Beato Basics of Music Theory: Borrowed Chords
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- čas přidán 1. 05. 2018
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This is great. Your channel is a gold mine for who wants to learn about music theory but has never learnt to read music, just like me and lots of guitar players. Thanx a lot from France !
Aeolian walks into a bar ... the bartender says "We don't serve minors here"
I realize I'm pretty off topic but do anybody know a good place to stream newly released series online?
@Tomas Russell thank you, I signed up and it seems like they got a lot of movies there =) I appreciate it!!
@Bode Mayson Happy to help :)
😂😂❤
This guy is literally he best teacher ever!!! I love the way he teaches flawlessly at a perfect place!!!
Such a great channel. Love the content, Rick. Thanks for sharing your knowledge.
Amazing video. You clearly love teaching music and we are so grateful for it. Thank you!
I never try to think my borrowed chords through chord progressions first but I write a melody, and then if in my mind I hear a minor chord for the particular note in the melody... it doesn't matter what key or mode I'm in... i will put that god damn minor chord in there and that might or might not be a borrowed chord depending what key rest of my chords are from.
It works very well... so trust your ears and remember to practice chord type recognition so you know what chord type you hear in your head. :)
Rick, you are so generous with your knowledge i can’t get enough of these tutorials. It astounds me that you unselfishly give away so many trade secrets in Your recording tips videos. God bless you.
These aren't trade secrets lol
"Trade secrets", what do you think musicians go to school for?
Another fantastic white board lesson. There’s so much information in these white board lessons that I often find myself watching them several times to really get them down. Absolutely fantastic - it’s the Rick Beato School of Music Theory!
You keep giving and blessing, thank you. Big love/respect
This video absolutely is amazing! At 1st I didn't understand it even though I know my major and minor scales and modes like crazy dead but once it got to about 5 minutes in I fully got it lol! Thank you so much for taking the time to do this I cannot wait to purchase your book!
I really enjoy these videos. These are great lessons.
Thank you so much for doing this video i have been looking for more information about this topic for a while
500k by summer is awesome. Great content is the reason. You've got the best music education channel anywhere on the internet.
can't express my gratitude for these vids, i'd expect this level of teaching in an entry level college course
This is great! One of my favorite things to learn in music theory was the use of secondary dominants to change keys.
Also, because anything you play can be found to be a chord substitution of some mode (whether it be from Ionian, double harmonic major, or some more obscure scale), is there any advantage to thinking "which mode should I borrow from" when composing? (As opposed to thinking "let's try out some random chords and see which ones are cool").
Cool intro music Rick! Loving your channel.
Thank so much for sharing your knowledge! Kind regards from Belgium
WOW awesome teaching with all mode thank you
Great stuff. I've watched the first 10 minutes and it's already improving my improvisation skills through better understanding of how songs/chord progreesions actually work. I'll be asking my wife for the Beato Book for my birthday present this year! ;)
RICK YOU ARE WAY ABOVE AND BEYOND THE CALL OF DUTY ! I FINALLY UNDERSTAND THIS ! YESSSS !
You are a great teacher thanks!!
Another great lecture. Thank you so much for your hard work. Thank you for sharing such wonderful knowledge. I am actually starting to get it without my head spinning out of control. LOL
dang your production has really gotten so much better rick
Great tutorial this. More, please. Who needs college with these freebies. Thanks, Rick.
Hi Rick, love the channel! (from Norwich, England)
Yeah! Keep it going, Rick!
Will be getting your book!
My brain is starting to move a little faster on the connections. When you were asking Carol about the keys, it helped confirm some of my guesses.
Thanks.
Beato is literally a blessing. Unfortunately, I can't buy his book in my country so I just have to make do with his excellent videos.
Kind of fun to watch some of these early videos.
At last I've ordered your Beato book, thanks for the discount code Rick..;-))
Thanks this is great!
Can you substitute a borrowed chord anywhere in the C major chord progression or is there a theoretical rationale why certain scale degrees are better candidates for substitution? thanks!
Just figured it out in my blackboard. This is what I thought years ago when i started playing guitar, now everything makes sense. If you know how to use this you can make hits every week. Unlimited freedom of sounds.
So, I started doing some research about 3 hours ago because of Pink Floyd Nobody home. C/E/F/Fm/Am Multiple videos later I ended up here and he explains it with the radio head example. Freaking awesome.
love it when the white board comes out! 🎸
Awesome video
The MUGS sound very cool !
Love CZcams putting on a constant ad saying fuck interval training on all of Rick's vids, when he has a massive interval training program 😂 good one CZcams very nice to your creators 👍
Hi Rick, been waiting for this video, thanks! I'm having trouble with "Back to the future" - v-bVII-I-bIII-IV-Vsus. I've come up with several interpretations of this sequence, not sure which one is correct, what's your view?
Rick, thank you for showing what works. Do you have any recommendations for resources that could help me learn why certain things work? I want to learn why certain non diatonic substitutions work and others don't.
You are definitely a savant as far as music theory and an excellent teacher. I have a question regarding the E Major in C key and the B Major in the G key, I heard you saying that they are borrowed chords but you say also that they are here as 5th of 6th chords. I understand if you look at them as 5th of 6th but I am no able to tell if they are also borrowed chords and if so where is the E Major borrowed from and B Major.
Are you perhaps borrowing them from some modes that you have written on the chart?
If so, I would appreciate if you clarify and make sure also in your talk to explain exactly where they are coming from, because otherwise it is very confusing. I would also recommend you to slow down to not overlook points that seem to you very obvious because of your knowledge because you may easily think that we are always on the same track, but I am not as far as I am concerned , I am still a beginner in theory after many decades of playing and making music the hard way :)
Thank you for answering. and sorry for the remarks. you are the best.
Hey Rick! When you're saying 5 of 6 are you saying the 5 Chord from the Dominant of the 6th scale degree?
Regarding borrowed chords vs. secondary dominants that resolve deceptively: Can a chord be either depending on context? If so, what is the context that distinguishes each as such, respectively?
In the I, III, IV, iv progression from radio head, the iv going to the tonic chord works so well as a resolution. Does that changes the iv function from a subdominant to an actual dominant or a leading tone?
In the G B C Cm, I always saw B as being borrowed from the parallel major of the relative minor ( Eminor -E major) not necessarily a secondary dominant to VI
(Since it is the V of the E major, maybe it’s the same thing I guess?)
1:19 I got goosebumps when I hear the borrowed chords at 1:21 o.O
My god there's is SO much to remember :'), I know the circle of fifths, I can remember the interval pattern to make a major and minor, need work on my harmonic and melodic minor, but my god now I've got to remember the mode chord differences 😂
I'm a music graduate - this is brilliant.
new definition for the Goldilocks zone:D somewhere you can see and hear Rick Beato!!!
found this one that I didnt seen yeat! great!
Thanks for the video.
Now I know why some of my progressions work. I just thought I was being weird.
The quick way of doing at 21:20 would have been to copy from parallel minor in second line.
Just making fun, I love your channel Rick
In the example of Everything in its Right Place, isn't that tune in Db? I mean if the chords are Db, Eb, F and C, the C could be the only borrowed chord from the key of Db (major). Or am I missing something?
Nice
Please do a video on Shawn Lane
How should the extensions of these borrowed chords be treated? Would they be taken from their parent scale?
Precisely the point. People PAY to go to school, Rick teaches it for free!
How about Misty? You get the 2/5 for the 4 chord then the 4 becomes minor to the b7 chord which is like another 2/5 but that one seems like it should resolve to the b3 but instead resolves to the 1...... maybe because depending on the inversion, the melody note on top could be shared because one or the flat 3 have some of the same notes.....
So... can the parallel/relative thing be applied to modes? I mean, something like the "relative lydian" of C major is F lydian / the "parallel lydian" of C major is C lydian?
The second progression you went to ... my brain recognized it after a couple of minutes in memory search ... the coda to Yes "Starship Trooper".
Where does 1aug come from?
(Commonly seen is: I, I+, vi)
Can we use secondary dominants as major
To me, the B major in Creep is not a borrowed chord. How could it be? It doesn't come from a parallel key. Neither G major nor G minor - nor any diatonic mode on G - has a naturally occurring B major in it. In this song, the B major is functioning a secondary dominant in the relative minor, E minor. Instead of resolving to the 'i' of E minor (AKA the vi of G major), it resolves to the 'VI' of E minor (AKA the 'IV' of G major). It's just a deceptive cadence.
The C minor, yes, is a borrowed chord. But the B major isn't.
Mr. Z I totally agree
The BM chord is borrowed from G Ionian augmented, 3rd mode of harmonic minor, and BM is its 3rd chord which is built on phrygian major, 5th mode of e harmonic minor, and is its dominant so it functions as both depending on how you utilize it. His second example has the BM resolving to e-, so it functions as a secondary dominant, but the first example is used as a borrowed chord birthing from G Ionian #5 and goes straight to C, kind of like a chromatic mediant :)
nashville numbers? is sweet child of mine's verse a 1,7,4 in D, or is it a 5,4,1 on G???
Magic Mechanic Rick
"I missed the way to construct parallel minor." Natural minor with the same root. G major, the parallel minor is G aeolian.
Why did you write out c aeolian twice when analysing the parallel modes that you can borrow from? C aeolian is the parallel minor of c major. Also the b maj chord in creep is not a borrowed chord. It is non-functioning secondary dominant i.e. V/vi (E harmonic minor).
*I watched on and you fixed your mistake, my bad! * Overall a great video! Lots of good information!
what do you mean a 5 of 6? is it the five above the 6 scale tone?
"Creep," or also "Wave of Mutilation" by Pixies.
Were any of my favourite musicians thinking about this when making my favourite works? Pink Floyd, Clapton, The Beatles, The Who, etc. Can't imagine fights in Abbey Road over secondary dominants or diminished 7ths or supertonic exoghouls or whatever. lol. I dunno, maybe I underestimate them, but I always assumed they just jammed and messed around and experimented until they got to something they like. Same with guitar solos. I can't believe anyone has the mental bandwidth to actually be thinking of scales and flat 6ths and things on a run up and down the neck. They've just played enough to get a kind of muscle memory for what sounds off. And some people don't care, and still get away with it. It's a bit like some visual art - crazy people go to great lengths to explain/analyse and justify the greatness of some popular piece of work, only to speak to the artist who just painted a thing they liked the look of, and were pleased that someone else liked it, too.
Wichita Lineman. In the key of D but you wouldn't know it from all the other chords in the song. That might be a good one to do a video on.
so do song writers have this chart in the head as they are writing songs? i think this is a great explanation of why certain chords from other keys work well together, but i'm still confused about the practical usage of this information
Let's say I have to improvise in C and there's a borrowed chord from Cmin. What scales can I use on it? Would C still work in this context? On the spot I would say no, go for C aeolian, but you never know. At least I don't... (Yes, I'm just starting to learn all this stuff, I like to experiment with my guitar and a looper pedal, so I'll give it a try when I have some time, it's really good fun)
I have seen elsewhere where he played the Cm(E flat major) scale over the borrowed chord.
I wish I could get some of my mates to watch this, I think they have some allergic reaction to theory, heck I cant explain this if I did understand it fully. I am getting there, great stuff.
Hey Rick, what would be the parallel minors of A flat and D flat.?
I understand sonically, that they would be g# minor, c# minor, but there seems to be no “a flat minor” or “d flat minor” on the circle of fifths chart...so how would you write those out for sheet music?
A flat is actually B and D
D flat is the same as C #
Didn't you another Secondary Dominant/Borrowed Lesson a month or so ago... I'm having trouble finding it.
Hey Rick, you mentioned that this topic is covered in your book. When I do a search for "borrowed chord"...it says "no results found". What is this topic called in your book?
It’s in with the chord substitutions. It’s also part of the series of rules. I don’t call them borrowed chords in the book. That is a term that is used more in classical music to describe a momentary modulation.
Thanks Rick!
Chromatic Mediants, another way to think about it (Bmaj following the Gmaj).
Rick refers to the maj3 as a borrowed chords but where is it being borrowed from?
Ketan Patel as far as I know, it's not really a borrowed chord, but what's called a chromatic mediant. Check em out
Never understood why you use flats and sharps instead of all flats or all sharps... is it a lingo thing?
Whew!
The borrowed chords are in a circle too - major minor minor major major minor diminished. each mode just starts on a different part of that pattern.
In locrian the third chord is a minor
From which mode is the B major chord borrowed in the Radiohead progression ? G, B, C, c
Would it be E melodic minor?
Which would then make it B mix b6?
If we had G, B, and then Em, things would be clear, cause then the B chord acts as a secondary dominant of Em. B is the 5 of Em. I suppose it still has the same function as a secondary dominant but we're having a leading note resolution from B to C not a 5 to 1. (B to Em)
I believe (from an earlier lesson) it would be V/vi (5 of 6) or the 5 taken from the Em, assuming the song is in G. I believe it would normally include the seventh and lead back to the Em, though. ??
You can't borrow from E melodic minor if you are in G major key.
I love how he always acts like this is the first time he's used creep by radiohead to demonstrate borrowing chords, rick, you always use Creep by radiohead yo demonstrate borrowed chords cuz it does it twice in two different ways
You never said where III major comes from. What scale has a sharp 6.
You never showed where the E major chord came from in C
Hi!
I'm not a musician but I think it is borrowed from the C harmonic major scale. The notes of the scale are C D E F G Aflat B
The E major chord contains the notes E Gsharp wich is an enarmonic to Aflat and B.
Both minor and major qualities can be derived from the the 3rd notes of this scale .
Suxs not able to understand this I’ll keep hacking at it , I have learning issues from head injury.
Shane Holbeck I was about 25 was changing a clutch out on my pickup the trans slipped hit me between the eyes ever since then I’m speech and memory slipped it was the 80s so I sucked it up I threw up and fell to sleep with fever never considered going to hospital.
Shane Holbeck oh no biggie , the odd thing I practice all the time and I do some of this just didn’t know it was that complicated to explain
I play what sounds good to my ear Rick is dissecting it he’s CSI of music 🎶
Rick + whiteboard = click
5:00 he never explained where the B major comes from. does anyone know?
I’m not 100% sure, but I think I can try to answer. The B major chord can come from any parallel mode that contains it, usually. Since it’s in the key of G, we need to look for a parallel mode that contains the B major chord. We look at G Ionian, Dorian, Phrygian, Lydian, Mixolydian, aeolian, and Locrian. Lydian and mixolydian contain the B (the 3 of G in G-A-B-C-D-E-F#; remember which notes are flatted to derive the other modes). but lydian & mixo are using B as a minor, so I don’t think that works. We have to get it from somewhere else. Its the V of vi (secondary dominant), because it’s the V of E, which is in the key of G major. Other than that, I think it’s just any borrowed chord from a key that contains that chord: E ionian, E lydian, F# ionian, F# dorian... etc. let me know what you think of this answer! Edit: Rick does finally answer this question 37:48 - it IS the V of vi as I said :)
It comes from the relative harmonic minor scale (E harmonic Minor which has that D# in it).
You are a real Master but this class is a real disorder!.
Anyone watching this today?
this is painful get to the point