It's my pleasure! 😀

Thank you for the feedback! I normally keep my videos on KZfaq relatively short, over at the membership site (www.pianopig.com) is where I create a wider variety length of videos, from 2 mins to 30 mins. The website is not yet launched yet but will be this year. Hopefully you will find the more detailed lessons you are looking for there :)

No worries :)

It's my pleasure Alain :)

Could you, please explain what you mean by placement? Sounds interesting.😎

My pleasure!

Tychoooooo

@@_4lec Haha, sorry I'm not Tycho but yes I pinched his little circle thingy 😅

I LOVE minor 251s, they are so awesome!

I have just spotted that mistake! I assume you mean the Dm7(b5) chord at 1:43? Yes that should be an Ab not an Fb. You can see what it should be just by seeing what my hands are playing. I will try and fix this error - thank you for pointing it out!

Thank you that is very kind, it's great to know that my videos are really helping people! That's awesome that your back after 40 years - never to old to play music! I haven't yet created a 'PianoPig' sheet for scale fingerings I'm afraid, but I can direct you to a great document that has the fingerings for all 12 major scales... left hand AND right. Here it is: www.music-theory.com/download/majorscales.pdf Hopefully that has all the information you are looking for :) Many Thanks, - Simon (for future reference) ;)

The last chord in the minor 251 can normally be borrowed from various different scales (melodic minor, natural minor, etc.). The diatonic chord would be Cmin(maj7) but this is actually the least common. Try them all and let your ears tell you what you prefer 😀

"Try them all and let your ears tell you what you prefer"

Voice Leading is the guiding principle. (Resolving tension by moving a half step to the pleasing tone) In the V chord you have an Ab/D Tritone to resolve. And a F/B Tritone as well. The Ab/D Tritone is the more powerful one you need to resolve if you are staying in C minor. One solution is to expand each note of the Ab/D tritone 1/2 step to G/Eb, and also move the B down a 1/2 step to Bb Now you have a C-7 Another solution is to move each tone up 1/2 step from Ab/D to A/Eb, and the B moves a 1/2 step to the C. Now you have a C-6 . Either way you landed on a good feeling by moving in half steps

No problem!

paxwallacejazz the preferred scale to play over a “V7b5” (especially in a Im-iim7b5-V7b9) is an ascending melodic minor scale based on a root that is a half step above the root of the “V”. Example: with a G7b9 (often played rootless as G7b9b13: F,Bb,B,Eb) you play Ab ascending melodic minor scale: G, Ab, Bb, B, Db, Eb, F, G. This is also called the “G altered scale”. It is superior to harmonic minor because it has major 3rd in it, and superior to half/hole diminished scale because it has b13 (the b13 in G is Eb).

Please dont call us dimwits for using that scale!

As far as I understand, in a minor key the tonic would be a minor 7th, so it would be a ii7b5 - v7 - i7, but we want the v to be a major dominant so we have to do a secondary dominant V7/i

Eu tambem

I noticed that too. I was confused.

Well, the 2nd chord of the melodic minor scale is just a minor 7. I'm not quite sure if that's what you're asking though?

Try ‘Chord Analyser’......

Comment of the year! 🤣🤣🤣

@@aaronbarber6238 Aladdin will agree with you

Cheers for this, I have been researching "free piano chords sheet music" for a while now, and I think this has helped. Ever heard of - Nonason Ranincoln Genie - (do a google search )? It is a good exclusive guide for discovering how to play the piano like a pro without the normal expense. Ive heard some great things about it and my mate got great results with it.

dont trust this, is probably a bot sharing malware

Thank you for all the kind comments man - I appreciate the feedback... it's comments like these that give me more motivation to keep making videos :) And for future reference.... my name is Simon! But feel free to refer to me as PianoPig, Mr Pig, Dr Trotter or Sir Oinker ;)

Simon, we need to know HOW Rock N Rock people played their songs like "little Richard" , like the song Lucille." , and how did Jerry Butler did his piano playing in " For YOUR Precious Love. " & HOW did the Five Satins did the piano playing in the song - " in the Still of the Night."! Cannot rest til U give us a complete tutorial! And love to KNOW how the song is played in the Power of Love" by Celine Dion. Do it please ,do!!!! OTHERS cannot do it right by ORIGINAL sounds!

i tottaly agree :3 he explains each step so slowly well and detailed :)

ETsonggalaxy yea we don' the want to get to familiar . I'll keep it formal with Mr. PIANO PIG. YOUR ANIMATED KEYBOARD REALLY HELPS OUT FOR ME . NOT KNOWING MUCH MUSIC THEORY

Because the chord is built from the harmonic minor, not the melodic minor.

Check out my video on rootless voicings! kzfaq.info/get/bejne/rZiGkpR_0M-vY5c.html

definitely not, maybe similar, but definitely doesn’t sound like that

It wouldn't be technically correct no. The reason for this is because when you say it has the 9th, it implies that it has all of the chord tones below (1, 3, 5, 7). Therefore, if we just said G7(b2), this would imply that the 7th is not present.

*Thank you for the **reply.Do** you have any youtube videos that actually demonstrate how to incorporate these minor chords into songs for the benefit of beginners? Also, since minor chords are forrmed on relative minor scales, is it fair to say that minor chords are generally only used in solemn songs in Western music, since the relative minor scale has a sort of Oriental or Egyptian sound to it?Thank you.*

I don't yet have a video on how to incorporate a minor II-V-I into songs for beginners yet, but I will add it to my list of KZfaq videos to make! There are actually 3 minor scales and most minor chords are built using a mix of these different minor scale. In the case of a minor II-V-I the chords are predominantly built using the harmonic minor scale rather than the natural minor (aka. relative minor). The idea that minor is sad and major is happy is very generalized. There are tonnes of happy minor songs and also the opposite. But I suppose yes, a huge amount of the solemn songs in Western music do use the minor scales to create that mood. And that oriental / Egyptian sound you talk about comes from the minor 3rd jump in the harmonic minor... you can also get that similar Eastern kind of sound when the flat 9 is present, in scales such as the phrygian scale. I hope this answered your questions :)

i think so

That's why it's called the harmonic minor, we tend to build harmony from this minor scale. It just makes sense because it causes the 5 chord to be dominant. If you used the natural minor, the 5 chord would be minor

PianoPig this is exactly what I was looking for^^ I was playing a minor 251 using the natural minor scale and my ear is like huh this sounds off, sounds better as a dominant but I know the 5 is minor lol 😭 thank you for this clarification 🙏🏽

@@Piano_Pig But the key notation in the music sheet shows the B flatted. If this is the harmonic scale shouldn't the B be natural?

Paul Grass because thats how u get the tritone, in this case the B note, if not, the V chord would be minor

I like that you like this

No I'm not haha

Midiculous

Absolutely!

No, this is unacceptable

Very unacceptable. IMPOSSIBLE almost.

kartikeya srivastava harmonic minor

Here you go: kzfaq.info/get/bejne/rp56bKaruL7WhXk.html

@@Piano_Pig Honestly, you are just awesome. thank you!

That's the Dorian scale, not the minor scale you just wrote, the minor scale would have an Ab as well. We certainly couldn't use the Dorian scale since the II chord would just be a minor 7 without the flat 5. It's just much easier to think of it being built from the harmonic scale since all the notes we need are already there without having to cross-reference relative majors and parallel minors. Hope this helps!

it;s easier if I explain it in C MAJOR/A min Im just going to push UP one note at a time G#.....F#, G#........then D#, F#, G# ( lydian b3 or melodic #4) I... ii II iii III V v V vi VI vii VII Ocitve Am Bdim C M Dm Em FM GM Am Bdim Caug Dm E7 FM G# dim Amin B min Caug D7 E7 F# dim G# dim Amin B7 C aug D# dim Emaj7 F# dim G# dim A HARMONIC MAJOR A Maj B dim C#7 D min E7 F aug G# dim Natrual min Harmonic min Melodic min Harmonic MAJOR..........( the melodic min #4 =IV mode) There's other Harmonic scales... Harmonic min b2 Melodic min b2 Harmonic min b5 Melodic min b5 Harmonic min#4 Melodic min #4 anyways...you can alter the II chord ...from dim to min7 to Dominant Its just pushing UP A minor will still be the PARENT or TONIC..as your reference piont if you're counting from A.... It donst matter...use the MAJOR INTERVAL as the REFERENCE interval It's the same process for MODEs/chords ( the major;s scale is always use as the reference) becuase you can modulate to A MAJOR too... I if you do C MAJOR....sort of see it as C ION anyways...the II chord if you count from B....using different scales. Those are the TERMs of modes...simply identifying the mode's interval in reference to the major's scale interval. B loc loc maj6 Dorian b2 Mix b2 Half FULL Min7 Dominant If you use A harmonic MAJOR it's B dorian b5......hence the possible FULL diminished ( R, b3, b,5, 6) but you can also modulate DOWN from C MAJOR toward C min as you also Push from A minor towards A MAJOR A lot of modes/chords will intersect. If you learn how to do it both ways...it'll be MAGIC But try to comprehend it in One key at a time...at first. becuase you can shift to multilple keys...back and forth. There's different ways ( which is cool..so you can write different songs/ progression) The II, V, I...or I, IV , V..is just the basic...( you have to start somewhere) Ab Eb Eb, Ab Eb, F#, Ab............ Eb, Ab, Bb ect The II IV vi VII ( as in b6 degree) when you count of A min...the G7 is in the b7 degree NOT Maj7 degree People BUTCHER the romans system The chord degree has nothing to do with what types of chords they are. These are ALL POSSIBLE FULL DIMINISHED. Whether its A Harmonic MAJOR or A harmonic Minor It'll overlap with .... C Harmonic MAJOR or C Harmonic minor as a reference.....B. D. F. G#/Ab ( That's why you need to see it in C Major/Amin) People butcher..that G# or A b The C Harmonic MAJOR sounds DIFFERENT it dont have Maj6 or A note as in G mix b2... NOT G# loc b4, bb7 When you transfer that to other keys..if you the wrong symbol. it's not going to sound the same...The chords might overlap but the MELODY will sound different.... so if you play II, V I.....in C Harmonic MAJOR D dim.....G7 C MAJOR or you can play play other chord such as the IV ( F minor) IV, V, I or I ,IV, V C MAJOR....F min G7 if you play C Harmonic MAJOR or min. it 's D dorian b5 or D loc maj6 A Harmonic Major or min D lydian b3 or D dorian #4 example the III ( maj3) chord of A Harmonic MAJOR its Phrygian b4.....you can stack it like this 1, b3, 5. b7......1, b4. 5, b7......1, b4, b6 or the vi (b6) degree....the F F lydian F Lydian #2 F lydian #2, b7 ( A harmonic min b5) the b7 is the Eb The iii = C b3, #5 It'll overlap like that...C min ish..yes??? or C Harmonic MAJOR = F l ydian b3 C melodic min = F lydian b7 or A Harmonic MAJOR = F lydian aug #2 Lydian = Ion #4 You sort of warp the lydian mode. ( Modulate) The other 8 parallel scales...dont have keys signatures... simply becuase you can use it different ways.

@@chansomanmusic I cant fix stupid.. There's 5-ea black keys. Learn how use them. ..one at a time.

@@chansomanmusic Play the G#...then F#, G#...then D#, F#, G#....Ya FFFFken MORON :-P

Because you need the juice you get from creating the tritone with the b6 ---> Ab/D

You could do all sorts of things! You could do that yes, you could also turn the minor 1 into a dominant chord leading you around the cycle of fourths.

PianoPig thanks so much! I appreciate your openness, I’ll be trying this as soon as I get home. That’s really interesting the way minor and major parallel each other in terms of the cycle of fourths and fifths

I'm essentially using the 'minor 7' option. But using that option doesn't mean you have to play a standard root position minor 7, you can still add chord extensions and make it a rootless voicing.

I think a better Answer is that we can play almost any minor chord in these chord progressions minor6, m7, m9, m11, m13 with all the dominant 7th chords that can be altered in any variations. G7, G9, with other extensions like b9, +11, 13, b13 etc etc. However, since these chords in "this video lesson" are being taken from the HARMONIC Minor Scale, it's going to force certain chord sounds to happen. Yet, we can do this all day long using Dorian minor, Phrygian minor, Melodic minor, and Natural minor scales too! And every chord progression in a "specific Minor 2-5-1" will sound amazing in some way, having its own music vibes & moods for certain atmospheres you want to create. There's No Rules to what chords you can play, as long as it sounds MINOR for a "minor 2-5-1 pattern/progression", and as long as you use the correct minor scale for those specific chords coming from each Minor Scale you choose to play LOL! I know, it's bananas trying to grasp all of that... Hahaha! Music Theory sometimes makes our heads explode into a giant headache, but it sure is FUN learning new things and new ways to play that Keyboard and Piano!!! 😂😂😂😂💀

you can look at it like this....PUSH UP from A minor towards A MAJOR in I, IV, V.....counting from the A note....or A minor A min...........D min E min A min D min E7 ( Harmonic minor) The G# note...makes the E min into E7 The second half a scale from the perfect 5th to octive...is a perfect 4th interval. you're basically just Creating 3 into 4.....or 7 into 8. aka LEADING TONE as in....G# into A A min.......D7.........E7 ( melodic minor) F#, G# the II chord is B min7 ( dorian b2) II V I B min.....E7....into A min or you can play double harmonic D# F#, G# B7 into E7 into A min verse D min G7 into C Maj but it dosnt really matter....you can play Dominant chord into MAJ or Minor The II, IV, vi . VII. the Vi = b6 chord degree are all Possible FULL DIMINISHED using the harmonic MAJOR or Harmonic minor C Harmonic MAJOR = D dorian b5 C Harmonic minor = D loc maj6 A Harmonic min = D dorian #4 A Harmonic MAJOR = Lydian b3 or like this.......G7 into C MAJOR or C min E7 into A MAJOR or A min if you count from the SECOND arpeggio of a G7 or dominant chord. it's just DMINISHED chord example......G B. D F G7....B dim E G# B D E7 G# dim D F# A C D7 F# dim

@@oneeyemonster3262 wat da hell

@@kyrlics6515 what part of there;s more than just one type of minor scale did you not get???? A Melodic min.......the II chord = B minor or min7 ( dorian b2) V = E7 as in Mix b6 I = A min or A min/Maj7 A lydian b3 ( melodic min #4 This way you can play the II as B Maj or B 7 V E Maj or E Maj7 I A Min or A dim This way when you play A harmonic min b2 or melodic min b2 You can play the Bb as Maj , maj7, dominant So you can Modulate DOWN to D min/FMaj G Min/Bb MAJOR C min/ Eb MAJOR.. You can also play A Harmonic min b5 or Melodic min b5 Or even A minor b5..... That would be the Eb note from.......C whalla C Minor.lmao That would be A dim....B dim into C Major or C minor or G min A dim Bb Major A lydian ish???? ( vi of harmonic minor is Lydian #2) Or E Harmonic MAJOR G# = Phrygian b4.....whalla G# into C# Minor.lol Or you can play.....Bb Maj7.....C7 to D min or F Major or you can play Bb7 C7 into F melodic min ( F minor) Or you can go like this.....do the CYCLE of Dominant when I say cycle down to the 4th....that's what I mean. Its just a Jazzy of a ma roo of doing the II, V, I and repeat Use ALL DOMINANT chords..... B7 to E7...then to A7 A7 D7 to G7 G7 C7 to F7 F7 Bb7 to Eb7 Eb7 Ab7 to Db Db7 Gb7 to B7,,,and repeat.lol or you can reverse the process or you can do it in Major or Min chord Like this.....it's going to go counter clockwise on the circle of 5th People use the term CYCLE down to the 4th..just to help you to go counter clock wise C F Bb Bb Eb Ab Ab Db Gb Gb B A D G C so those dominant chords are the V of MAJOR's TONIC. Notice those are all of the same ROOT note????

You are correct! The only problem is that every chord in existence could be percieved of as about 10 other chords, so it sometimes just creates more confusion that simplicity! It also wouldn't 'technically' be a minor 251 if you were playing an Fm6. But certinaly helps to keep that at the back of your mind to help find the chord quicker! :)

Because these exact chords (mainly the dominant V chord) don't appear diatonically anywhere else

@@anirishmoron I think I understand now you've said that. It's because the natural minor scale would make the G (V) chord minor a not dominant? Tell me that's right because my brain is melting

@@myoldskool yes exactly, for example in A minor the note that makes the 5 chord minor is G (E G B). But in harmonic G is raised to G# so that makes that Eminor to an Emajor (E G# B)

Out of context, sure... but when you put into the context of a minor 251 it sounds awesome :)

Durandal O Armads? I felt it too