That's a good tip. Thanks for chiming in!

That could very well be!

panaotis .c and he finished the video by saying "change your mind.." :)

YEAH that was precisely what I was aiming for :D

Heart ... ;)

Man, I was just listening to that song last night REALLY love it. It does have some interesting chord progressions. 'Glad I stumbled onto your ideo!

MangoldProject alone?

Thanks! I'm always surprised at how many comments I get from guitar players.

I'm under the impression it's considered "advanced" by beginners who stick to the more boring major and minor chords.

MangoldProject When you consider pop music, the chord (and way to many chords) are very underrepresented :) as a jazz musician this chord belongs to bread and butter (as you know; I have heard the chord in your videos numerous of times! ^^)

True dat, and quite unfortunately, because it really has a unique color that would make pop music more interesting.

I have a Higher A for music and learned absolutely FUCK DIDDLY ALL in school. They didn't teach us to read music. Didn't teach us scales. Didn't teach us about chord connections and substitutions or even how to construct chords from the scale. All they focused on was being able to recognise and identify some music terms when you hear them. Absolute fucking waste of everyone's time. Waste of MY time. Waste of THEIR time. Utter, utter bullshit.

Thank you for your input Filippo.

Holy crap youre right lol. To keep it on one hand i inverted it, still works. I gotta write this down...

Filippo, could you explain the music theory basis of your comment? Playing them on the piano sounds great, but I'd like to understand why that is.

@@dennislee9134 F#ø7 substitutes D9 because it has basically the same notes. You can think of it as a rootless D9. The same goes for Dø7, which can be thought as a rootless G7b9sus4. The progression sounds better when you play Dø7/F as it creates a nice chromatic movement of some voices (F# to F and A to Ab).

Thanks Pedro! I hope you enjoy them.

It depends on which 2nd you choose

@@paxwallacejazz it's more equivalent to dorian #4 or dorian b5. That's the different between A harmonic min and C harmonic Maj You could play those as full or half dim... or you look it this way...G, B D, F = B dim/G so when you play A melodic min ...it's F# dim/D G# dim/E.. when you apply the whole or Harmonic min b2... some of it can be #6 or b7.....but they'll all have possible tritone as #4. From C Major.... if you play C double harmonic min aka Hungarian min it'll also give the so call...Ab...italian, German or Frence. The mode is simply Ab Lydian #2, #6 You can play C Hungarian MAJOR ( lydian #2, b7 or Mix #2, #4) 1,3, 5, b7...or 1, #2, 5, b7....or 1, #2, #4, 6...or 1, #2, #4, b7... amways... first you learn how to play B dim into C ( semi tone) then....two semi tone... you could play A dim......B dim into C instead of F7 G7 into C.. The Bb7...is basical....D dim/Bb......D dim into E that's just B7 into E Then you learn how to play it WH ( 3 semi tone apart. Basically the Full dim... lets say from A min... I play A min......B7 into E Maj7 ( C# min/E MAJOR) I could had play G#7 ( G# phry b4 into C#min) or A dim....C dim into C# min The N6 or full dim from C# min.......D min/dim......E7 to A MAJOR or A min C # min D maj7 E7 F# min /A MAJOR C # min D dim F dim G# dim A min C# min D dim E dim into F min Amin Bb7 C7 into F min...or F MAJOR :-P Well if you play A aeo b5 ( C melodic min) with a leading tone A Harmonic min b5......That's F lydian #2, b7 :-P or you could play A melodic min ......F# aeo b5 with a leading tone That's D LYDIAN DOMINANT #2 :-P

@@oneeyemonster3262 thanks a lot for your comment , at least I'm really happy to read it ! That's quitte useful as I dive deep into dominant/diminished/upper extensions and modes of the harmonic minor ; Cheers from France :)

@@LouisSerieusement The trick is to play C Harmonic MAJOR and A Harmonic min....AND C Harmonic minor and A Harmonic MAJOR 2, 4, b6,7 ...wheather you count from A or from C.. Harmonic MAJOR or Harmonic min In a nut shell...you also get used to play B dim D dim F dim G# in A MAJOR or A min.....D min/dim E7 into A MAJOR or A min You could had also played F dim into F# min/A MAJOR A Lydian b3..( minor tonic) TERM LYDIAN will HELP you associate with the 4th or b6......( then to possible modulation to other keys 2. 4. b6. 7) as in b6, 7 into C# min or 4, b6, 7 into E min......A min ( dor #4) B7 into E min or E MAJOR or G MAJOR or G min ( 2, 4, b6, 7) A dor b5....or A dor b2.....or A loc...loc maj6 when you play A harmonic min b2....or melodic min b2 Bb.....counter clock wise.....Lydian. ...ion.....Mix CYCLE DOWN to the 4th,....... Lydian, #6 or Lydian #5, #6 D double harmonic min.....Bb Lydian #2, #6 Bb Lydian to D min..........Bb lydian aug to G melodic min You could play Bbdim into B min.. But you can also you this.....Bb7 A7 into D Maj7/B min if you go to the Freanch....german. itailan...lesson It's just C Double harmonic min vamp over C MAJOR A min Abma7 G7 into C MAJOR or C Maj F Min.....Ab Maj G7 into C MAJOR C Maj Db Maj7 AbMaj G7 into C MAJOR Db Maj Lydian..ish to F min ( chord...or KEY) You could had played A min Bb7 C7 into F min ( F melodic minor) its' the same sort of movment if I play F Maj7....A min......C Maj...B7 into E MAJOR ( tonic) or reverse it...so you'll see it,..from C# min/E MAJOR C# min.....E Maj...F maj7 A min C Maj B7 into E MAJOR

Inversions and voicings are taken for granted tho (which is ok, I presume). I've discovered inversions after 10 years of playing piano 😂

You're welcome John.

You're welcome, back from Rehovot, Israel :)

Why don't you have any videos uploaded, mate? Are you still at the beginning of your great journey of Music & Psychosis?

@@childofthesun32 You know, I probably should. It’d be a good exercise for me. :) Peace.

@@365daysofpractice I look forward to hearing them if you do upload stuff.

bro good taste

@@legoguy23451 thanks!

What's a dominant in a minor key? Like C7 or G7 in Dm and Bm respectively?

@@globetrotting2632 could you rephrase your question? Happy to help but I'm sleepy and I didn't get what you're asking haha

Great advice Patricia!!.Thanks!!❤

My pleasure. The newer videos have these things now on a routine basis.

So it serves instead of a Neopolitan 6 :)

Awesome! Glad these lessons helped you out.

B Johnson The people calling it m7b5 are wrong and are idiots.

wow you guys really assumed a lot about each other just from the name of this chord

Sam Eash how is it wrong? It literally is a minor seventh chord, and the 5th is flattened.

I bet you think "power" is a type of chord as well, huh

To remember it easily , i call it diminished 7th, it has all the notes of a major 7th chord but they are all lowered one semi tone

Will certainly do my best to showcase them more :) Actually, my previous video on gospel piano has a Gm7b5 chord in it! Check it out here: kzfaq.info/get/bejne/Y716qb2bxtbLop8.html

It's really easy on guitar. Just do a maj7 bar chord starting on the 5th string, then move your first finger up one fret.

Actually on guitar there's a really easy position for m7b5. Even a noob like me knows it :)

MangoldProject I was thinking of ##7543 which isn't easy and is the equivalent if the chord you're playing on keyboard. Of course there are other positions, read my comment above... I was more interested in the ways of using the chord than have people arguing with me about the guitar

xx0111= Dmflat5, xx1222=Ebmflat5, xx2333= Emflat5 etc.

Antony Bates yes I know that one & use it (also #5656# is easy enough) I was referring to the note order on the keyboard example I saw in the video

Indeed.

According to Dizzy Gillespie, that's what he and Monk called the min7b5, and how they thought about it.

pavan chandaluri they're different modes. Look up nodes and you'll see they sound very different to each other.

I heard some geezer called Dave played it.

@@MrMikomi Hallelujah!

I was actually thinking of The Korgis' Everybody Has To Learn Sometime.

This means you're at the right stage to start learning theory in a more ordered fashion.

MangoldProject pretty much

MangoldProject Perhaps. Think scale not chord and there are many scales that perfectly fit the musical context it is in. So... the inner voice will guide you what scale to use. And the chord is just the scale with added spaces here and there.

go to your own planet fucktard butt hurt. all i did was I comment on the video and did nothing against the video ,why are these people or people like you rather are so sensitive about this goddamn comment. Are people nowadays rated to their English communicating skills? does it mean if you're better in English you're more intellectual than the others? what makes you think that just because some fucking dude who tells me i'm afraid to use my given name on internet i will be scared ? really ?

I'm with you about the natural 9 and like to associate it with the sixth mode of the melodic minor scale, aeolian b5 aka locrian #2

ori doron it's called harmonic major (IV -> iv substitution that is). iim7b5 - actually you hear a subdominant function, but technically the IV chord is replaced by diatonically relevant substitution a 3rd below.

Miss Tress Thanks for that. Didn't you mean the Minor harmonic? I actually understood its a susbstitiie for the minor 4th. Maybe I'm looking for a wider/deeper explanation, like why the minor 4th (which supposed to be a major 4th in the major scale), can function as sub dominant in the major scale?

ori doron Google harmonic major.

It can be viewed as a Dom7 chord without the root. E.g., a G7 or G9, if you will, thinking of a Bm7b5. And, Dom chords don't have to resolve, though, inherently, they want to.

Guys, he is simply borrowing chords from the parallel mode (C minor). It's called Modal Interchange! You can easily notice that Fm, Dm7b5, Ab are all chords of C minor. Don't be so uselessly tortuous if there's no need ;)

Why, funny that you ask :) Check out my piano quickie series! kzfaq.info/get/bejne/gdWAdMaH06fNZmw.html In particular, check out the last lesson (#8).

That's a very deep question. When you ask "what made it work", can you tell me what makes the simple basic 1->4->5->1 "work"? What sort of answer would satisfy you? I'm not being rude, I'm just pointing out that I'm not sure what your definition of "work" is.

I don't know why someone would ever bother showing something like this without explaining it, and then when someone asks they give some dodgy answer because perhaps they don't know why themselves. I'm pretty sure your question was how it functions harmonically ("works"), which to me was obvious since this video is about a given chord function and how it "works" in the first place. I don't think your question is esoteric, philosophical, or misunderstood, so I don't understand why the response you received had to be akin to that. The Ab is a borrowed chord from the parallel C minor. Ab contains Ab, C, Eb. Fm contains F, Ab, C. These two chords contain two common tones: the Ab, and the C. The Ab chord can also be viewed as a rootless Fm7 chord (F, Ab, C, Eb), the minor iv chord. The quick easy answer could be either that Ab is Fm7 (the iv chord) without the root, or you can relate this chord back to the parallel minor as a borrowed chord. Hope that wasn't too "deep" for you.

@@JH-xc4ur Lmaoooo. thank you for this!!