Thank you for watching!

Thank you!

I'm glad I was able to help you learn what these useful chords are called!

You can do it! Let me know how to goes.

You are welcome!

Thank you for watching!

Glad it was helpful!

You're welcome!

Don Moen! I haven't thought about him for a while. First time anyone has compared me to him, but I can kind of see it. (Thanks for watching and for your comment!)

Thanks for watching. I do find that in a lot of standards, instead of sus chords, they put in a chord substitution.

No need to apologize, it’s a good question! I probably should have said inversions instead of voicing. When you invert a chord, you are changing the voicing, but you can also change the voicing of a chord without inverting it. For example, you could play a C major chord using middle C, E and G close together. But if you add a low C and G in the left hand, you’ve changed the voicing but have not inverted the chord. Hope that makes sense!

@@athomewithmusic8698Thanks! I love this lesson. I’m at the stage in my development that at times im having to really stop and see what you’re doing and think it through. When you move up to different inversions, it’s stop and see again. Also, it’s a little hard at times to see what notes you’re hitting.

If you are new to the use of sus chords, it can be a little confusing at first. Let me see if I can help. Think of playing this song with a chord change on almost every beat. So in the first measure, instead of playing a G major chord, you start with Gsus on beat one and then quickly resolve to G major on beat two. All of the sus chords in this example fall on beat one of the measure and most quickly resolve on beat two. In measure 8 the sus chord is held for an entire bar before resolving in the next measure. (Dsus - to D). Then in measure 15 the D7sus chord is held for two beats before resolving to D7. In the last two measures we have a series of three sus chords, one on each beat, before ending on G major. Hope this helps! Let me know if you have any more questions.

Thanks for your comment. You are quite correct in stating that the 2 5 1 progression in C major would be Dm, G7, C. In investigating other tutorials that address the 2 5 1 progression, I have found that many of them start by presenting the progression in its simplest form (i.e. Dm, G, C). Then you can add 7th chords (e.g. Dm7, G7, Cmaj7). You can then make those three chords as complex as you like.

@@athomewithmusic8698 there's nothing complex about it,,,,its basic functional harmony, you could just own the error (it's a big one) or deny the fact that you obviously dont really understand western music theory,that 5/7 to 1 cadence IS EVERYTHING, do you understand what's actually going on fundamentally and harmonically, do you know why its called a dominant 7,?you should take some time to further research how it all works ,let me know if you have questions I'd be happy to answer if I can 🤓

@@mikegeld1280 do you have a tutorial?

@@user-oc5zs1ns4m yes

@@mikegeld1280 Do you have any type of tutorial materials that I may use as a reference? I want to make sure that I don’t steer anyone wrong. Thanks.