Her smile gets brighter with each video. Really a treat to see someone talk about something they like and are passionate about in a way that helps and motivates other people.
the 7 (five) Chord Progressions 1:15 . *I IV V* . _the simpler the better_ 3:19 . *I vi IV V* . _tell a story_ 4:55 . *I V vi IV* . _pop song formula_ 6:07 . *ii V I* . _jazz progression_ (optionally, add 7ths of each chord) 7:54 . *I vi iii7 ii7 V7 | I vi iii7 ii7 iv* . _take me out + bring me back_ (briefly add non-diatonic chord, in this case the minor 4 chord) 10:46 . *I vi bIII i ii7 V+* . _endless emotion_ (break the rules in a beautiful way) 13:54 . *i i(M7) i7 i6 bii(M7)* . _lift me up_ (repeat cycle one semitone higher) _Let me know if I need to correct anything, especially the last 3 progressions._
@@bassyey Certainly on the "ii-V" section (some situations you might use the V+ [Augmented] Triad, but very uncommon in Jazz post Bop. On the "I" Chord you might substitute the ∆7 for a 6(Common in Swing Era or when you have to use the Tonic as a Melody Note9 or a 9tn (add9, common in certain forms of Contemporary R&B Ballads, Fusion, Contemporary Gospel and New Age). The "Mu-Major" Chord Steeley Dan often uses (in the verse of their song "Peg" it is the used in the Verse as a resolution of a Plagal Cadence) is Major Triad add9 with the Third in the Bass. 3-9-5-1, Could be played on a a Guitar on an "Eb" Root ("G" 3rd in Bass) as 3-X-3-3-4-X OR on an "Ab" Root ("C" 3rd) as X-3-X-3-4-4.
I just recently discovered this channel and she has quickly become one of my main go to teachers. She is incredibly knowledgeable and has the ability of sharing that knowledge making it easy to understand. She is a natural when it comes to teaching.
@@mariesinging7654 So go and learn some more and come back. She really is an amazing teacher and gifted guitarist. It doesnt take much music theory to get what she is talking about and it is all part of learning and loving guitar. I hope its going well for you. Stick with it. :o)
I too am a huge fan of Brian Wilson whose genius in that chord progression in “ Warmth of the Sun” blew me away when I figured out what he did. I remember a documentary where of all people Iggy Pop pointed that out. Amazing musician. Thanks for the lesson!
For the over-used 4 chords progression: The videos of The Axis Of Awsome are exhilarating! Example: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-5pidokakU4I.html
Well Ayla, your video certainly lifted me up. You are just a bright jewel. Your videos always have content that is immediately useful, well explained and the history attached to these 7 chords is very interesting. Thank you. You are a great mentor for all of us playing or learning guitar.
You are an amazing musical talent . Additionally, I am very impressed with your historical knowledge of the modern era of popular music. A pleasure to follow you.
One pattern that shows up in this video that you can use in all sorts of other chord progressions (or even when making your own) is this: You can swap out a chord in exchange for a different chord that shares two notes with it. One example (and another "kind-of" example) are in this video: First, the I-IV-V progression is related to the I-ii-V "jazz progression" in this way--the ii chord shares two notes with the IV chord, so you can think of the I-ii-V progression as if it were formed by taking the I-IV-V and exchanging the IV for the ii. Another (the "kind-of" example) was the I-vi-IV-V "fifties progression." It's built on the "skeleton" of the I-IV-V, but if you look at the vi chord you'll notice that it shares two notes with the I chord AND the IV chord. So it makes a nice, smooth transition between the I and the IV because it enables you to move one note at a time (while adding the emotional flavor of a minor chord). Now, the classical music theory behind this is the theory of functional harmony. According to functional harmony, each chord has one of three functions: Tonic (key-defining), dominant (tonic preparation) and subdominant (dominant preparation). The I chord is the primary tonic chord, the V chord is the primary dominant, and the IV is the primary subdominant. This is also why the I-IV-V-I progression is the simplest: It goes from defining the key, to preparing the dominant, to playing the dominant (which is preparing the tonic) to playing the tonic. And chords that share two notes with a primary chord have the same function that it does. For instance, the ii chord shares two notes with the IV, so it has subdominant function. The vi chord shares two notes with I and IV, so it can be used either as a tonic or subdominant chord (and kind of "splits the difference" in I-vi-IV-V). The vii diminished chord shares two notes with V, so it is dominant. The iii chord is a special case: It shares two notes with both I and V. But how can a chord be both tonic and dominant (that is, tonic and tonic-preparation)? Because of this, it didn't get a lot of use in classical music, though it can be fun to play with in modern music. Another interesting thing you can do is take any chord in the progression, and lead into it by playing ITS OWN dominant (V or vii-diminished) chord. So in the chord progression I-V-vi-IV, some songs play I-III-vi-IV, because the *major* III chord is actually acting as the V chord of the vi chord. This usage of the "V chord OF" some chord other than the I chord has been done since the days of classical music, and it's called a secondary dominant. I know some readers of this comment will already know some or all of this--it's pretty standard freshman-level music theory in college--but I thought it would be good to explain it to those who might not have that background.
Amazing video! I wish I could like it 12 times. This content is at just the right level for me and where I'm at in my guitar journey. Its done so that I can always understand what you're talking about, but there's also deeper levels that I can pause and dive into.
Please keep up the great work when I get more time I try to watch some of your shows or videos I'm getting kind of old but I enjoy learning the guitar trying to do some other things also working some part-time that you are and you have a very soothing voice you're doing a great job keep up your great works I believe there are many people that will appreciate this so thank you Tim Colorado Springs Colorado.
Most of the time when you hear an "out of key" minor chord it's a safe bet that you're hearing IV being replaced with the iv from the parallel minor. That minor 3rd turns into a great leading tone since it's only a half-step above above the 5th of the I chord. Going from IV to iv to I gets a great chromatic little run from the IV's major 3rd to the iv's minor 3rd to the I's 5th
I just love your videos-thank you for sharing your vast knowledge and spreading your upbeat attitude. You’re a beautiful human , it shines right through you and your smile.
She's REALLY gifted! What she can do at such a young age and her maturity is not something one can simply learn with practice. Hence, the definition of giftedness.
when she showed hand with 7 fingers and me being a half blind diabetic i legit stopped the video and played it 3 times all over to assure i am not losing sanity or vision :D
Wow, just wow. Such a passion for music, it's history and social evolution. Ayla ties so much together in a way that finds connection across so many great songs and artists. So young and so bright. Every one of her lessons is a Hubble telescope and a Microscope on music.
Good - enjoyed that. The first time I've heard an sensible analysis and comparison of progressions that makes some sense. I'll be mining Guitaro for some more from you!
Thank you Ayla for this wonderfully succinct, yet very informative lesson. I love how you delivered some high octane information while at the same time, somehow, almost hypnotize me into a lazy summer afternoon nap. I'll be spreading the word about you!
"Baroque Progression/Pachelbel's Canon": I - V - vi - iii - IV - I - ii - V Basket Case, Don't look back in anger, Streets of London, Go West and many more... It comes from classical music (the famous baroque hit Canon in D). Watch out for variations on the last two chords. This is a important one! Good Video ✌
Just an amazing listen. I’m new to really learning chords that will help me with my song writing. I just wanted to leave a comment about the learning you provide. It’s astounding actually to hear you explain so well the musical history of chord progression and it’s timeless and lasting affect. The clarity you bring and real life examples of those artists using successfully the chord progression lesson you shared with us today cannot be overstated. I’ve never heard or seen anything quite like it. Thank you so much.
Great video, Ayla! Love to encounter other folks who dig the Acoustasonic Jazzmaster. My AcJM is one of the fave, most versatile in my arsenal. Thanks!
My daughter loves this girl. We do our lessons but as soon as I turn this on she goes wild. Thank you for all your help in making guitar cool for younger ladies.
I have been playing a long time, and still learned a LOT from this video. Thanks, great teacher who knows what she's talking about and explains it well.
*the 1, 4, 5 progression is basically the notes of a “sus4” chord..* *Csus4 notes are - C, F, G* *the 1, 4, 5 progression is also the Primary Chords of that specific key too*
Bear with me; I'm an accomplished composer & guitarist. I can write elaborate classical pieces, or electronic arias, & while I know all the usual suspects when it comes to scales & chords, most of my playing & composing is done by ear. My ear just knows where to go, & I never really have to think about it, tbh, I just let the song write itself, & with a little emotional intelligence, it's all fairly easy. That said, I have never found a more capable teacher than Ayla. She is so patient, & so in love with her craft that it makes me want to listen to what she has to say, & I'm always learning why I do half the things I do. She's a true gift.
Ayla , u r so great. I love that you are serious and relaxed at the same time. I used to wonder if video games and social media would make it so that there would not be many more great musicians because of people being on ig all day instead of playing an instrument. You show that this is not the case. You always slay it. You need music and it needs you. Thank you for being a great person and teacher. Also lol, when I first saw your videos, I thought that u were from NY, but you are from same place as me I think.
You have a new subscriber! You are one of the best YT guitarists! Love your hybrid picking, that's something I need to work on more! You even got me to liking that horrendous-looking Fender Acoustasonic!
Saw the thumbnail. You explain very clearly. The set design looks about perfect. Have to watch that seventh example again and try to tackle it. Thank you.
Here is a pattern used by Bob Dylan and The Beatles. It has been used in other songs as well. It is an abbreviated harmonized scale. Dylan’s Like A Rolling Stone key of C: C, Dm, ‘Em, F, G7, The Beatles If I Fell: D, ‘Em, F#m, G, A7.
Even the jazz 2-5-1 is just a re-harmonized 4-5-1. Re-harmonizing is a large part of what defines (modern) jazz as being jazz. Jazz uses a lot of upper extension to chords, and if you add the diatonic extensions to the 2 chord, you find the 4 chord in them. Also the 2 chord and 4 chord are both subdominant (like to go to the major 5) so the function is the same.
Bobby Short did a variation on that "Lift Me Up" thing in a 1970s commercial for a women's cologne called "Charlie". This dream girl played by Shelly Hack comes breezing into a night club, enchanting everyone she meets, while the guy at the piano (Bobby Short) is singing about how amazing her perfume is. Meanwhile, every couple bars the song moves up a half step, starting in D and ending up in F. I'm pretty sure they sold a ton of that perfume just from that one ad. I'm also making a note about that ii V Vaug thing. Great stuff!
Genius, what a simple explanation of how songs are constructed. So good to learn from you. Listening takes on another dimension, and you make it look so easy...(if only it were 😎)
Hi Ayla, ich habe in den 80ies 90ies Musik im Amateurbereich gemacht leider war es damals nicht so einfach so schnelle Fortschritte zu erzielen wie es heute möglich ist ich wünschte ich hätte den Support und die Möglichkeiten damals gehabt ich denke schon das die heutigen Möglichkeit ein Beschleuniger sein können 2000er habe ich dann endgültig aufgehört mit dem Gitarre spielen. 20 Jahre später habe ich nun noch einmal begonnen und bin ziemlich überrascht wie gut es war mit 14 Jahren mit dem Gitarre spielen zu beginnen es ist wie eine muttersprache die man erlernt und doch nie wieder vergisst. Und natürlich habe ich in dieser Zeit alles an Rock Blues und Jazz verschlungen .. Und ich merke sehr deutlich in meiner Art und Weise Musik zu leben wie mich auch das musikhören und analysieren tief geprägt haben der Einfluss lebt immer noch . Ich hatte eine tolle Zeit hier ein paar für mich wichtige Einflüsse mit z.b Frank Zappa Roxy and elsewhere , Colosseum Live, Miles Davis we want miles, Dr. John Gris Gris, John loard Sarabande, Santana Borboleta, Tom Waits, und viele viele andere Ich spiele jetzt seit 1 Jahr täglich ca. 4 Std incl Theorie..und bin weiter als in den ersten 15 Jahren was meinen Horizont Technisch und Musiktheorie angeht . Ich verschlingen das regelrecht.. Ich bedanke mich für dein Engagement, dein Wissen an andere weiterzugeben ... Vielen Dank und alles gute für dich Ralph Germany
Thank you for the great tutorial covering these 7 chord progressions. I will be checking out your other tutorials as well. So, keep em coming and Mucho Thanks for the lessons.
Hey Ayla .. as always a Gr8 easy to follow explanation of things I kind of knew already but had not understood properly .. A long time ago I met a Bass player ( not a nice man ) but I noticed in his gig bag an old tattered Blue book .. I think it was call " A 100 Jazz Standards for Buskers " so I picked it up to look & he snatched it from me saying it was way too advanced for the likes of me ! ( how rude .. He also once tried to hit me in the back of my head with is bass during a Live Jam session .. ha ha I went to a rougher school than most & was watching for him lol ) I finally found the book in another Jazz musicians house A saxophone player who showed me that the book just had the numbers for over a 100 songs ie: 1 / 4 / 5 . etc & that if you knew all your keys that was all you needed to " Busk " ( a misunderstood & often misused term ) your way through a song . He also told me ( I was 30 years old ) That I had left it too late to develop a proper " Embrochure " ? & I would never be able to learn to play the Sax like him . Gee I wish I had never believed him .. oh well Any way How about featuring the works of Beaudleaux Bryant ? A song writer from the Everly Brothers days who used almost the same chords in every Hit song LOL ( cheeky Huh ? ) for examples " Dream Dream Dream " Everly Bros' " Love Hurts " ( I 1st heard this sung by a Scottish Band called ' Nazareth ' chech out their version of Joni Mitchells " This Flight tonite " it will Rock your socks off ! & " Bad Bad Boy " Naughty song lol ) but it's the same chords as so many song & I am told it is Like the Piano lesson for " Chopsticks ? " as performed in the Film " Big " featuring Tom Hanks on Floor Piano ? OOps here I go again .. on & on But I am still on a bit of a completely Natural High .. This morning at 5am I went out on my Bycycle for the 1st time in over 2 & a half years Thru Lockdown & I cycled along a Forest trail to a lake & back . So beautiful .. & I promise I will delete this in a day or so . ( unless I get a like ? ) . That song Love Hurts was on the Radio & I was going through a heartbreak like only teenagers really understand lol .. ( Gr8 guitar solo too ) .. Love ya all & Ludic guys Everybody stay safe Peace out man & apologies to the short attention span folks .. oops I did it again ... Tee hee hee lol Your Grandpa aged Fan Ben Back in Lockdown again .
Wow. Ben McGuire, I just so happened upon your comment and what you were saying caught my eye, read down a little further and saw Baudeleaux Bryant and I've heard that name many times in my life from my mother. Beaudleaux and his wife wrote a few of my mothers hits from the 50's as well. Her name, Nan Castle. Anyhow, that was pretty interesting reading your post. There's not too many left these days who know of such greats. You must have some stories! Anyhow, glad I came across this. You take care, and God bless!