Extending piano chords in a simple progression

[MalZmoo]

Could you please do a video explaining syncopation? For example with musical stress I know that the 1 beat is the strongest, the 3rd beat is second strongest and the 2nd and 4th beats are weak. However, when you have something like the & of 4& tied to the downbeat of the next measure are you supposed to play it with more emphasis/accent because it is replacing the downbeat?

Thanks so much,

Mallory =)

[budsticky]

I just found these videos and have been going through a lot of them. Very excellent stuff...thanks much for these. One thing I notice is that most of the progressions you use when talking about improvising are straight diatonic progressions based on the major scale. What I'd like to see is some stuff with progressions which are non-diatonic and sort of hybrid. What I mean by this is in many pop/rock songs where you can have progression loops like this for instance: I-bVII-bIII-IV.

[budsticky]

To follow up as I ran out of space...I think about a song like Rolling In the Deep which is just a 1, b7, and b6 chord..just juxtaposed in different order over the different sections. How does one apporach improving comping patterns over progressions like these in regards to tools commonly used with diatonic major sequences such as suspended 9s, 11s, etc...as well as stuff like country 3rds. Thanks.

-Rob

[billhiltonbiz]

@budsticky Thanks for the comments, Rob - that's a really excellent idea. I'll add it to my "videos to make" list and underline it in red. Watch this space :)

[chopper84a]

flat nine is a really nice addition to a dom seventh. Also drop the root to get a dim seventh built on the leading note, which has a strong dominant function and is useful for making enharmonic modulations

[billhiltonbiz]

@chopper84a Excellent points, Chopper - thanks!

[chopper84a]

the maj seventh used on the dominant is a good pivot chord for modulating to the sub-medient

[chopper84a]

its worth noting the sixth is the same as the thirteenth. Also that a major sixth chord is the same as the minor seventh chord built upon the root of the sixth note, i.e C6 = Am7, just in a different inversion. The sub-dominent added sixth therefore is the same as the supertonic with a minor seventh.

[totmirmis]

thank you for clearing that up. Obviously im still not awake.....

[totmirmis]

please delete my comment below, i don't think i was all awake when i wrote that. I've been thinking about tritones all day, and realized that the reason the M7 on the 5th chord had nothing to do with tritones.....sorry

[billhiltonbiz]

@totmirmis Actually, you're right - I was going to say the reason it sounds so iffy is because introducing an F# in the key of C major gives a strong tritone. So the old D in M is exactly what it is :)

[totmirmis]

diabolus in musica ;)

[vbdx66]

Another point: could this principle if extending the chords actually be used on all the scale tones? I. e. for instance, would it be an option to use minor seventh chords and minor ninth chords on tones II, III and VI of the scale to extend the minor triads usually used there?

[vbdx66]

Hello Bill, very interesting video as usual. Could the fact that the M7 and M9 ninth chords sound weird when placed on G be due to the fact that the major seventh note, i.e. F sharp, is not included in the C major scale? So I guess this is why the dominant seventh will sound 'nicer' on the fifth tone.

[tuningmylifearound]

oooh! finally, a tutorial about extending chords for the less experienced pianists.:) thanks Bill! by the way, does your book ship to Singapore via Amazon?

[markoyoyo]

thank you very much

[geetarxist]

hell yeah

[pianoplayer135]

Great video! Do you have any tips on improving your coordination? Currently I can't play properly with both hands, my left hand automatically aligns to the right hand's pattern. Also, you seem to be very knowledgable regarding all kinds of genres, do you have any favorite styles of music? :)

[Solcius123123]

Great lesson !