6 Ways to Reharm "Amazing Grace" Like a Boss 

Thanks, Nahre!

The "glitch" should be on the background though, not the keys, it makes it difficult to watch for those who can't see too well, I'm 3 minutes in and I've had to stop watching and just listen.

Andy Nicholson what do you mean?

I wonder what software that is he is using?

@@vigilancebrandon3888 The keyboard shakes, but the background doesn't. If the keyboard is the focus of attention it shouldn't move. It messes with my eyes and I had to stop watching.

Andy Nicholson wow I didn’t even notice

Best comment of the year

@GianCalvii which is?

KS the original

May the 4th's be with you

I absolutely agree Erik. I'm a guitarist and even so, just the theory behind it is so interesting. And as with most music theory, if you think about it hard enough, it all makes sense!

It's the same concept of a II - V - I progression, except applied to the key of D minor, implying what's called a "modulation" to D minor in the progression.

Squid Blue i don't know what that means but i'll try to hit random keys and see what works best to fill the gap

@@SquidBlue Kinda disagree with you because the chord C/E is a C major chord in first inversion or a C major chord with bass of E which is not the second degree of D minor if this was the 251 in D minor it will look more like this Eminor7b5 A7alt Dm11 In this case the progression he used is the 751 which is kinda similar to the backdoor progression which is 471 so I believe it's a mixture of both? Not really sure but this is not the 251 in D minor

@@abdulalshibly3930 Yeah I'd say the C/E is sort of substitution for a ii but definitely still implies it because of the E A D in the bass, and C triad has the shared note G with an E minor triad (the minor third)

@@SquidBlue You're actually totally right that bass is what really holding the 251 didn't notice it. I was learning theory and there's this new idea: you can resolve the dominant chord on a relative major/minor from the tonic. i.e. G7| Cmaj7 is a regular 5 1 G7| Am7 is not a regular 5 1 that's the idea the Amin7 is the relative minor of Cmaj7 so if you think about it you can actually use the same ideas in modes like resolve the dominant of C on Dmin or Emin. Where I'm getting with that idea is maybe he used a similar concept to make the substitution from Emin7b5 to C/E Or maybe he just played the bass E to keep the 251 together and played another triad in the right hand and this is actually somehow very effective so I think he just did that there isn't always theory to explain everything but it's good to know it's out there to help ya. Thanks man for mentioning the bass part never noticed it

Steven Jonathan my heart was filled with so much joy when i first heard that, it's such an amazing transition there at the end, it's so good. these chords do something to me.

Liam Marziano Learn part one first.

(btw I know that the 9 chord has a 7 in it)

The 9th is just an extension, it would've sounded weak without it

That's the way jazz musicians do it.

Yeah... Yeah. I caught that. Oh. Well.

Sound like you don't play jazz too often

Would love to watch that too :).

Isnt that basically a ii-V-I to the 6th degree of a major scale? Like E to A to D in the key of F? (Talking abt root movement not chord quality)

@@AfiScruggsplaysbass Hmmm. Did not think of it like that. Thanks.😊 Hopefully Jeff will shed more light on this and how we can think of these progressions and using them in context (and fingers crossed with some phat voicings.😄)

@@AfiScruggsplaysbass That's what he does as 8:24, is that what you mean?

I see the.7.3 6 2 5 1 as essentially circle of fifths. In C .Possibly.. Bmin7b5.(G9) Emin A7 Dmin G7 C. I'm going.by.memory.here.

Haha coming soon!