It's more like I IV V I in the key of D* (*=major/minor) when I apply Bartok pitch axis system for chord substitutions. So you can play mostly in D minor key for the whole sequence of chords, and adjust a few notes especially over the second chord, because it's a tritone substitution and adds some altered notes on the scale for that chord duration.
damn, you could spend a lifetime playing guitar and still not be able to do something like that, I mean someonre could transcribe it without too much trouble , but it requires depth of knowledge to comprehend the arrangement and come up w parts like that
Noel thank you!! You keep opening my eyes to new musical vistas. Whenever I feel in a musical rut all I need is one of your videos and off I go again. You are one generous, hardworking man, thank you from south west UK!
Good question. Since you want a leading tone (to give it more tension) it would make the V chord become a major chord (and in minor, the III chord an augmented and the vii chord a diminished)
@@nohjoh08 Thanks Noel I also very much enjoyed the video on open voicing inversions. Great for making arrangements more interesting with solo guitar vocals.
Awsomeeee!!!! You are like a crazy math teacher, i listen to yours MASTER class... im from south america, and sometimes i think that i can understand you, even without not knowing english...
Great video and great content. Very interesting and different! Quick question. When you use the "Tonicization", on minor chords, you can choose between minor, harmonic and melodic minor modes yes to pull out the tension chords. But on the major chords you stick to the major modes to take out the tension chords... Is this correct?
That’s what I did here, yes. Treat each chord as a “typical” (Ionian, harmonic minor) 1 chord in its own key. This is traditionally how it’s done. (It is an interesting experiment, however, to use alternative major or minor tonalities, but that’s not normal)
@@nohjoh08 Amazing. Thanks! Ive been trying to mess around on the 'Little Wing'- chord progression. I somewhat discovered a new world of secondary dominants. Its so full of flavours. Also i found that adding one more 'route', resolving to the secondary dominant before resolving to the tonic sounds great. I just wanted to share that back. Thanks a lot for the inspiration and sharing your knowledge <3
I hear music all the time there’s an ooold video of me boiling wax and some moisture got in it and it made loud popping notes that were so interesting I hope I can find that
I think I got most of that. But I'm confused how you came to G+ chord from the Em. How did you know/decide to not harmonize the natural minor (resulting a normal G maj chord)? You used the Harmonic as if it was a given. Just trying understand that part. Already knew the secondary Doms, so this adds to that nicely. Thanks!
Happy to explain more, sorry I didn’t make it more clear but when you tonicize a chord you assume it’s the tonic, so if it’s a minor you assign a minor key (something with a leading tone - natural minor is not tonic’y enough to add the harmonic gravity needed). Harmonic minor or melodic minor has this harmonic gravity. The 3 chord (III) in harmonic minor or melodic minor is augmented, whereas in natural minor it’s just a plain major chord. I hope that makes sense. To summarize: Harmonic minor is more powerful as a minor key than natural minor.
AWESOME!!! Noel...WE WANT MORE!!! How about a lesson on how J.S. Bach used Melodic Minor??? And no mumbo jumbo about going up melodic and down aeolian!!! Because we know thats BULL!!! Lol...THANX NOEL!!! We Love your stuff!!! Great Job!!!
