Not going to lie - this channel is the best thing since sliced bread. These tips have done more for my playing in the past 6 months than the last 20 years.
I'm a guitar player and that blew my mind. I know what modal interchange is but the tool you just gave me is invaluable. "Take the chords other than the tonic up a minor 3rd." End of story. That simple. Cheers man. I love your stuff.
This is because everything in that key is negative harmony, which is also the relative major of the parallel minor. When you mirror it like that you don’t get the actual negative version of the chords but it still sounds cush. It’s basically the minor major switch even though you’re going from major to major.
Bro… you got to start citing the specific courses these snippets come from! I’m coming to open studio! In the gospel world, many guys can play like this, but they can rarely explain it, so it’s hard to transfer, or, at best, needlessly complex and difficult. Thank you!
Really really cool! I guess another way of looking at this move could be when you want to modulate on a dime you just land on a new tonic a minor third down?
Not exactly. This works because of the relationship between the scale of Ab and F. Ab is the relative major of F minor. It’s a modal interchange because you imply F major then sort of imply F minor. That’s how I understand it. At Berklee, I think they talk about the “subdominant minor”. Kind of a similar idea: say your in F major, you can use chords from the subdominant minor, the minor of the IV, Bb minor. I like what he does here because he actually seems to modulate to that Ab key, but resolves back to F major, so it’s more of a journey to somewhere else before he resolves it.
If i could push the like twice, i would for this video. Why does it work so beautifully though? Is it because we are technically moving from F major onto F minor, which is like playing on the keys of Ab major and then when we want to resolve, we go back onto F Major, which gives that "minor to major" feeling?
Some of this sounds like 80s Bruce Hornsby's "The way it is" or Seal's 90s "Kiss From A Rose". Or 70's Keith Emerson ELP songs such as "Fugue" and "Trilogy".
@@MarkLAsche Glad to hear I was not imagining things. I have heard Hornsby stretch out more with jazz when he plays in more "jamband" situations, had no idea he could do that too til then and don't know much else of his, just going by ear the similarities came to mind
I really like taking a 7 note scale and transposing it down an interval on the next chord/harmonic moment, and doing that over and over. Then, you choose your chords with those given notes over time! I like transposing the scale down a cycle of 4ths most, full cycle is pretty wild though. I'd absolutely love to demonstrate this technique if anyone I'd interested, never seen anyone else do it to this day! Smooth way to have each chord in its very own key, 4ths and 5ths being the smoothest
@@fortunekosisochukwu2074 I keep forgetting about this until the end of the day and it's been a week now... I would've preferred to make a video but 2 years ago I already uploaded a little example to my soundcloud I use for this sorta thing, if you search Example Of Scale Cycle Concept (4ths) on there, you should be able to find it. The picture that goes with it basically says it all, but I definitely wanna make a video soon where I show a BUNCH of different examples, this technique has an unbelievable amount of possible results. Let me know if you got it from that example! Otherwise I'll remember to tell you when I get around to doing a proper video on it.
It should work as well with the minor third down, this is why : we apply the "if it fits for F , it fits for +1,5 but F" trick to the +1,5 but F, that fits (by the trick), then "+3 (triton) but F" fits and by the same process, +4,5=-1,5[mod6] fits😅😅😅😅😅
So transposing up a minor third is equivalent to the parallel Aeolian mode. If you wanted the parallel Dorian mode you could transpose everything down a whole step, Phrygian, down a major third, Lydian, down a fourth, Mixolydian, up a fourth, Aeolian like in this video up a minor third, and for the parallel locrian you transpose up a half step. Is that right?
absolutely beautiful. im a beginner.....and i mean spring chicken beginner on the keyboard....so everything seems like chaos mathmatics to me with the language you guys speak of recording chords and chord progressions and whatnot....but im slowly learning.....and even the smallest things like this video is just amazing to me.
@@Jupiter862 Well i just started playing piano 5 or 6 months ago.....but i'm not learning how to play by reading sheet music,....its all by ear...so its a lot of muscle memory for me when i play. My advancement is a little bit faster than the typical beginner, as so far i can play about 20 songs. I have played the saxophone for 36 years, so the transition is a little easier. My thing is, i want to actually know what chords I'm playing when i do play. I know what every note is on a piano....but if someone played a chord and asked me what chord it is?......i wouldnt be able to tell them.
@@Lyricalxsyou will develop your ears over time (which you know, having played sax). I've been learning piano the same way for a few years. If yours is like mine, it will improve your sense on sax as well because you'll start to hear more fully, more musically. Do you know how to build all kinds of chords and inversions of those chords?
@@Jupiter862 only when I'm playing a song that i've learned that do i actually do it. I'm sure I don't realize that I'm doing it, but I am....I just have no idea what the chords are that I'm playing when i do. I think I may install MIDIculous on my laptop so that it can transcribe what chords i'm playing so that it can provide a better tutorial for me to learn and build off of. However, my style of play deals with a lot of voicings and harmonization.....so i'm playing a tad bit more than just the normal chords and progressions that are in the songs i play.
Is there a reason he wrote Bb/\7 and then later F/\ without the 7? From what I understand and what google says the delta means major 7, so the 7 is redundant?
Yeah that does sound cool. Familiar, but I never put it together that that was what was happening. Why do harmonies that are borrowed from the flat mediant work this way?
same dominant family. we’re used to training our ear to hear the relations between note pitches and chords. what youre picking up on is what the sound of a minor third relation between keys is
That's because you're trying to play a D note which is not present in the new key of Ab and will not work for this method. The only note that will fit all 4 diatonic and 3 non-diatonic chords in this progression is the common note C, the 5th of the tonic. The F note fits all the chords except for one, the iii m7 or Am7, which would have to be changed to IV/3 or F/A to accommodate the F note but still retains the original feeling. Hope that helps a bit.
I dont understand taking it up to a minor 3rd. Explain it further for me. Are you saying that for the notes in the key of F, whatever they are in Ab is what you play?
The second chord in the second progression is listed as "V/3 C2/E" is that 5 of 3? or is that 5 over 3? Either way C2/E doesnt make sense to me. The 3 of F would be A, so if it's 5 over 3 it'd be C/A, and if it's 5 of 3 it'd be E7. I'm confused, someone halp
Its a short. They only have so long to explain in order for it to be a short - but basically take any chord progression in a key and modulate all the chords, except the tonic, up a minor third. His voicings are another thing though.
