I'm a jazz/country/gospel clarinet/sax player in a small country church (mouthful, lol). One day the pianist was sick and couldn't show up for church so the organist took over the piano (--no organ that day). I played my usual part--lead or back up chords, pads, etc. I never play for the altar call as I view that as a very personal time for the person coming up front in need of prayer and is no place for any horn work, so I stay out, seated down in the congregation and let only the piano and organ play this very emotional music. Having said all that, With no organ player that day, I remembered my own chording knowledge and experience as an organ salesman years ago, I saw that I could possibly slide in and play chords on the organ to support the piano in the future. So, since then, I've been working on chord progs in all the common keys they use in church on my keyboard at home. Therefore, THIS video is an absolute goldmine of new knowledge to enhance my organ playing should I need to suddenly fill that gap when I'm not playing horn. These cadences are also valuable knowledge to play on my horns as well in arpeggiated form! I really like the graphics on the video and your slower pace. You do, however, speak very softly so you could use a little more volume in your videos. Your practice tips are all very true. Thank you so much for sharing your knowledge with this old horn player (50+ yrs).
Thank you so much for sharing your story, It’s awesome that you stepped up play and still want to continue to learn to grow. Hopefully I can continue to help. What are some piano/music theory topics that you’re interested or may need help in?
Hey. Commenting for the algorithm but whew, I really do love your videos. As beginner who's powered through dozens of theory videos and now has a basic understanding of all the keys and chord qualities, its so nice to stumble across your videos that provide such tangible and lovely sounding examples to as you say, 'get it under the fingers'. Thank you.
Thank you so much for your kind words! I started the same way, just a beginner scouring RU-vid for hours to try to learn as much as I can. Get it under the fingers might be a new catch phrase of mine lol. Thanks again.
The b6-b7-1 progression can come from the Melodic Major (although frequently descending) which is the major scale with a b6 and b7 like Mixolydian b6 from the Melodic minor. It is worth noting the whole tone progression ascending in major works to resolve to any chord with a major triad or using some thing like a mu chord.
@@AnthonyCollierMusic no disrespect intended. I just want to be able to say I can play gospel like that but don't have to. But, these chord progressions are sweet!
I've been looking for these sounds for a very long time, and thank you, thank you, thank you. Please demonstrate its application in a song. Thanks once again.
A comment like this means more to me and the start of my channel than you will ever know. So thank you! Yes I can DEFINITELY make a video showing the application in different songs. So please subscribe to stay tuned.
Wow this is really awesome. I love the way every one of these sounded. In the future could you explain where you are getting the progressions (I.e why Ab, why major, etc..)? It would be helpful for me as I have no formal training and am trying to learn jazz. Thanks for the great video.
Thank you so much! I’m really glad you enjoyed the lesson. I will definitely try to make a video like that in the future (I just didn’t want to make this video to long lol)
One reason for the Ab working over C I think is that a link is that it matches the negative harmony scale of C. Instead of going up WWHWWWH (whole and half steps) you go down with the same distances. This gives you the Ab major scale. Anything from that scale is thus related to things you do in the C scale. And relationships between blocks of notes is what makes music work.
The b6 is a chromatic mediant. That''s any scale that is a major third away from the tonic. I've heard some progressions using a chain of chromatic mediants, they sound good together even though they aren't "related".I'm trying to learn the ukulele fretboard and I'm using the circle of fifth progression. IV vii° iii vi ii V I You might also start adding roman numerals since it transmits lots of information.
Thank you for that bro. Yea I’ve been thinking about that lately. I think I’ll make the change next video. I thought what I was doing was “more simple” but yea, the Roman numerals transmit more information like you said.
This is a really cool way to think about the outside notes - so musical. I put them all into Band in a Box and have been vibing on them all day, getting them in them bones. It's all going to go through 12 keys. It will do me so much good. I think a lot of these changes fall into relative minor borrowed chords. Love the simple breakdown with just chords, it's clear for learners and advanced players (me), we just need the chords and are away improvising anyways. Do you have any more? All the ways to get back to C? Any more please? Would like you to treat more turnarounds this way.
This is such a wonderful comment, thank you so much! It means a lot that you like what I’m doing. I’m trying to push out content as fast as I can, so definitely stay tuned. And because of you, a video for turnarounds will be on my list.
Option 1: take each chord of the progression and extend them (aka add the 7th or 9th or even a 13 to your chord) Option 2: add quick chords between your existing chords (a dominant 2 between the 1 and 5… Also, maybe a diminished 7th chord built on the b6 to get you to the 6
For b3 4 1 progression you write B dominant but play F7 is that intentional? I was a bit confused here(e.g are you saying the tritone sub also works here 🤷♂), but I get the overall idea.
