin7 III: Emin7 IV: Fmaj7 V: G7 VI: Amin7 VII: Bmin7(b5)
you are now free to add the following (originating from the c minor scale!) chords in your improvisation whenever you want ---> you take chords out of a different mode (aeolic in c: c d eb f g ab bb c) ---> modal interchange
I: Cmin7 II: Dmin7(b5) bIII: Ebmaj7 IV: Fmin7 V: Gmin7 bVI: Abmaj7 bVII: Bb7
Totally ok to just mix these chords (one originating from major mode (ionic) the other from minor (aeolic)!
Cheers
only talking about diatonic chords in the key of C! ofc
Right on, and that's an interesting way to think about it, basically he's playing off the vi of C major diatonic triad series (Amin) (as musicfromhenja points out) and the vi of A (F#min) as the key centers, then also playing vi, ii, iii, IV, and V of C and A. Very creative way to use and abuse the major diatonic triad/tetrad progression ;-). However the sound you're getting is largely due to the key center sounding minor. There is a minor diatonic triad/tetrad series but it's not as versatile as the major because the chords get unpleasant. Thanks for the new sound and the creative insights.
thank you for taking me to another level!
My pleasure Zachary.
“Just going to play something.”
Plays a brilliant jazz masterpiece.
Excellent, thank you!
really beautiful
thanks i'll try this when I get a chance
Excellent - really very helpful when you teach us such simple ways to improve our sound - thank you 😀
Reminds me of Avishai Cohen, great work !
What sweet brother!!!👏👏👏
Great trick, thanks for the tip.
oh my!I was searching for something like this
a huge thanks!!
Good to know. Have fun with it :)
@2.46. C is represented by a# but should it not be a? Thanks. Love your videos
no they're whole tones apart...
Eric Lopez they are there semitones apart. not full tones. for instance a goes to f# so 1 g# 2 g 3f# I think it should be a as a# isn't in f#minor
Great lesson
Very interesting concept. Really sounds Jazzy, and reminds me of classical composers like Brahms and Debussy, most of there romantic work. Appreciate you sharing!!!
Congratulations for the Daphne Online Jewellery...
Thanks, I'll let her know.
You certainly have good taste Sir!
Why, thank you. I do my best :)
I really get the theory behind this, but the tricky part really is how to use good chord voicings to make it sound better. any suggestions?
love your videos by the way :)
Thanks! I have many videos discussing chord voicings, I'd start there ;)