@@nicholascerino3386 OP here. I do love making up stupid names for these games but to be fair, all names are made up. Also, never saw your original comment. You sure it was this video?
@@jammerlammer546 I know, I know, insert foot in mouth. The original complaint wasn't really fair, (I mean, how is it any different than "So What" chords?), and then damn CZcams system losing comments making you think the OP deleted them. Adam was really easy going about it tho...
Fr and then sometimes they hit you with the “take it through all twelve keys and you’re good to go” when you can barely do it in the key they showed following along
@@unicornbro517when ever I’m struggling on a chord progression in a weird key I like to tell myself a saying I made up, ”when in doubt, C Major the kinks out with A Minor bit of practice” (transpose that sh*t lol)
I was trying to puzzle out why this works, and I realized the relative minor to Eb major is Cm! So it's kind of like using reorganized Cm chords but with a surprise resolution to Cmaj. Very cool!
He has another short where he replaces the 2 and 5 of a 2-5-1 in C with the 2 and 5 of Ab. Sort of like borrowing chords from C Phrygian and it also sounds dope. Really opens up the idea of borrowing cadences from parallel modes to resolve to the original tonic.
I’ve been saying for months that I would “get into playing jazz eventually”. Eventually is now because of this channel. I can’t get enough of these videos. They are blowing my mind and super inspiring. Thanks guys!
@@rc1800Yessss no it’s a reference to Lionel Ritchie’s “Easy (Like Sunday Morning)” using this base chord progression from the video. As does Al Jarreau’s “We’re In This Love Together” and John Lennon’s “Imagine” and many others
I love this kind of content you do - simple ideas for those of us who have no designs on ever becoming professional musicians, but just want to chill out and vamp after a hard day at non-musical toil
I was thinking the same thing. Reminds me of some video game-type music (bVI > bVII > I). I never thought of these as IV V but a minor third up, it's almost like hearing them for the first time.
Great thanks for showing us dilettantes tricks of the trade that will make us sound so much better. Faking it until I'm making it, I use it when playing in my local (tribal) pub. The other day I even got my first spontaneous applause after 15 minutes of improvisation. That is an applause for Open Studio Jazz. Thanks a lot, dear friends.
Bass player here! Man...back in my college jazz days, I had the pleasure of working with some amazing piano players and we would spend hours just jamming out weaving in and out of keys, expanding our ears and such. Awesome!
Love these video's! They help to discover and hear things in music that I previously didn't. For example I can value and appreciate more and more of what a musical mastermind our late Mac Miller was..
What’s important to know is that the cush cords only sound this good currently because the non-modulated bit (Normal chord prog) was played beforehand. This isn’t to say that if you made a song featuring the Cush chord bit and didn’t have anything from the original key that it would sound funky and cool (listen to the electric keyboard in Everything in it’s right place by radiohead to hear exactly that) but it’s that switch from normal to cush that really activated the little homunculus in your brain. Change, tension and release is everything in the theory!
I'm assuming this works because Eb major has so much of the backbone of the harmony and is the relative major of C minor. So one could also take progressions in minor (Aeolian should work best) and take everything but the tonic down a minor third. Or, take progressions in any of the other modes (Dorian, Phrygian, Lydian, Mixolydian and Locrian), and move the rest of the progression around the tonic to line up with the "relative" key centre... For the other MLT nerds out there thinking about how to teach this, maybe take Major > Aeolian interchange by labelling the old "La" as the new "Do". Aeolian > Major is the opposite, label the old "Do" as the new "La". With other modes it should work to take the resting tone of whatever you're interchanging with, and label that as the new resting tone of the tonality, e.g. Dorian > Lydian, Fa is now the new Re. Hope this works!
@@prosperhopeman9672 yes I quickly gathered that and summed that up in my first sentence. But I think there's even more to it, and I think the concept should generalise further, hence the rest of the comment
@@prosperhopeman9672 yep, because Eb = C minor but C phrygian (Ab major) is even "better" since C phrygian is literally C major backwards, so the intervalic relationship is exactly the same just mirrored
I was like "this is awesome. What does it sound like modulating to other keys?" But this minor third modulation was by far the nicest. That made me think "why is this the nicest?" Which made me realise we're not really modulating up a minor third we transitioning into the relatives minor scale (in this case C minor). Is that a right way of thinking about it? Gives me "Sweet Love" and Daniel Caeser "Best Part" vibes
I think these types of modulations are more effective when you get to hear the "base" progression first; I feel like jazz doesn't do that enough, your thrown into a deeply modulated phrase without context... Though the first two sounded gorgeous in their own right (but we all know what IV-V's already sound like).
Can I learn these things more in depth in the courses offered on OpenStudio, or is this beyond the standard curriculum? Also, which course would be best to learn these topics? Thanks!
@guidemeChrist I've thought of this before too. Almost similar to the "4 Children" idea that Barry Harris talks about. Dominant chords relating to the root of C for example could be G7 Bb7 Db7 and E7. These roots also happen to create a fully diminished chord. Do you think using the roots built off of a fully diminished chord on the tonic are viable to use as a substitute modulation like they are suggesting in the video with just Eb? (So C Eb Gb Ab?)
Where is the convetion of IIb/3 coming from? I've never seen this with Roman Numerals. And why is the slash number related to the chord root and not the tonic?
Can someone explain to me: what is the relationship between C major and Eb major? In other words, why does this work? Is it that Eb major and C minor’s key signatures are the same?
i believe you are close to understanding their relationship already, by playing chords in Eb major (which will have the same key voicings as c minor) you're effectively hearing a "modal modulation" to c minor, bingo. modal modulation is (almost) always beautiful when tastefully used as was the case here.
What does he mean by take everything but the C up? Its the original chord progression, but you leave the C and every other note in the chords goes up 3 semitones?
@@anneonym7346 thank you. Funnily enough I used this video to create a minor 3 modulation over and over, to end up back where I started. Very inspired by this.
@@dafoof I see what you mean. But what is specific to modal interchange is the mixture of chords from the key with chords borrowed to the parallel minor (in this case), creating an typical effect and feel.
I’ve been around music theory all my life. It’s true that it was me that rode into town on that Palomino horse, claiming that we absolutely had to make a decision about tonal centers versus Keys. Yeah some of the boys from the Arcade Ranch wanted to rough me up while 😊had a drink at the bar. But luckily, I knew the lead singer in the band, and she always packed a small pistol down the front of her ample breast. It was she who saved my life by pointing out that chromatism was not dead, and that tonal centers and Keys not only could get along with one another, but they needed to get along with one another if we were to progress to a one chord jam session, a la Miles Davis. And speaking of Miles Davis that’s some cool shit the brothers laying down. Yep if it wasn’t for Miles this cowboy would’ve ended up in a Cowsills tribute band, playing on cruise ships parked in a Las Vegas parking lot. Remember, music theory can save your life so let’s have a little gratitude for the diatonic brothers and sisters that hold hands and make up that scale on which we hang our chromatic expectations. That’s all there is except this. You must keep on rocking - rocking in the free world is one thing; it’s rather easy now so we must turn our stereo up to 11 and rock the unfree world. I’ll see you all out on the range tonight, Little doggies. Remember bring your moon-powered amps with the batteries full and and your own cuppa coffee because we just ran out.
How to start with playing the piano this way ? I've been playing for 15 years, and I have no clue what's happening there... What king of music is it, how to learn it ? Thanks a lot !
This type of modal interchange involves taking your progression up a minor 3rd after your tonic chord but there are also other ways of doing it. Adam explains in earlier videos how this particular harmonic technique works; czcams.com/video/XHv78nWMDPU/video.html
So his progression was: Cmaj7 Em7 Fmaj7 G7 Play around with inversions and figure out what you like. Now let's transpose that whole progress up to the minor 3 which is Eb in the key of C. Now we have this: Ebmaj7 Gm7 Abmaj7 B7 Same progress just transposed. Ok now let's replace the Ebmaj7 with our original Cmaj7 and we get this: Cmaj7 Gm7 Abmaj7 B7 He repeats the same technique with a different progression: Cmaj7 G7 Am7 Fmaj7 To get this: Cmaj7 Bb7 Cm7 Abmaj7 But then he goes off into complicated land and it gets a bit fuzzy for me with C2/E etc. Those are the chords he's playing, but the riffing is just his talent oozing all over the keys.
@@chucktangy Thank you so much ! It's crazy how you can change one chord/root and the whole progression changes so much. I guess I have to take courses to understand it properly :)
Something a little more complicated like this:
Plays chords in alien language
You talking about "Cush chords"? Haha Yeah, I just teased them about their made up words they use. Looks like they deleted it. Snowflakes. Haha
@@nicholascerino3386 OP here.
I do love making up stupid names for these games but to be fair, all names are made up.
Also, never saw your original comment. You sure it was this video?
Sorry, Adam. For what it's worth, I tried to get here in time to delete this when I saw your other response saying you didn't delete anything.
@@nicholascerino3386 HAHAHA DUDE
@@jammerlammer546 I know, I know, insert foot in mouth. The original complaint wasn't really fair, (I mean, how is it any different than "So What" chords?), and then damn CZcams system losing comments making you think the OP deleted them. Adam was really easy going about it tho...
Man each of these videos is like 12h+ of practice material.
literally
True!
Only 12h+?
I know each one inspires a whole journey. They have mastered the art of short form content.
Love how this guy makes this complex jazz chording look effortless.
Fr and then sometimes they hit you with the “take it through all twelve keys and you’re good to go” when you can barely do it in the key they showed following along
@@unicornbro517when ever I’m struggling on a chord progression in a weird key I like to tell myself a saying I made up, ”when in doubt, C Major the kinks out with A Minor bit of practice” (transpose that sh*t lol)
I was trying to puzzle out why this works, and I realized the relative minor to Eb major is Cm! So it's kind of like using reorganized Cm chords but with a surprise resolution to Cmaj. Very cool!
The parallel minor modulation is very common in jazz.
Exactly. What. He. Sed.
He has another short where he replaces the 2 and 5 of a 2-5-1 in C with the 2 and 5 of Ab. Sort of like borrowing chords from C Phrygian and it also sounds dope. Really opens up the idea of borrowing cadences from parallel modes to resolve to the original tonic.
I’ve been saying for months that I would “get into playing jazz eventually”. Eventually is now because of this channel. I can’t get enough of these videos. They are blowing my mind and super inspiring. Thanks guys!
Hats off to Bob who totally nailed the timing on that last note
These chords are easy, like sunday morning
Spongebob reference? Lol
@@rc1800Yessss no it’s a reference to Lionel Ritchie’s “Easy (Like Sunday Morning)” using this base chord progression from the video. As does Al Jarreau’s “We’re In This Love Together” and John Lennon’s “Imagine” and many others
The good ol’ Commodores
I love this kind of content you do - simple ideas for those of us who have no designs on ever becoming professional musicians, but just want to chill out and vamp after a hard day at non-musical toil
100%
The Melody on the the first chord progression is sooooo awesome!!!!!!!!!!!!!!
I was thinking the same thing.
Reminds me of some video game-type music (bVI > bVII > I). I never thought of these as IV V but a minor third up, it's almost like hearing them for the first time.
Great thanks for showing us dilettantes tricks of the trade that will make us sound so much better. Faking it until I'm making it, I use it when playing in my local (tribal) pub. The other day I even got my first spontaneous applause after 15 minutes of improvisation. That is an applause for Open Studio Jazz. Thanks a lot, dear friends.
Bass player here! Man...back in my college jazz days, I had the pleasure of working with some amazing piano players and we would spend hours just jamming out weaving in and out of keys, expanding our ears and such. Awesome!
Best music channel!! 🎶
I really am seeing more Bob!
Love how much the bass player is soaking in the vibe
He was smoking cush chords.
Magic from the wizard of the keys
Bro plays the piano better than I can play games
You have taken this thing to a new level.
In awe of your fluidity. That Cmaj7 - Gm7 is such a beautiful thing.
I absolutely love these lessons!!!!!!!!!❤❤❤❤❤
how in the world you come up with these crazy sounding chord progressions
Love these video's! They help to discover and hear things in music that I previously didn't. For example I can value and appreciate more and more of what a musical mastermind our late Mac Miller was..
Last one was beautiful
''Bob and I'' shorts are my favorite
That was heavenly. The bass players in the room thank you for keeping Bob in the shot so we can see what he is playing behind you. Keep it coming!
This is freaking incredible
It's giving Negative Harmony, i.e., approaching from the left side of the circle of 5ths. Love it
I always try these pieces on guitar. Love it!
This is so gorgeous
Fax
The iii chord is such a gorgeous sound after the I.
What’s important to know is that the cush cords only sound this good currently because the non-modulated bit (Normal chord prog) was played beforehand. This isn’t to say that if you made a song featuring the Cush chord bit and didn’t have anything from the original key that it would sound funky and cool (listen to the electric keyboard in Everything in it’s right place by radiohead to hear exactly that) but it’s that switch from normal to cush that really activated the little homunculus in your brain. Change, tension and release is everything in the theory!
Dude is so sick with it. And my man on bass is always in the back keepin the heart beatin’. Favorite music YT by far
You’re the best! And I am doing MY best to translate all of this to guitar. You are stretching my brain and my ear in the best way.
Dude I love this. Thanks for distilling the key ideas
THE RICHNESS OF COMMPLICATION...🙏🏽
Such a good sound
keep motivating us bro thanks.
I can hear the yesterday melody over this and it’s beautiful
I heard Imagine and then Let it Be
@@TheSpaceInvaderer None of these songs, absolutly not, you guys need to train your ears.
Tritone subs are a thing of beauty 😁
This is a really easy like Sunday morning today... oh, and hell yeah!
Trop beau !! La classe !! Merci
Omg im gonna cry thats so beautiful
This all sounds gorgeous.
sounds great guys
I'm assuming this works because Eb major has so much of the backbone of the harmony and is the relative major of C minor. So one could also take progressions in minor (Aeolian should work best) and take everything but the tonic down a minor third. Or, take progressions in any of the other modes (Dorian, Phrygian, Lydian, Mixolydian and Locrian), and move the rest of the progression around the tonic to line up with the "relative" key centre...
For the other MLT nerds out there thinking about how to teach this, maybe take Major > Aeolian interchange by labelling the old "La" as the new "Do". Aeolian > Major is the opposite, label the old "Do" as the new "La". With other modes it should work to take the resting tone of whatever you're interchanging with, and label that as the new resting tone of the tonality, e.g. Dorian > Lydian, Fa is now the new Re.
Hope this works!
Eb is relative major of C that's why
@@prosperhopeman9672 yes I quickly gathered that and summed that up in my first sentence. But I think there's even more to it, and I think the concept should generalise further, hence the rest of the comment
@@prosperhopeman9672
yep, because Eb = C minor
but C phrygian (Ab major) is even "better" since C phrygian is literally C major backwards, so the intervalic relationship is exactly the same just mirrored
Thanks!
that was gorgeous!
These are the videos that keep me looking at CZcams.
So glad I found this Channel, Going to do Jazz harmony for second year at a conservatoire for a module
“How about this classic”: what classic is this?!?😱
I was like "this is awesome. What does it sound like modulating to other keys?" But this minor third modulation was by far the nicest. That made me think "why is this the nicest?" Which made me realise we're not really modulating up a minor third we transitioning into the relatives minor scale (in this case C minor). Is that a right way of thinking about it?
Gives me "Sweet Love" and Daniel Caeser "Best Part" vibes
Jazz literally improves all other music
Yes! As a non jazz musician I practice real book tunes all the time. Makes me think better. ❤
when done tastefully
You know what I did? I have saved so many shorts on my playlist that eventually I had to subscribe not to lose track. Thanks!
Amazing!
Very much the sort of modes that Jamie Cullum leans into which rules.
wonderful
❤❤Damn
Just found out this channel and genuinly, thank you! These videos are immensely helpful and beautiful on its own. 😊
This Is a great series. Thank you very much.
Any recommendations for songs that sound like the first, or any of the other examples in this?
God, that's beautiful....
Great sounds, as always ! ❤️🎶
So goood
so cool comping as usual. Thanks a lot
This one was very eyeopening.
So I believably smooth
Ouch!!! You killing that ham!!! Turn up that bass Bob!😎🍺
I think these types of modulations are more effective when you get to hear the "base" progression first; I feel like jazz doesn't do that enough, your thrown into a deeply modulated phrase without context... Though the first two sounded gorgeous in their own right (but we all know what IV-V's already sound like).
I love this channel
Can I learn these things more in depth in the courses offered on OpenStudio, or is this beyond the standard curriculum? Also, which course would be best to learn these topics? Thanks!
One word..... SUBSCRIBED! 👍🏿👏🏿🙂
You could do this but with the rest of the family of tonics, not just Eb but Gb and A major
thank you friend
Can you explain how that works?
@guidemeChrist I've thought of this before too. Almost similar to the "4 Children" idea that Barry Harris talks about. Dominant chords relating to the root of C for example could be G7 Bb7 Db7 and E7. These roots also happen to create a fully diminished chord.
Do you think using the roots built off of a fully diminished chord on the tonic are viable to use as a substitute modulation like they are suggesting in the video with just Eb? (So C Eb Gb Ab?)
@@victorfeledy8947 all these keys share the same dominant diminished 7th chord
Eb is relative major
A is relative minor
Gb is tritone to C
That's why
They look like they're about to head to a bar before quickly sitting to drip feed golden nuggets of harmonic knowledge.
Imagine... 😊
What the actual f…..??! Wow 😮 perfect. Thank you
bro is the chord progression wizard
Wonderful ❤
Very smooth! I just didn't get why it works in Eb? Does it work with every random harmony or is there any connection between Cmaj and Eb?
How to learn how to make such progressions and key jumps, what is the theory behind that says it works? What to study?
Adam could actually become one of the best pianist in history, the way he improvises and manipulates theory is beyond me.
Mom, stop making fake accounts to hype me up. 🙌
Where is the convetion of IIb/3 coming from? I've never seen this with Roman Numerals.
And why is the slash number related to the chord root and not the tonic?
The amount of money id pay just to talk to these guys for an hour is ridiculous and the amount of knowledge i would gain would be staggering
When the cush hits
Can someone explain to me: what is the relationship between C major and Eb major? In other words, why does this work? Is it that Eb major and C minor’s key signatures are the same?
i believe you are close to understanding their relationship already, by playing chords in Eb major (which will have the same key voicings as c minor) you're effectively hearing a "modal modulation" to c minor, bingo. modal modulation is (almost) always beautiful when tastefully used as was the case here.
Sounds like Frank Woeste / Scott Colley - Dialogues 4
Can someone explain why this works? Is the bassist playing in C still or following the "cush" chords?
Beautiful. I have no idea what you did, even though you told me, but it sounds great. Are you just playing Eb melodies?
where can i listen to music like this?
Sounds like "Just Imagine" by John Lennon, but going off on the solos of jazz and getting off tangent, lol
What does he mean by take everything but the C up? Its the original chord progression, but you leave the C and every other note in the chords goes up 3 semitones?
Why specifically Eb from C?
❤
When soloing, can you superimpose the e flat chords over the original chords?
Sounds beautiful! Teach us more about all these words you're saying? Tonic??
The tonic is the first note of the scale you’re playing in
That's really cool. So what is it about modulating up a minor third that works so well??
It is not a modulation to a minor 3rd, it is borrowed chords from parallel minor. It's called modal interchange. Check it out, it's worth it.
@@anneonym7346 thank you. Funnily enough I used this video to create a minor 3 modulation over and over, to end up back where I started. Very inspired by this.
@@dafoof I see what you mean. But what is specific to modal interchange is the mixture of chords from the key with chords borrowed to the parallel minor (in this case), creating an typical effect and feel.
Love this -- any thoughts on why they are called cush chords?
I’ve been around music theory all my life. It’s true that it was me that rode into town on that Palomino horse, claiming that we absolutely had to make a decision about tonal centers versus Keys. Yeah some of the boys from the Arcade Ranch wanted to rough me up while 😊had a drink at the bar. But luckily, I knew the lead singer in the band, and she always packed a small pistol down the front of her ample breast. It was she who saved my life by pointing out that chromatism was not dead, and that tonal centers and Keys not only could get along with one another, but they needed to get along with one another if we were to progress to a one chord jam session, a la Miles Davis. And speaking of Miles Davis that’s some cool shit the brothers laying down. Yep if it wasn’t for Miles this cowboy would’ve ended up in a Cowsills tribute band, playing on cruise ships parked in a Las Vegas parking lot. Remember, music theory can save your life so let’s have a little gratitude for the diatonic brothers and sisters that hold hands and make up that scale on which we hang our chromatic expectations. That’s all there is except this. You must keep on rocking - rocking in the free world is one thing; it’s rather easy now so we must turn our stereo up to 11 and rock the unfree world. I’ll see you all out on the range tonight, Little doggies. Remember bring your moon-powered amps with the batteries full and and your own cuppa coffee because we just ran out.
How to start with playing the piano this way ?
I've been playing for 15 years, and I have no clue what's happening there... What king of music is it, how to learn it ?
Thanks a lot !
This type of modal interchange involves taking your progression up a minor 3rd after your tonic chord but there are also other ways of doing it. Adam explains in earlier videos how this particular harmonic technique works;
czcams.com/video/XHv78nWMDPU/video.html
Thanks a lot for your explanations !
Have a great day !@@tropicvibe
So his progression was:
Cmaj7 Em7 Fmaj7 G7
Play around with inversions and figure out what you like. Now let's transpose that whole progress up to the minor 3 which is Eb in the key of C.
Now we have this:
Ebmaj7 Gm7 Abmaj7 B7
Same progress just transposed. Ok now let's replace the Ebmaj7 with our original Cmaj7 and we get this:
Cmaj7 Gm7 Abmaj7 B7
He repeats the same technique with a different progression:
Cmaj7 G7 Am7 Fmaj7
To get this:
Cmaj7 Bb7 Cm7 Abmaj7
But then he goes off into complicated land and it gets a bit fuzzy for me with C2/E etc.
Those are the chords he's playing, but the riffing is just his talent oozing all over the keys.
@@chucktangy Thank you so much !
It's crazy how you can change one chord/root and the whole progression changes so much.
I guess I have to take courses to understand it properly :)
Why does it work? Why Eb? I need to understand 😅
ok but why does it work now ??
it's the parallel minor key
Immo try it.