I know you’re probably trying to keep it a bit simpler, but the second chord is actually not a III, but a V/vi (five of a six), which is a secondary dominant, which essentially is a V-I, which is why it sounds so good. Great video!
you know every time i get that notification its time!!! gon have to learn this and transpose it 🙏🏾🙏🏾🙏🏾 love that you working some Kiefer in this too bruh
Hi there, as I was saying in the premiere, I realise in neo-soul the iii minor chord always uses the 9th extension like how you did above at the G#m(9,11).. I'm wondering why this traditional theory "rule breaking" sounds good and acceptable 😂.. because in theory the 9th extension doesn't exist in iii minor. Thanks in advance and for sharing your gifts 👍🎶🎹
That's a great question Joel! So the 9th of the iii minor chord is the #11 of the key we are playing in (E Major). The #11 is taken from the Lydian mode. So even though that 9th of the 3 chord (A#) doesn't belong to the E Major scale, we are taking that from the E Lydian scale. That's why it "theoretically" works. I hope this helps!
@@thegiftedhandsmusic So, it's like a temporal Modal interchange 👌. Thanks for the explanation and clarification! Appreciate it. God bless you bro 🙏🎹🎶😄
The way I understand it is that you assume that the bass instrument (real or imagined) is playing the root, freeing up one of your fingers for doubling a note or for an extension.
I'm using a Nord Stage 2 in this video but the sounds are just coming from my DAW. I'm considering getting Keyscape or Ravenscroft for these videos though!...Normally I run an all hardware setup when performing live.
