The secret to creating contemporary, soul, and gospel chord progressions

[Benettonkkb]

This is why I hat this Gospel and Jazz garbage... every progression you said sounded bad sounded perfect to me, and the ones you said would work better sounded retarted to me...

-.-

[theoreticalsounds]

Opened my mind to the importance of paying more attention to chord voicings. Thanks!

[indyenna]

"Ok thats another way of looking at it. ...ur understanding is cool for teaching"--georgeness

I understand harmonies better by the slash chord method. I can plan my voice leading...do some inversions of chords...or do open voicings of chords. Sometimes people think that you have to put EVERYTHING in your playing of the tune. You don't have put in the wildest chord voicing. Put you should start simple. And throw in an occasional wildcard chord for measure. LOL.

[JSmusiqalthinka]

"The secret is to voice the chords correctly" How do you voice it correctly? You never seem to explain that.

[Mtaalas]

@JSmusiqalthinka Why would he explain that for free when he can sell the explanation to you :)

[SuperYCProductions]

You do talk a lot, but the tutorial is great

[mp2611]

I've never been to church in my life, but I love this sort of music.

[MISTAMUSIK]

Ok you are right about voicings but this video you are playing a totally different cords in every example. When you played the A b cord to the Fmaj cord I was waiting for an F Maj with a different voicing or inversion. You played a 13th or an Augmented 9 cord intead. I want you to include that fact along with the voicings. Lol

[georgessness]

Ok! I happen to understand "slash chords " better. Guess I'll go back to the drawing board for #5s and the rest. Thanks for the insight.

[georgessness]

Does voicing have a very separate meaning with slash chords? coz, if you move form Ebm to F, and play Db7 on the right with the F on left, I see it as Db7/F. I understood ur tutorial of voicing being same as slash chord progression. I'm definitely confused.

[madameve]

@georgessness I just dont "believe" in using slash chords names, I rather use the "real" name. You can use Db7/F if you like in that instance.... I rather call it F minor #5b5 .... just my preference........

[strictpolicy]

@madameve #5b5 sounds weird... why wouldnt u just say 5? seems like you are flat and sharping the 5th?

[madameve]

@strictpolicy Because there is no 5. I want the altered. I want a #5 and a b5 and NO 5.

[strictpolicy]

@madameve ah i see thnx. so you want both.. i thought you were flatting and sharping the same note

[madameve]

@strictpolicy Corrent. When I say # something or b something, then that something is no longer in the chord; it has been altered; so in this case the chord has no 5; the 5 has been altered to a #5 and b5; both in the same chord with no 5.

[indyenna]

@georgessness I happen to like the slash chord method of learning chords. It outlines the chord progressions better. Instead of calling a C chord a CM7...I would write it as an E minor triad/ C bass. Or instead of CM9, a G chord/ C bass. That way you can voice an E minor chord or a G Major chord in various inversions and voicings on while playing a C in the bass or a doubled C and its octave in the bass.

[indyenna]

@indyenna adds: Then after analyzing the chord progression via the slash chord method...THEN, I would go back and properly name the chords properly by its name and function. Like this: F/D > F/G > G/C would be a D minor seven > G dominant eleven> C major nine.

[georgessness]

@indyenna Ok thats another way of looking at it. slash chords are mainly used with fourths, fifths and sixths. sevenths chords are a little stright forward in that, its easy to understand C/G than Em/C when playing thats y they call it CM7 and not Em/C. All the same, ur understanding is cool for teaching.

[indyenna]

@georgessness

Voicing means how you arrange a chord. Like some composers play a lot of power chords (perfect fifths) and octaves...as a voicing technique to have a hollow sound. Like example: F5/ D to G5/ C. Some composers will create denser textures with chord clusters for a denser sound. Example: G Maj (addA)/ C to F Maj (addG)/ D. You go and arrange chords how you like and to YOUR personal taste. This is how you voice the chords by arranging the chord tones in any way.



[Alantwist]

Hi everyone! I think the problem about "b" being or not the seventh on the scale of Db has an answer in this:

If "B" (Natural B) is a "dominant seventh" on Db, so

1) It will NOT be called "B" but "Flat C".

2) It will certainly NOT be in the scale of Db, but in the scale of...Gb!

So of course you can elaborate all the "sevenths" you wish, up from Db, but please, don't forget: every dominant 7 chord overlines that you're, in fact, in a key

fourth higher.

Thanks for paying attention!

[madameve]

@Alantwist It's so funny to hear all of you argue over sematics. The people who can really play don't give a crap whether a note is an F# or a Gb. Its is not important in the scope of ACTUALLY PLAYING. I think you all need to read our free 10 page report on the "Pitfalls of Traditional Music Education." The traditional education path is a big JOKE. Wake up and smell the coffee. All you people in music academia with the meaningless letters after your name. Forget the fomality and lets just PLAY!!

[Alantwist]

@madameve I see what you mean....now, I have a last word about all of this:

The simple fact that some of us are interested in naming notes correctly and other things like that, doesn't mean that we don't play!

We just do our best to share informations in such a way that everyone can understand, thats'all.

So, would you be so kind to avoid the old trick: "Who learns can NOT play"...that made perhaps sense in 1968, but no longer nowadays! :-)))

[madameve]

@Alantwist Thanks... If anybody has done any research on who I am you will see that my cousin is a world famous NEA Jazz Master and has been recording on major labels for the last 60 years and has not one lick of formal training and knows NOTHING about chords........

[Alantwist]

@madameve Hi! Of course: was the same for Django Reinhardt, for example, or Erroll Garner, and some others of my idols! I see that we agree on one point: "Formal" training is not the only way to Music, for sure!

In other words, the fact that your brother didn't have classical training doesn't mean that he knew nothing about Music! All that "jam" around "naming notes" is just about communication, nothing else!

So, let's play Music! :-))

[spoddie]

Lovely sounding chords.

Your first example Ab to F sounds odd because a minor chord is expected (to be in key), ie Fmin. The example you gave has both A and Ab so could be considered Fmin.

The same in the second example Eb to Fmin

[Jamminn555]

Absolutely fantastic video. Beautiful chords and those voicings!!

[musicguy119]

I think that you're right in saying that your music shouldn't be tied down by rules but in some cases I do feel that there are some chords that really do have to lead to other certain chords. For example, an augmented sixth chord should resolve to the dominant of the key (unless it's a German augmented sixth then a cadential 64 is fine) in order for it to be effective. Or a Neapolitan should precede the dominant, again, in order to be effective.

[oc00011]

dude get to the damn point, too much talking nothing

[TheAssirampiano]

Learn to play the piano in half the time with new gadget.

Google “Gizmag and PianoMaestro”

[renald005]

I don't think b is VII of Db. U probably meant to say B is the dominant VII of the Db scale. Anyways, great videos but I would suggest u to talk less. Keep it up

[Mlindos]

for me it just took experience thank you very much

[pierolivier111]

Would you make a video about voicing chords whose tonic's not on the scale and doing progression on with that?

[madameve]

B has been the Dominant VII in the key of (Db) for the last 5000 years

and C has been the Maj VII in the key of (Db) for just as long

[amused2deathh]

@madameve

Dominant VII is different than just saying "tone VII."

thanks, I understand now

[ace20019]

The whole idea of it not being voiced correctly makes sense but I'm inclined to believe that an individual would come out a lot better knowing the different chords possible for a scale tone in a particular key. The mind has to be able to grasp not what works but why it works so it can pull on that information in different keys and circumstances. Multiple chords work with a scale tone but it's the relationship to the previous and following chord that dictates which chord to use.

[amused2deathh]

Madameve,

The text at 8:40 doesn't make sense.

The B is not the vii in the key of Db.

[alexhortdog95]

@amused2deathh: He meant that the Bb is the Dominant 7th in Db.

[saxotob]

I think you are good, but you talk to much in all your videos.

Great stuff, but could you do more playing and less talking. Thanks for the insight tho

[dantheman163]

ok wow i dont know where you learned your music therory from but i can tell you that there is no such thing as a "wrong" chord progression. all the times you "botched" something it actually sounded fine. in fact one of my personal favorite chord progressions is c major to a flat minor.

[tangman314]

This guy is a GENIUS.

[mnociolo]

Even though, like you said, you can pretty much move to watever chord you wish if you voice correctly; It is key to have a basic knowledge of what chord tones go well with eachother in a progression. The pros have a superior knowledge of this theory and are able to "hear" the next best chord in their head. basically, its not just about voicing because your chord choice should not be random. Otherwise good information, and nice voicings they sounded sick.

[mnociolo]

You had some good points in this video. I agree its very important to voice correctly especially in a soulful style. I think however you are ignoring the importance of chord progression theory.

[BlackMaleRedemption]

awesome video.

[LetterL1Beats]

I really like your videos but you talk a lot

[musicuseit]

@LetterL1Beats lol!!!

[MsPropheticpraise]

Thank you for revealing this information. I so appreciate the insight you provided; especially, since I am a beginner.

[Narukai12]

lol i do this all the time when i make music but sometimes i mess up and instead of chords cut that  out i dont even use chords ive found out wat notes dont sound good together :)

[thezmannow]

there are alot of players out there who dont share their knowledge. this way they stay a step above you

[DivaJacobs313]

@thezmannow I know and taking me a long time to learn... I'm getting there faster thanks to youtube...

[DajaWaja]

uhhhh I think this is kind of paranoic...see, it's a lie pros dont want you to know that. They DO, and it is the first thing they teach you...this is no theory or innovation...c'mon...

[DreJ1092]

I am just learning to play keyboard. What you say makes alot of since to me. But I have a question. Wouldnt we have to memorize the correct voicing for it to sound nice?

[inspiredrecords]

Listen no joke this theory opened my eyes to a whole lot of music theory thank you for psoting this wish I could send you some clips of what i'm doing now.

[madameve]

Please tell me.. i would love to hear about it

[DivaJacobs313]

@inspiredrecords I can't wait to order the course to help me... I don't want to learn patterns or rules... I want to play what I feel.. Like I see other musicians that I play with... I see them make up stuff on the spot and change things to those types of chords that's in this vid.. and I want to do that too...

[kwwyatt]

I need this course. This musician knows how to teach. Where can I get the course?

[DivaJacobs313]

@kwwyatt I Know this course will really take me to the next level... people can't believe how I play now... Wait til I get this and really show them a thing or two...

[only1Spyda]

ok i guess i could just put in my input. i'm not trying to argue anything but i think the confusion comes in when you say it's how you voice it. now technically voicing a chord is the same as inverting it. this video is not teaching voicings but rather substitutions because you didn't change the chord form but you formed secondary dominants based upon the enharmonic tones of the chord you wanted to go to.

[madameve]

Hi, this course it about giving a person a technique that will allow then to play beautiful chords quickly without formal theory. It's about a obtaining result which is playing........ a person is able to get the same result explained in very simple non-formal theory, without years of formal instruction. I have students doing this in 30 minutes who have only had ver y basic beginner lessons. If a person wants to go the other route and take years. they are more then welcome to make that choice

[DivaJacobs313]

@madameve you are so right... I've been trying to learn with lessons from teachers and other dvd's & vids and it's been nine years... I feel I'm not getting something.. I still don't sound like them... I do need to learn chord voicings and extented chords to make my sound a more mature musician..... This maybe for me... I've tried everything else... what's one more? End the end it will help me play like I want to....

[DivaJacobs313]

@madameve I don't have years... I know basic theory and how to read music and if you remove the sheet music I wouldn't know what to play so I'm learning all over again... I don't want to know rules I want to know what chords I can play to make my music sound like a pro sound... I need to learn what substitutions to use etc... and I have small hands so I need to voice chords different....

[skyyballer]

Madameve, please do not waste your time arguing with people who have nothing better to do with their time....blame me for you not responding. As far as gospel goes, my playing changed after ONE of your YouTube videos. I love it!!!

If anyone doesn't like the technique....DON'T WATCH!!! GEEZ!!

[jipsta101]

oh mr. madameve your looking for DOMINANT 7 and not the MAJOR 7..... When you are using this technique do you use dominant 7 of the major or does it mater

[jipsta101]

i think this is helpful in this particular mode...this particular voicing obviously is headed in a direction but i do understand the method...it is very help thank you and God Bless

[dpzdpz]

has some body commented on the fact that B is not the VII in Db? that would be C my good sir! LOL

[madameve]

My good sir B is the VII, and C is the Major VII. Since I use BOTH VII and Majory VII, I differientiate between the two. And when you talk about the major Scale yes C is the VII, but since I use both 7ths, I specify Major when I talk about the one you are referring to. So in short I refer to B as the VII, and C would be the Major VII.

[raulfireside]

@madameve Pretty sure B is a b(flat)VII in the key of Db. A VII would be C Major, which is not in the key of Db, "vii Dim" would be the correct chord for C In the key of Db.

But, this is in the "Key of Db".

Now B is the VII of the "Db Chord" Sooo, technically you are both correct! @dpzdpz in talking about the chord in the "key" of Db, and @madameve is talking about the the 7th tones in the Db Major "chord."

I think all the numbers just confuse everyone. Upper case # Major Lower case is minor.

[aliazon]

@madameve - Just want to point out, I haven't had time to watch the video, but just happened to read some of this B/C debate in relation to Db. That's a slightly strange way of looking at it. Surely it's a better fundamental way of looking at chord types, scales, whatever really by comparing it to it's parallel MAJOR scale. Your logic seems to suggest that you're assuming every 7 unless otherwise stated has been flattened. And besides, technically B would be an augmented 6th in the key of Db...

[raulfireside]

@madameve Pretty sure B is a b(flat)VII in the key of Db. A VII would be C Major, which is not in the key of Db, "vii Dim" would be the correct chord for C In the key of Db.

But, this is in the "Key of Db".

Now B is the VII of the "Db Chord" Sooo, technically you are both correct! @dpzdpz in talking about the chord in the "key" of Db, and @madameve is talking about the the 7th tones in the Db Major "chord."

I think all the numbers just confuse everyone. Upper case # Major Lower case is minor.

[osensei2987]

Now watch this!

Take Dm7 - C D F A

followed by

E11 - E G# B D A

As you can see the two chords share a lead voice "A". Therefore by your system E11 must now become and E7 SUS! But wait a minute! Look at my last post! Last time our E7#9 became E7SUS! So based on your system two different chords can end up with the same name.

[madameve]

I did not say that at all and have no idea where you got what you are talking about

[OasisOfBeauty]

and more than half the people who play the music u listen to now come from church and this is what they play. if ur so caught up on theory and doing things the conventional way, get rid of ur cell phones, whip out an address book, and use a pay phone.

[OasisOfBeauty]

people i dont think u understand when he says these are GOSPEL CHORD PROGRESSIONS. if u go to church this is what ull hear. half the people in church dont know theory bc they werent formally taught. everything in church is played by ear and people learn to play by watching others and listening. all hes doing is showing an easier way to for those people to continue to play music. stop criticizing what hes showing. if u think the theory is wrong so what it sounds fine in church.

[playpianokeys]

sounds good but it doesn't make sense if you learned the conventional way. It can confuse a begginer if they can't understand method and then try to learn the conventional way. An advanced musician uses his ear as well as read and then can add his own, however music has definite order and there is a science to it combined with the ear that is the miracle of music. Don't reinvent the wheel.

[maddi62]

Interesting stuff. However while random choices work okay so long as you 'voice them correctly' for a set of just two chords, i think you're going to need to know a little more to keep it going through more changes. If there is no logic to a progression lasting a little longer it's gonna sound...maybe not dissonant but... well...random...

[HunterMultimedia]

I play keyboard mainly by ear; however, I have had formal training on other instruments so I understand music theory. When I first started playing for church I was lost even after years of experience playing other musical styles. I have been looking for some instruction to help close the holes in my playing and I think your method is a key component in my quest. Thanks for attempting to open this wonderful playing style to more people.

[antaabel]

Im glad someone else understands. Well said.

[shankpeterman]

also a lot of what's coming out of this video is saying that 2 totally unrelated chords can work together but very few of the things you mention are unrelated. Jazz theory goes far past the circle of 5ths and will go as far as to explain how something is related to the substitution of something. Like how Gb7#11 is the tritone sub of D7 which is the 2 of 5 in C major.

[madameve]

This couse is about a shortcut to years of learning music theory. There are individuals who want to play NOW and achieve the same result as those who has had years of theory and lessons. Why take the time the time to learn the formal theory if you can achieve the same result in less time. That would make no sensee. This is a system currently Patent Pending in the United States Patent Office.

[osensei2987]

I majored in music dude! Music theory was divided in two semesters. That's about 180 days. Anybody that doesn't want to spend 180 days in order to acquire something that will benefit them for a lifetime doesn't need to play an instrument!

[antaabel]

Wrong. A 13th chord means only one of two thing. R, 3, 5, 7, 9, 11, 13.

or

R, 3, 5, 7, 13

It can be seen as either or.

[shankpeterman]

it can mean a ton of different things.

[ifiwereu]

There was a famous jazz musician, I think it was Charlie Parker who said, "learn all the rules then break 'em". I thought I learned it all when I learned to play in progressive styles such as the diatonic, chromatic, and circle of fifth progressions. Madameve, has turned me on to an entirely different way of musical expression which is harmonizing the melody without regard for progressions. Madame, thanks a mill!

[madameve]

Nothing to do with voice "leading technically," but in some instances you may achieve the same result without the formal voice leading rules in using my system.......Im simply referring to any voicing/chord sequence that is musically appeaiing. For example the chord E minor to Db Major made of the notes Em = (E G B) followed by DbM = (Db F Ab) sounds like crap. But if you voice it correctly E6,9b5 =(Ab Db Gb Bb) followed by Db6,9 =(F Bb Eb Ab) it sounds beautiful...

[antaabel]

I dont know if this is supposed to be a joke or not. I like the part where you try going from II-III, and you go from Ebmin7 to F maj and say its a bad voicing. Then you go to Ebmin7 to Fmin7 and then it works. You claim you revoiced the chord, but you actually changed its quality. You do the same thing on other examples. lol

[madameve]

Thas exactly the point, any tone can move to ANY other tone as long as you 'voice' the chord correctly, yes that means change its quality...

[antaabel]

No. Voicing a chord has nothing to do with changing a chords quality. A voicing has to do with the order in which you stack the notes from highest to lowest.

Example: CEG, EGC, GEC are all voicings of a C maj triad. C, Eb, Gb, for example, is not a different voicing of that. It is a different chord all together.

[t3hlulz]

when you talk about "correct voicings", aren't you referring to voice leading?

[lsafirkan]

technially......this dude is wrong....technically

[fsufuturedm]

doumbeck...i just wanna know how come f is not the three chord in Db when it is also the 3rd note in the Db scale

[Doumbeck]

F is not the 3 chord in D flat.. You do make some good points about voice leading.. sure, but you overlook something called "root motion'.. thats important too.. i like the freedom you bring to the concept.. But root motion makes it all hang together :)

[madameve]

Check your scales 101. F is the 3 of Db

[Doumbeck]

Once again: F is not the 3 chord in D flat : ITS F MINOR! you check your scales! f, a flat, c thats an f minor..:) Peace through music!

[osensei2987]

The problem is that traditional music theory was designed at the time of Mozart and before. It was designed for a more ancient music. It only deals with harmonies like Maj, Min, Aug, Dim triads, Dominant 7th chords and sus 4 chords. This ancient music mostly obey key signatures and used pivot chords like the V7 to modulate to other keys. This is why theory doesn't always accurately explain what's happening in modern music! We need a new up to date theory.

[madameve]

Well said......Thank You!! Hence this systen that I invented

[osensei2987]

Glad to help brother! But I know ur gonna get a lot of flack from people who are formally trained in theory nonetheless! LOL! But keep in mind that there are a number of musicians from the past and present who developed their own methods even though the were not formally trained. Alan Holdsworth is one example. People like the Jazz greats also used "personal" systems. So it's not correct to say they didn't know theory! Just not formalized theory!

[osensei2987]

I hear ppl make statements like, "Oh, Wes Montgomery didn't know theory". That really gets under my skin for two reasons! First I think ppl use it as an excuse for not trying to learn. Secondly, I think this notion assumes that many of the Jazz legends who happened to be African Americans were unintelligent and just had a "natural" ability! The truth is that many of these guys had their own systems. Even though they were not formal systems as taught at Julliard.

[shankpeterman]

we have an up-to-date theory system found in jazz theory. It explains everything in these videos and corrects them. As it turns out, there are no entirely un-related chords and jazz theory is happy to explain this. There are hundreds of books on the subject... Mark Levine's jazz theory book is pretty good for instance. There are very few jazz compositions (not standards) that only use chords based diatonically. This "system" is just ignorant of what's already established.

[osensei2987]

Yeah but many jazz musicians still use their own methods that are informal. Case in point, Alan Holdsworth and Pat Martino. Pat Martino's method is called the minor conversion method and is based on multiple substitution principles.

[shankpeterman]

true, but you think those cats didn't know jazz theory first? They came up with their own method AFTER learning and mastering the other established systems. You can't modify or break the rules without knowing them in the first place.

[osensei2987]

Maybe so. But many didn't get that knowledge from formal training. If they studied formal methods then they did so on their own and discarded what they didn't need and came up with concepts that were extensions of what they studied! But absolutely none of them abused the term "SUS CHORD" to describe something that's not a sus chord! ROFLMAO!

[osensei2987]

Let's simplify this whole "Adventures In Harmony" idea! Any two chords that have two or more notes in common can be substituted for one another! LOL!

[osensei2987]

Dude! I've resisted trying to correct you, because I assumed my comment would get deleted! LOL!

But I commend you for not deleting shankpeterman's comment! It shows real maturity.

But what you've shown just in these youtube videos have actually been of tremendous help to me. Even though you may not be theoretically 100% correct.

[mr88keyz]

Hows does one really go about learning all these chords

[osensei2987]

People start by learning scales! But you have to go beyond scales and learn by intervals. If you study intervals then you can build any chord from scratch without the limitation of a key signatures. There are many chords that do not obey any key signature. If you continue to study only the standard key signatures then you will never discover how some advanced chords are built because they simply do not exist in any key.

[shankpeterman]

WRONG!!!! (yelling seems to help on youtube). You're right if you're talking about a dominant chord but minor 13 implies that the natural 9 and 11 are both present... at least that's how it's universally accepted in the jazz community. And calling it a sus is incorrect as sus refers to a dominant chord which omits the 3rd, which this is most certainly not. C-13sus is not an accepted symbol in jazz and never has been. If you feel the need to be that nitpicky it's C-7(11, 13) but it's wasteful.

[Liedliebhaber]

It sounds fine because of the extensions. Good stuff, but I don't think it's a cure-all. One would have to learn theory to make it their own. Otherwise it's just building a vocabulary of nifty-sounding chords.

[deepstarr74]

thanx for your videos man ! peace

[oryx908]

Awesome dude!

it really helps!

[M0rganstudios]

2much 2say on this!

1) He's using rules to sound contemporary (use lots of extensions & alterations)...

2) Simple chords are a valid color outside of jazz. I <3 contrast!

3). He's using theory to pick voicings & root movement (ie F dominant to Bb in Db)

4) What about voice leading? That helps a lot too.

5) Weird chord movement is good for interesting spots but not the norm

6) Theory (or patterns) helps people control their sound.

7) You know theory, why shouldn't other people learn?

[osensei2987]

You're right! This brother is coming from a Gospel perspective. Anyone who has sat through Sunday morning Church knows that Gospel keyboardist have a tendency of going way over the top when it comes to re-harmonizing tunes with endless rounds of chord substitutions! I would think that you would have to tone this material down a bit to make it fly for popular styles like R&B, Hip Hop, Pop, etc.

[madameve]

Wow it's really great to hear that all those things are in the music,(extensions, alterations,root movement, voice leading,patterns,etc) I feel good that somehow all that good stufff is in there without have to get a degree in music, by just by following process that can be learned in about 2 weeks. There is a community of individuals out there who just wants the results without the long formal drawn out education, They simply want to play NOW. Thanks for validating the results of the system.

[madameve]

NOTE: first came the dudes on the street playing this invention called "jazz." It wasnt until later that somebody had to invent/create some rules to match this new style of music. The inventors ahd no formal education in music, they learned from one another. I don't think that you would walk up to one of the inventors of jazz (L. Armstrong)and tell them they they were wrong on some nomenclature. The correct action would be to alter/fix the well established rule to match the inventors intent.

[osensei2987]

Actually the formative years of jazz began with ragtime. And keyboard players like Scott Joplin were the lead pioneers. And yes they did have formal training. The scores that were written by Joplin is the proof. Others who came later may not have been as musically literate but many were taught or forced to learn by band leaders who employed them. But Dizzie Gillespie was one of the great theory teachers of his time. Many of the greats studied theory w/ Dizzie!

[wesdoggforever]

you're RIGHT ON with these ideas. i'm amazed at how many people out there say, "oh! theory says this! theory says that!" and not comprehend the artistry of music.

[osensei2987]

Theory is good and it is a tremendous help! I recommend it for everyone. But music is one of those areas where there is no one "thing" that guarantees success. You have to be good at a number of things all at the same time to really see progress. It's sorta like having a basketball team where every member is an all-star player. Unless the chemistry is right the this perfect team will never win a game! Everything has to gell.

[madameve]

"Any chord can go to any chord, but it will probably sound like crap. " I challenge you....name any 2 tones... I will give you a chord sequence between the 2 that is beautiful and resolve it if necessary

[shankpeterman]

btw Gb-13sus doesn't mean anything. The sus would just imply that it has the 11th in it which is already indicated by having the 13th present.

[madameve]

The 13th is "usually" not voiced with the 11. The "sus" is just for added clarity that the 11 is present.

[oregonskateok]

While I agree with thinking outside the box is good, you are misleading people in to thinking you have some secret method of learning music theory. Anyone who has actually studied theory would know that it isn't a list of rules, its a list of ways to explain music. Also, borrowed and altered chords explain everything you are doing. Any chord can go to any chord, but it will probably sound like crap.

[endlessintertwined]

Very nice video! But for what it's worth, the first time you did the Ab-F progression with the "wrong" voicing I found to be more enjoyable than the one with the "correct" voicing.

I do see what you're saying with the chord progressions. It's easy to fall into a pattern, so it's nice to be able to break out of the box and play progressions that are actually interesting.

[nafunyarl888]

LOL!! SAME!!

with the 2-1 (eb-f) dat actually sounded sick.

I could have done something big wiv dat!!

[jrynds]

Very interesting concept. Makes me almost want to return my degree but actually, this is very advanced contemporary theory. Great for the advance student. Those who don't get it will probably get lost in 21th century classical music, which uses the same theory.

[R42464]

omg I love this.. I need to get this course . I totally get it! Its all about voicing

[Dadee3]

There's no B in C#!!!!

[madameve]

Again YOU missed the point of the whole video. The secret is that you want to play the chords that are on tones that are NOT in the scale!!!! So YES you do want to play a B chord in C#.

And if you are the key of C, YES you want to play a Gb chord, or an Ab chord or an Eb chord!!!!!! There are videos here where I do a whole song

[Dadee3]

Ohh ok ok I see what you're trying to do now!

[izayaz]

Hey I understand this very well, because this is how I learned the guitar (number system). Unfortunately I dnt play the keys, but the concept should be the same. Now you do have anything for the guitar? Asfor the keys do you teach how to come up with voicings on your own or do you memorize voicings?

[slicknessessity]

Do you also teach about scale run downs? I've been looking into that for quite sometime, but didn't find a comfortable system yet.

[musicsheddcom]

Thanks for the lessons, keep 'em coming, i tempted to buy the course, i need to raise some money lol

[Dadee3]

All you did here were 2 5 1 progressions. Everyone knows that.

[madameve]

You completely missed the point....I said ihe video that knows about the 2 going to 5, or 5 to 1.....The purpose of this video is to get you to FORGET about the one you know.. and to forget about the RULES altogether.... ANY CHORD GOES TO ANY CHORD. The 2 can go to the 1,3,4,5,6,b2,-3,b5,#5.. whatever you want!

[Dadee3]

You should apply this to a song so we can could understand better. =)