@@airborn1015 all I was clarifying was all the chords are diatonic (because the video implied that the chords weren’t all in a key signature), all share the notes of “G major”, which are the same notes as D mixo I know that Amy knows this, but I commented bc I thought it could possibly confuse some viewers
@@airborn1015 our “disagreement” may be ultimately semantics/terminology, but I’m definitely not incorrect. I’ll clarify again. The three chords, D, Am7, G are not “in the key of D major” they all ARE in the key of G major. The Key Signature that would be written on sheet music for this would be G major (one sharp, f#), not the key of D major (two sharps, f#, c#) So, the parent key/key signature is G major. But if the tonic/1 chord is then D (which is the V of G) then it’s the fifth mode of G major, the mixolydian mode, D Mixolydian. Not “D major”, (bc D major has a C#, and the Am7 chord has a C natural). In the mixolydian mode, the V chord is minor. If one were to solo over that progression, one would use D mixolydian (enharmonically identical to G major). If one used “D major” it would really wrong on the Am7, because you would be playing the major third of the chord instead of the minor third that the chord has) A correct understanding of music theory IS useful, but not always necessary.
@@airborn1015 that progression is on D mixolydian. There was never an A major chord. The PARENT key is G major. The tonic is D. The progression is “In D” but it’s not “D major”. A “borrowed” chord comes from outside a diatonic key center, all three chords are IN the diatonic key center of D mixo/(G major). I’m not gonna explain it any more. I’m pretty knowledgeable about this shit. I studied it as a teenager in the 1980s, further studied in college, and taught guitar privately for 7 years (before becoming and English teacher). I’ve been a performing musician on the side for 35 years. I politely tried to clarify something (for general readers of the comments), but you persist in “correcting” me. I don’t mean to be rude, but I’m done responding. You win. Have a nice day.
One of my favourite out-of-the-ordinary chords is in Nick Drake's "Saturday Sun". It goes down a fairly straightforward, but very pleasant progression, with a nice descending bass, through C, G/B, Am, C/G and then throws in a gorgeous F#dim7 that never fails to make me go "oof!" He slips it in beautifully again later, in what I suppose you could call the chorus, going from F to F#dim7, which really piles on the tension, before easing into a lovely conclusion with C, A, Dm7, G, C. It's so good!
@@htws Your husband's a lucky guy...you have it all, just wanted to pass on.Also, thanks for sharing that Fm6 chord, wasn't even aware of that, just worked it into very melodic melody with Travis picking.
Just... Thank you! I happened across your video early this AM, and my guitar decided to write some music. Of late, it had gotten bored with me, and our time together had become routine. You brought sparks back to our relationship. Thank you!!
Nice changes! I think your 4th example is not likely to be analyzed by many people as starting on the vi-minor, though - you've got a V7-i movement from the last chord to the first, so C#m7 is really the i chord (especially given how common - by including the chord before it - a bVImaj7 V7 i progression is). Not as clear, but I'd also agree with another commenter that the 2nd progression is probably best looked at as V - ii7 - I - I. It could also be useful to describe why these changes work - for example, the 1st example is really all about the following note movement C -> D7 (keeps c in chord and moves the 5th of C - g - down to the 3rd of D7 - f#) then D7 -> F (keeps c in chord, keeps a in chord, and moves the 3rd of the D7 - f# - down to the root of F - f) then F -> Fm6 (keeps c in chord, keeps f in chord, moves 3rd of F - a - down to 3rd of Fm6 - ab) and then back around Fm6 -> C (keeps c in chord, moves 3rd of Fm6 - ab - down to 5th of C - g - AND moves root of Fm6 - f - down to 3rd of C - e). Very strong voice movement of g->f#->f->(->f)->e and, starting on D7, a->(->a)->ab->g (and then back down the g->f#->f->e). Anyway, thanks very much!
My all-time favourite was just known as the Jazz Turnaround when I started in a band. It is (in C) C- A7 - D7- G7. I suppose that is a bit ordinary. by these standards, but it still gives me the chills when I hear it. It is the happiest of sounds. Love, light and peace, Bob McGowan (Not the Chair Circle!).
Keppie, you are an excellent teacher and these are great chord progressions. I'll be re-watching, pausing and adding these to my chord vocabulary. Thank you!
This is so brilliant!! Getting Diatonic theory under my belt was life changing for me… Your approach is perfect for opening new ways of thinking and “hearing” new song ideas! ❤️❤️❤️ Love this!!! Thank you 🙏🏻!!!
Exceptional! Your video got my 6-string sounding completely fresh and new! So easy to process and follow - you have a real gift for teaching. Thank you, Keppie!
Thank you for your inspiring content. As a composition exercise, I tried writing a piece ("Less Travel'd") that incorporates all five of these exotic chord progressions. Quite an ethereal result!
OMG - 7mth old vid came into my feed at exactly the right time for me as I was geting really bored being "stuck" in key of C. Where have you been all my life? Thanks for sharing and getting me out of the "rut" Love ya work, I'm going to go thorough what else I have missed from you channel and needless to say I have sub'd -OneLove
Here are a couple of out of sequence changes that I like. Quite a few Eagles songs step from a major chord straight to the corresponding minor triad eg Desperado where there is a step from C major to C minor. Technically it might be a modulation but it sounds good. Another change I like is in When You're Gone. Most of it cycles around Dm F C and G but an occasional Bb appears almost as a turnaround.
This is my new favorite channel. I've been watching a bunch of your videos on lyric-writing and I'm learning so much. This video (the first I'm watching that's not about lyrics) is just as interesting and helpful as the others. I don't play guitar, but it's very clear how to transfer the chords to piano. Thank you for all this great content!
that first one has a d7 borrowed from C lydian and the Fm borrowed from C minor. Those are two of the most common keys to borrow from, one is a cycle of fifths key change and the other is the parallel minor.
@@airborn1015 I understand. You could say, instead of C lydian, G major is the key. I think that makes sense too. In that sense you have a scale that's barely different. To say you're borrowing from C lydian as a key implies the keys C major and C lydian exist parallel to each other though, with the same tonic of C. But yeah I typically refer to whatever is ionian as the true tonic, but you gotta appreciate that if you're in C lydian, the C is not the IV anymore, it's the I chord and all the other chords have new roman numerals too.
What a stupendous presentation! I was just thinking about putting together a progression that doesn't include the tonic, and here it is. I'm excited to explore the rest of your channel. Thank you!
I sure appreciated you .. explaining the endless creations .. I'm caught in a rut .. wow the guitar is my therapy I've always been left out in this Right handed world 🌎 I'm Hendrix .. Haynes I miss Jimmy .... I have not explored these cord progressions ever .. thank you for opening up the door to my mind ... Never ending Love for Music I know I am not left out in this world on my right hand ... It's just that everything is backwards ... Lol 😂 It's time to study and connect all the dots ... thank you again 🎼🎶🎵 Troy from Canyon Lake Texas USA 🇺🇸
Great video! There’s always that rut where you know the basics of painting within the lines but don’t yet realize that there are no lines. It’s about what sounds right for the mood, melody or the words you are singing. I do believe Elliott Smith used something like this to great success with his chord progressions. It’s unclear whether he knew what he was doing or just used his ear but he mixed things up really well.
Very useful lesson. Thanks. I love to run across ideas (progressions, in this case) that I hadn't used or thought of and seeing if I can turn them into songs (or parts of songs). I like your open, generous spirit. Just subscribed to your Patreon page.
Awesome video! A really nice little modification/add-on for number 4 is to sub a C#maj7 in for the C#m7 every so often! Delightful little modal surprise.
I am really enjoying your channel, such wonderful progressions! I will be recommending your stuff to our local songwriter group. I am sure it will be well received! Thank you, what you do matters.
I realise you both are so great, I may never have a chance some day. Very bummed I missed jan 25 deadline. If I could get in somehow, would be my best birthday present ever. ( jan 28). All the love, Stephan
This was fantastic. I’m not a songwriter, but I’m always looking for interesting chord progressions for loops. Subbed and will be digging through your back catalogue of videos now. Thanks!
Great video. Still trying to understand the borrowed chords but they aren’t catching. For the brandi Carlisle song using D Am7 and G couldn’t this also be described as 5 2 1 in G. No need for a borrowed explanation.
your videos are awesome. Even if I haven't used any of these progressions yet the video triggered some thoughts and I discovered a new progression that I just used on an old unfinished song,
In your first example I like "borrowed chord" to explain the D7. You could also assume you are in key of F (C as IV, D7 as V). I think the reason the F minor works so well is that we in enjoy the chromatic transition from F's major 3rd (A), minor 3rd (Ab), then landing on the G, 5th of C. Anyway, you got me geeking. Great vid!
The second progression is just G major without any altered or borrowed chords. V - ii7 - I... It's just the assumption that the first chord is the root that makes you have to over-explain, and though it might sound a bit like the home chord, so does G, especially given you assign two measures to the G - it's the same phenomenon with the 'sweet home alabama' progression, which is either in D mixolydian or G major, depending on how you want to listen to it. But this is a little more clear cut as simply G major
Seriously outstanding video! Love the way you continually remind viewers with less theory background that they don't have to understand all the theory of "why" those chords work together... they can use them in writing beautiful, interesting songs right out of the gate. I also liked that you played each progression first, and then talked about the chords. Since I know all the theory, I closed my eyes and used it as a ear test for myself... I was able to identify all the chords by ear, up until the very last two chords of progression #5... the bVImaj7, bVIImaj7--you got me with those. 😀 By the way, I really appreciate your friendly, easy-going delivery in this and all your videos. Very enjoyable to listen to. --Jer of the band Mitch the Needle
1.st progression, D7 can be secondary dominant of V chord (V/V) even the progression doesn't goes to G7. and the Fm6 cames from parent scale C minor (iv chord) I guess.
The fourth progression is actually in C# Phrygian with the final G#7 being an altered diminished v chord. Naturally the last chord would be G# B D F#, but it is altered to G# B# D# F#, so that it has a traditional dominant chord on the V rather than half diminished. Interesting progressions. But more important than that, this: 1 Corinthians 15:1-8 KJV Romans 10:2-13 KJV Reject not the words of the Lord, but rather turn and believe and have life, if you would have life. Look the above up in an internet search.
