 Hey everybody, so this is how to fit any note inside of a chord in any key. I mentioned this concept briefly in the Q&A video but I wanted to actually give a demonstration of it so you can see what I'm talking about. Now what's important to note here is that this doesn't mean any note in any chord. I'm saying it's any note in a chord in any key and that's important because sometimes the context of a chord or the quality of a chord will change the eligibility of any particular note depending on how you're using it. So it's not quite as simple as any note works for any chord because it's not always true. The reason that this concept is super useful is because when I'm transcribing the notes of somebody's speech I need to figure out how to use those notes to make actual music out of, to make something harmonically that makes sense, that can kind of like take you from one place to another, otherwise it just sounds like a bunch of gibberish. That would be super boring, it wouldn't make any sense because you'd just be jumping all over the place with no, it just wouldn't feel like anything you might actually hear. So instead what I do is I use this concept to allow me to apply the notes that I'm transcribing from speech in a manner that sounds actually useful and because of this it actually doesn't even matter what the notes are that somebody speaks because I'll just find a way to plug them in somewhere that makes sense for what I'm doing. Alright so here's how we're going to do this. I'm going to use C and I'm going to apply it to a chord and we're just going to go right up chromatically right so we're just going to take that and use it for some chord in all of those keys. So for C I mean it's obvious it's just it's the root you know so you can play that as simply as that you could use it in really any way you want I mean that's a major context here's a more developed major context something like use a minor minor seven like minor major seven so it's the root very simple D flat D flat it's the major seventh so we can use that in a couple different ways probably the most obvious of those is D flat major seven add all kinds of upper extensions whatever you want it can also be used in the minor context because anything is based on like the melodic minor scale in general like a minor major seven chord works there too D moving right along it's the dominant seventh or the minor seventh of D so you can use it in a major context there it is more developed something like that also works for minor all kinds of uses there E flat it's the major sixth of E flat so we can use that in a major context like a E flat major seven sort of six nine sound use minor dominant two sure why not all kinds of different uses there E this is the first one that gets a little weird because it is the flat six or the flat 13 of E so therefore kind of gets into some interesting sounds now that by itself sounds strange but if you hear it in context it makes a lot more sense you could do it some like something like that maybe so it's a weird sounding you know interval there but in context it can be used to get you from point A to point B and that's really all we need it for F really simple it's the fifth so that's pretty much universal major minor dominant in G flat or F sharp however you're thinking of it depending on the context it's the the flat five or the sharp four or the sharp 11 again it all depends on context in a sharp 11 sound it would be something like this beautiful sound dominant works there too let's see minor I guess half diminished so you know another weird sounding chord but in context moving from point A to point B moving on to G it's the fourth in G now this actually changes things a little bit because you use it it's kind of sort of out of place in major certainly it's a little less out of place in minor but what this can actually do is function is like a suspended sound which is a you know suspended fourth sound leading you somewhere else so the simplest form that would be like or or like right but a more involved sound would be maybe like a G sus 13 which is really beautiful chord that's one of my favorite chords in context you might hear that in a situation maybe something something like this you know like a big two five one sort of sound with a bunch of color tones moving on to a flat it's the major third of a flat really simple so dominant you could use it this is where things can get interesting because like minor there's not really like a there's not really a simple context in which the major third over a minor chord could could really smoothly work you can get into some really crazy stuff maybe like like just some serious crazy upper extension stuff you know and you can if you separated enough from that from that minor third it can be it can be used interestingly but in a simple context though making the major third work in a minor chord is not super easy but one place it will work in a minor chord is a minor because it's the minor third now this goes the other way much easier than trying to use a major third in a minor chord using a minor third in a major chord is much simpler because now we can talk about like the sharp nine sound right which is another weird sounding chord but again in context it's it's just like it's moving you from point A to point B so as the so it works really well as like as the as the sharp nine let's move on to B flat it's the major ninth of B flat that's like a major major seven sound or a dominant sound minor it works too and last but not least that brings us to B and B is another weird one just like E it's the flat nine of B so that's the most obvious context is like a B seven flat nine sound and again you can attach any upper extensions if you want uh how would i do that so this is like a what is this what the hell is this uh B seven sharp nine flat 13 flat nine it's a B seven flat nine what the hell B seven B seven flat nine sharp nine flat 13 yeah okay well well you know it works for something it would certainly work so yeah there you have it that's all 12 keys taking a C and making it work in some way shape or form and in fact in a lot of ways shapes and forms of all kinds of different chords because it's really really flexible and so that is one of the biggest components to how i make the dub videos because i'm able to essentially take no matter what anybody's saying no matter what notes are coming out of their mouths doesn't even matter because i can just make them work in some sort of context within what i'm actually trying to do thanks to all you fellow music theory nerds out there who found this video interesting i appreciate checking it out if you haven't subscribed and you'd like to please do i'd appreciate that as well and uh yeah guys that's um i guess that's sort of part one of what maybe could be a more extended series on how to make these videos but yeah let me know in the comments if you have any questions about any of this stuff or if you want to know more or if you have uh you know other questions about other things thanks for watching and i'll see you in the next video