Ill need to rewatch these videos a few times, but they’re exactly what I need right now to play at the next level. You’re helping make higher level music accessible for the masses and I commend you for it.
This might be my favorite video of yours yet. And it just reinforces what a treasure you are for the world’s understanding of music moving forward. No snobbiness, no prizing of lofty concepts over crowd-pleasing pop devices. You just break everything down into such relatable pieces that it makes me enjoy thinking about music theory. Now I’ll finally be able to hear a piece of music in a film and go - that sounds spooky, they’re [maybe] going from the minor tonic to the minor six chord! Thank you 🙏 EDIT after being humbled by the quiz at the end: I still have a lot of work to do but am grateful for the examples to study 😅
Your set of videos on chords, scales, keys, inversions, slash chords and examples of how each is used is a tremendously informative and accessible information resource! I find them both entertaining and informative, and always point my students towards them when they ask questions on these topics! Thank you for your hard work, David!
Rare intervals I'd love to see in a future sequel to this video is the bVIIm, especially found in Glass Onion by The Beatles and Love Street by The Doors! Another one is the VIm found in I Heard It Through The Grapevine and Come Together
@@DavidBennettPianoplease talk about pink floyd more!! 🥹 you are such a valuable resource. thank you for aiding me in my journey through music and life. this video and it’s’ major counterpart are genuinely two of my f a v o r i t e videos you’ve ever made
While IV may not be as common as V, it is common in Doric contexts. I mention this because you brought up Dorian in another context. bII may be borrowed just do avoid a diminished chord, so in Hocus Pocus by Focus when Thijs goes up the scale towards the end of each "verse", he always does bII. In terms of functional harmonics, I remember that we used to use the term "parallel tonic", in major it'd be vi and in minor bIII, which is why bIII feels like home in a minor setting, it's the parallel tonic. (it's in the "same but opposite" position in the circle of fifths). Lastly, Picardy third, in my ears, a recent use of the Picardy third (and the IV chord as the song seems to flirt with Dorian a lot), is Australia's 2023 Eurovision entry "Promise" by Voyager. The last 3 chords are bVI - bVII - I, so an æolian cadence ending on a Picardy third.
In the Latin jazz classic Trofeo de Bolos, literally the second chord you hear is a diminished chord. The song switches back and forth between C minor and C major, and starts in C minor. The first 2 chords in this song are C minor, and D diminished.
David this is the musical brain food we all love and need in our lives! 🎵 🧠 There's a sense of peace and joy in every session and it's so refreshing to gain knowledge in such a fun and inspiring way Thanks ever so much for the experience 😊
Got all of them except the last one but I was close. I'm surprised I did better on the minor chord quiz than the major chord quiz but I think my ear has just sharpened from your major chord video! Also, I love the popular examples you use to help internalize these chord progressions 😄
Another good example of the major 2 part that’s also in d minor is Not Ready to Die by Avenged Sevenfold Instantly what I heard in my head when you played the chords Very helpful video thank you
Good job man! Just to point out that you are referring to the "natural" minor scale. If it was the ditonical : the 2nd and 7th are diminished and the 3rd is a augmented cord . For instance on A minor the III is an augmented C - E - G# (used in Mozart Requiem intro) which is actually rare in classical music
Absolutely love this series David! I hope it continues with identifying extensions and identifying inversions. The major one was a piece of cake, the minor one, well I need more practice outside of i bIII, bVI and bVII!
the Muse example of a major II after a bVI is also an example of a secondary dominant use of major II, because the major II leads immediately to a major V (which is the primary dominant of the minor i chord in this song). I would rather see an example where there is a vamp of i-II , but can't think of any pop song using that right now. It just begs the i-II-V resolution ;)
My favourite example of the ii chord in minor (which I'll maintain is the same thing as vii in major) is from a French song called Du côté de chez Swann, which is based on Marcel Proust's novel of the same name (Swann's Way in English). It happens several times in the chorus, and you really feel its sort of dreamy whimsical edge. As a side note, the chorus also uses the James Bond progression. Edit: and for the II chord in minor, my favourite example is from Those Were the Days. Or maybe Arabian Nights, I'm not sure, both are super cool.
It's funny how familiarity can make a rare chord progression feel normal. Today, "Enjoy the Silence" just sounds to me like a super catchy pop song. It did stand out to me when it first came out though.
I think Martin Gore has a bit of a knack for that: chord changes that can feel quite striking on first listen, but that quickly come to sound “natural”.
Brilliant video! as usual, well done and thankyou! Some common themes amongst the chord progression and even your scale videos have been contrasting darkness and brightness, and functional harmony. Is it possible if you could do a video or two on Axis Theory and Negative Harmony?
A nice chord is the Neapolitan chord, which is the bII in 1st inversion. That is, in the key of Am it would be Bb/D. This chord appears a lot in the Moonlight Sonata, and has a very sweet sound.
Great video as always! As a beginner, I was wondering if you know by heart all the (minor) keys, or if you use the relative major. For example, when you play D minor, do you go through the relative major (F) in order to know there is a B flat ? Or do you « instinctively » know there is a B flat ? I find it easier to learn the sharps and flats for the major keys, and then make a connection with the relative minor, but do you manage to know all the keys without thinking too much about it when you’re experienced ?
I get a lot out of these free lessons especially as they push me. I'm not young, been getting back to music, and definitely I've needed to work on this basic skill. One thing I made myself do to learn chord progressions by ear better is to learn them at the piano from listening to simple songs, without sheet music. I'll put a song on repeat and make myself find how it goes in terms of chords just by trial and error. It can take a while. So far I can only do this with really simple stuff (guitar-based popular music is helpful because it tends to narrow down the keys used). These lessons here make me learn the sound of less common music, and that also expands my own creativity. Very nice.
7:37 to around 9:40 (whenever the ad starts) encompasses all of my professional work from The Assassination of Jesse James by the Coward Robert Ford to modern Disney Star Wars...
Fantastic video. I'd forgotten so much of this with the written notation. It still confused me sometimes, I definitely need to keep brushing up. 💜 (Timbro, your logo damn near gave me a headache 😂 oof)
The verses in Nirvana’s Pennyroyal Tea have that i-bVII movement going on. About a Girl’s verses are I-bIII back and forth. It’s interesting but in the chorus both songs seem to go somewhere else and outside of that. And I’m pretty sure I’ve also heard Silverchair used that bV. A song like Black Tangled Heart possibly? Their albums Diorama and Young Modern became more harmonically sophisticated and melodic than their earlier heavy riff based sound. The ending of And I Love Her is another good example of ending a minor song on a major tonic.
The chord progression heard early on in the Yoshi’s Island Castle theme (which uses the double harmonic scale with the occasional flat 7 here and there) has a major 2 chord in it.
The fact that the major version of the V chord appears in both major and minor keys makes it a good pivot chord for people writing music--if you're in a minor key and you want to modulate to the major key, you can end up on the major V chord and then go the major I chord and continue in the major key, or similarly in the other direction.
My mind: This video is sponsored by hook theory 😂 These videos are amazing man... You literally taught me music theory in the most simple way - all these years 👍🏿💙
The bV chord may be rare in the minor key. But there are 2 songs where I’ve heard it used. And they’re both by Metallica. You can find the bV chord in both Wherever I May Roam, and Harvester of Sorrow by Metallica. And it’s kind of interesting because although it’s borrowing from the parallel Locrian scale. I feel like they were using it as an alternative to the regular 5 chord which would actually be a diminished chord in the Phrygian mode.
Another case of major II is in Exit Music by Radiohead, the verse "You can laugh, a spiness laugh" etc Edit: it's still mentioned at the end, but for another reason :)
I screwed up at the end( mostly) and supposed to be a songwriter haha, great stuff and rude awakening how lazy ive been, brilliant thought provoking stuff
I was expecting an explanation of Harmonic and Melodic Minor chords. I know David has done this before, but it is a way to educate people to the roots of todays' music. I enjoyed this, and realize that I need to devote the time to ear training.
I’m surprised you don’t mention that the bvi in the minor key is a chromatic mediant, and quite distant from the minor key. The Imperial march is a great example. But it also occurs in the refrain of Bowie’s “The man who sold the world”, which seems to be in D minor, and e.g. at the words “the man who sold the…” Bb minor occurs--the bvi!
I’ve always found minor keys more inspiring to write in. That switch to a major V creates such a satisfying resolution…and if you pair it with a secondary dominant II it’s even better. Major keys just feel…dull most of the time.
Another chord is the minor chord built on the sharp 6th degree of the scale, so if we're in A minor, that chord would be F#m. A famous example of it is the verse of Light My Fire, which vamps on Am-F#m.
Weird youtube glitch, this reply is appearing as a response to two different comments from two different people haha: "The verse of Light My Fire is actually vamping between the minor Vm7 chord and minor IIIm7 of it's major key until the chorus where it finally resolves with a IV - V - I ("come on Baby light my fire"), Am7 - F#m7 - ... - G - A - D (home key of D, ignoring the song being tuned a half step lower). Though it does use a borrowed E chord to get back to the verse which could be considered a type of modulation between D and A minor"
Thx for breaking down the two different naming systems. Thought for a moment there was an editing mistake and was scratching my head in much confusion.
@@NelaInTheSkysalve Nelalnus Coelum. Because this guy deserves a high quality comment compared to his class. Latin is that language. And the Google Translate can show you the meaning. I like to get amusement writting in latim. Sorry if I borred you. Perdona me!
I know a little Latin, so I don‘t need a translator. No, you didn‘t bore me. On the contrary, I had fun reading your comment as my Latin lessons were a long time ago, so I was happy to be able to translate it by myself 🙂 I just was curious as I can‘t remember seeing another comment in Latin here on yt.
@@NelaInTheSky My native language is portuguese, a romance language derivated from Vulgar Latin or "Sermo Vulgaris". I'm the vocalist of the LUCKY DUCKIES vintage band and my name is derived directly from latin. I'm Marco António from Marcus Antonius.
Great video. Theres also the i minor going to an I major in order to resolve to a iv minor. Can be heard in folk songs from the Balkans, some Fado songs etc
Th G sharp *is* in the (harmonic) minor though? I was taught (in rather inadequate music theory lessons when I was a kid) that the harmonic minor was the 'real' minor scale, at least that's the impression I was left with, at the time. (playing violin, not piano).
It’s the natural minor scale which is the default one. The harmonic minor is a commonly used modification. That’s why the G# of the harmonic minor isn’t present in the key signature but instead has to be added as an accidental.
Pick a song you know and love, attempt to work out the chords by ear, experiment at your instrument to see if you’ve got them right, trial and error. Then look up the chords online to see how close you were 😃
@@DavidBennettPiano Ok !! 👌 I wasn't sure something that straightforward would bring results, but if you say so, I need to try to make it a routine and finally get better , Thanks David 😀
Really great and informative video, buuuuuuut: The Title is not accurate at all. I mean you just went through the possible chords and gave examples but you didn't show me how to recognise these chords by ear. I also got 0 of the chord progressions at the end right so I guess that underlines my point? But anyways still a very helpful video!
Can someone please explain to me why David sometimes uses a flat chord symbol in the minor chord progressions. Is it actually a flat chord or not?? I am totally confused!! I thought the chords were exactly the same as the major key chords...🤔🤷♀😵💫
He does it to please the ludicrous people from a bygone age that refuse to accept that minor scales and Arabic numbers have been invented. Some classical music snobs will insist that a 1-6 in A minor (A minor to F major) is actually a i-bVI in A major. They label the F as a bVI because in A *major* the sixth degree of the scale is F *sharp*, so to play an F natural in A major, you have to flatten the sixth. This confusion could be solved if we just decided that all scales are major (e.g. "A minor doesn't exist; it's just C major") and that an Am to F change is a vi-IV (6-4) in C major, or we agreed that A minor is a legitimate key and that Am-F is a simple 1-6 (i-VI) in minor. Instead, the classical nerds go with something that's far more complicated and confusing, because they hate modern life and think we should all still speak Latin and use little sharp and flat symbols and Roman numerals instead of integers and modern words.
@@AutPen38 Oh thanks so much for your reply. I kinda vaguely understand where David is coming from now but I totally agree with you that it is WAY too complicated and confusing. Yes I can see why you use the word "ludicrous"!!! Why why why???!!!! Yes an Am to F could just be vi - IV!!! Brilliant!!! I'm with you!!! 😃👍👍👍
@@AutPen38 And so I guess you are saying that if we use the Arabic numerals e.g. 6 - 4 rather than the Roman numerals then you just have to know that a 6 chord is a minor chord and a 4 chord is a major chord. I guess that is not a lot to ask of someone with a reasonable understanding of music theory...
@@party-sy2tk To be fair, the system David mentioned seems logical, precise, and useful for analysis of long-form classical music that features tons of chords and occasional modulations of the scale. e.g. If Beethoven wrote a "Symphony in A" it would use A major as the tonic ("the one") and could use F# minor ("the sixth") as one of the harmonies, but Ludwig might change/modulate the scale for a sad section where he uses A minor and F major for the harmonies, before going back to the A major scale to finish the piece. In that scenario, it makes sense to describe the Am-F section of a song in A as i-bVI, because Am is the minor version of the tonic chord (A major), and F is a flatted major version of the sixth degree (F# minor) of the original A major scale. The lower case i would clearly indicate that you're changing to the minor version of the tonic (A), and the upper-case bVI would mean "instead of playing the usual sixth chord of A major, which is the F# minor you've been using for the last five minutes, flatten it to F and play it as a major chord for this section". In modern loop-based pop/dance, however, modulations of scales rarely occur, so we don't really need Roman numerals or the flat/sharp signs. If someone says "I love this new hip hop song. It just loops round A minor to F for 80 bars", it can be easily understood as a "1-6 in A minor", (aka "i-VI in A minor"), or a "6-4 or vi-IV in C major". If the bassline stayed rooted on F and I wanted to be opaque, I could describe it as a "3-1 in F lydian", but it doesn't really matter, as all these descriptions just mean the chords go from A minor to F major. I think most musicians can remember that the 6th chord in a major scale is a minor chord and the sixth is a major chord in a minor scale, but I think that when we say things like "It's that 1 5 6 4 pattern again" it's important to specify whether the scale we're using is major, minor, lydian or whatever. Most people are more familiar with major scales, but many others (e.g. producers of house/techno music) routinely work with minor scales, or one of the rarer modes (lydian, phrygian, mixolydian etc), so you have to specify the key/scale alongside the numbers. e.g. "It's a 1 5 6 4 in C major" or "It's a 3 7 1 6 in A minor" both produce the same chords (C G Am F).
@@AutPen38 Thanks so much for in depth explanation. Am getting my head around the system David uses. I guess he is classically trained and that's just what he uses...
18:35 going from i to bV (or vi to bIII) is really a use of the locrian mode. If you're in E minor/G major, you'd really use the R locrian mode over the Bb major chord, which is Bb lydian, which effectively puts you in the key of F major/D minor. Because think about it, Bb is B-D-F, and in Em you've got a B and an F#, so you have to flatten those, so instead of the E minor scale E-F#-G-A-B-C-D, you get E-F-G-A-Bb-C-D which is E locrian (so F major)
Having a genetic condition which renders me incapable of hearing intervals, I never get these right. I do enjoy watching these videos, and find them very educational. Thanks!
Another example of major I in minor is in the first movement of Shostakovich’s String Quartet No. 8. It’s in C minor but we occasionally get C major chords (spelled with Fb instead of E). They do not sound resolved at all, and the best way I could describe them is Csus b4 since they resolve down to Eb.
In a minor i,vi,v blues, if the v becomes major, I call it a latin blues. Santana and Tex-Mex bands use it a lot, and you can play melodic minor scale stuff over the V chord. I think there's also a link to flamenco music in that progression.
I probably am completely tone deaf, but I completely botched the quiz part. Somehow I just can't get to pick the chord progressions well. Sometimes I do get the right notes and intervals in the training apps, and I'm getting better at that, but the chord progressions keep missing me. No idea what I'm missing in my practices
I've allways Wondered, how do you even know if you're hearing a major or minor key? Couldn't you easily be mistakenly hearing the bIII as the root, shifting the whole thing to a major?
bVI and vi need to be specifically stated so there’s no debate, ever. Theory is typically referenced to the major scale, so this should be a no brainer for the musically educated. Upper and lower case roman numerals need to be used to signify major and minor harmony.
The progression at 1:16, from minor to major like that, reminds me of the intro from 'I Feel Love' by Donna Summer. Also, one example i know of the biii chord you mention at 19:28 is in Dancing Drums by Ananda Shankar.
12:18 I remember pointing out this little dorian vamp during your Top 30 Songs of the 60s livestream. Are you ever going to take up streaming again, even if it's not on Twitch? It was just so fun.
