VISIT AND SUBSCRIBE TO ME ON RU-vid: ru-vid.com/show-UCF5X... Other socials: kiefdaddysupreme kiefer_on_keys discord.gg/N3HjQuZ twitch.tv/kiefdaddysupreme
Thank you bro, you actually explained HOW you knew to pick that chord. Most ppl just say “oh find a chord that sounds good”. You dove a layer deeper, So for that thank you
Kiefer, your thought process is amazing! Thank you so much for this incredible channel! I've been "binging" on your videos since I "discovered" you. LOL!
@@kiefdaddysupreme I forgot to mention this earlier today, but I had a group Zoom lesson with Barry yesterday and he was teaching us some of these chord voicings, saying that no one plays chords like this. He was saying stuff like "On a G6, I add the C" and "In Ab, play the 6th of the 5th (Eb6) then add the 6th of Ab (F) to the Eb6."
Thanks a lot for being my teacher, I found you on Soundfly and now I am learning more from your videos. How can I learn more about to come up with these awesome voicings in the first place? Are there some rules/cheats? 😊
The way you play those Bm7(b5) voicings remind me of how I would call that voicing a bVI/I (so in this context, G/B, G being the bVI of B). Might be odd for you but I now see some inversions as slash chords since they have sounds that derive from certain modes, and also since ear training classes in music are having us memorize the sounds of all possible slash chords. In this case, it sounds like B aeolian to me. Also, rip the Barry Harris, used to watch that one on a regular basis man. Love your content and music.
It's been a while since I made this video, so I can't really remember what I was referring to, but I think I was talking about chords in the context of C major, so B aeolian wouldn't apply there, since it's not diatonic to C.
So dense with great information. Would love to see a video on your choice of chord voicing, what are you thinking when choosing different voicings etc, voicing theory... Thanks for the content.
To clarify, I do use theory when I'm learning a new concept (almost always), but then I try to commit the sound/feeling to memory as quickly as possible so that when I perform I'm not thinking about the theory. I liken my approach to learning spoken language - when you learn a new word it's good to know what part of speech it is, but when you speak, you shouldn't have to think about grammar or parts of speech. You just communicate freely.
this is really great, does anyone know if this is this a shorter version of a longer lesson on this topic from Kiefers Twitch channel? Deffo signing up if it is.!
Ok, beginner here. There were a few things I was confused by. He said Em in C was different that Em in G. When he played Em in G I noticed it was Em plus D first inversion. I see that D is in the key of G but I don't know why Em + D constitutes as an 'Em in the key of G'. I thought Em is just Em in whatever key E happens to be degree 2, 3, or 6.
Here's how I think of it: If a chord has a note in it which is not in C major, then the chord itself is not in C major. If a voicing of an E minor chord has an F# in it, it is not in C major because the note F# is not in the key of C. Therefore, E minor 9 (which has F#) is not in C. That being said, if I'm playing a song in C and I play an E minor 9 (totally allowed), it is a really cool color because it implies a slightly different key.
@@Mitchell4able yea his terminology threw me for a loop too! So not only borrowed from different tonal center (from c to g) but a different type of Emn chord too (9). Good question. Good content.
Not sure if you ever got your answer, but I'll do my best to explain it- Essentially, since E minor exists in different keys, C and G for example, it has a different feeling depending on what scale you play on top of it. If you play an E minor chord while playing the C Major scale, it will have a different feeling/sound than if you played that same E minor with the G Major scale because there are different notes in G (In the case of Kiefer, he's utilizing the F# from G, instead of the F from C)- Does that make any sense? I'm still learning myself, but this was my understanding.
E minor from the key of C major would mean the extensions are different than if it were from G major, since it’s the 3 of the C major scale that means it’s a Phrygian based E minor instead of a Aeolian (from G major) based E minor. Extensions for E- in key of C would be b9 11 b13 (Phrygian) Extensions for E- in key of G would be 9 11 13 (Dorian) the root triads/7th chords would be the same but upper extensions change. Hope that helps
