Not going to lie - this channel is the best thing since sliced bread. These tips have done more for my playing in the past 6 months than the last 20 years.
This is because everything in that key is negative harmony, which is also the relative major of the parallel minor. When you mirror it like that you don’t get the actual negative version of the chords but it still sounds cush. It’s basically the minor major switch even though you’re going from major to major.
I'm a guitar player and that blew my mind. I know what modal interchange is but the tool you just gave me is invaluable. "Take the chords other than the tonic up a minor 3rd." End of story. That simple. Cheers man. I love your stuff.
Bro… you got to start citing the specific courses these snippets come from! I’m coming to open studio! In the gospel world, many guys can play like this, but they can rarely explain it, so it’s hard to transfer, or, at best, needlessly complex and difficult. Thank you!
Really really cool! I guess another way of looking at this move could be when you want to modulate on a dime you just land on a new tonic a minor third down?
Not exactly. This works because of the relationship between the scale of Ab and F. Ab is the relative major of F minor. It’s a modal interchange because you imply F major then sort of imply F minor. That’s how I understand it. At Berklee, I think they talk about the “subdominant minor”. Kind of a similar idea: say your in F major, you can use chords from the subdominant minor, the minor of the IV, Bb minor. I like what he does here because he actually seems to modulate to that Ab key, but resolves back to F major, so it’s more of a journey to somewhere else before he resolves it.
Some of this sounds like 80s Bruce Hornsby's "The way it is" or Seal's 90s "Kiss From A Rose". Or 70's Keith Emerson ELP songs such as "Fugue" and "Trilogy".
@@MarkLAsche Glad to hear I was not imagining things. I have heard Hornsby stretch out more with jazz when he plays in more "jamband" situations, had no idea he could do that too til then and don't know much else of his, just going by ear the similarities came to mind
If i could push the like twice, i would for this video. Why does it work so beautifully though? Is it because we are technically moving from F major onto F minor, which is like playing on the keys of Ab major and then when we want to resolve, we go back onto F Major, which gives that "minor to major" feeling?
I really like taking a 7 note scale and transposing it down an interval on the next chord/harmonic moment, and doing that over and over. Then, you choose your chords with those given notes over time! I like transposing the scale down a cycle of 4ths most, full cycle is pretty wild though. I'd absolutely love to demonstrate this technique if anyone I'd interested, never seen anyone else do it to this day! Smooth way to have each chord in its very own key, 4ths and 5ths being the smoothest
@@fortunekosisochukwu2074 I keep forgetting about this until the end of the day and it's been a week now... I would've preferred to make a video but 2 years ago I already uploaded a little example to my soundcloud I use for this sorta thing, if you search Example Of Scale Cycle Concept (4ths) on there, you should be able to find it. The picture that goes with it basically says it all, but I definitely wanna make a video soon where I show a BUNCH of different examples, this technique has an unbelievable amount of possible results. Let me know if you got it from that example! Otherwise I'll remember to tell you when I get around to doing a proper video on it.
It should work as well with the minor third down, this is why : we apply the "if it fits for F , it fits for +1,5 but F" trick to the +1,5 but F, that fits (by the trick), then "+3 (triton) but F" fits and by the same process, +4,5=-1,5[mod6] fits😅😅😅😅😅
So transposing up a minor third is equivalent to the parallel Aeolian mode. If you wanted the parallel Dorian mode you could transpose everything down a whole step, Phrygian, down a major third, Lydian, down a fourth, Mixolydian, up a fourth, Aeolian like in this video up a minor third, and for the parallel locrian you transpose up a half step. Is that right?
absolutely beautiful. im a beginner.....and i mean spring chicken beginner on the keyboard....so everything seems like chaos mathmatics to me with the language you guys speak of recording chords and chord progressions and whatnot....but im slowly learning.....and even the smallest things like this video is just amazing to me.
@@Jupiter862 Well i just started playing piano 5 or 6 months ago.....but i'm not learning how to play by reading sheet music,....its all by ear...so its a lot of muscle memory for me when i play. My advancement is a little bit faster than the typical beginner, as so far i can play about 20 songs. I have played the saxophone for 36 years, so the transition is a little easier. My thing is, i want to actually know what chords I'm playing when i do play. I know what every note is on a piano....but if someone played a chord and asked me what chord it is?......i wouldnt be able to tell them.
@@Lyricalxsyou will develop your ears over time (which you know, having played sax). I've been learning piano the same way for a few years. If yours is like mine, it will improve your sense on sax as well because you'll start to hear more fully, more musically. Do you know how to build all kinds of chords and inversions of those chords?
@@Jupiter862 only when I'm playing a song that i've learned that do i actually do it. I'm sure I don't realize that I'm doing it, but I am....I just have no idea what the chords are that I'm playing when i do. I think I may install MIDIculous on my laptop so that it can transcribe what chords i'm playing so that it can provide a better tutorial for me to learn and build off of. However, my style of play deals with a lot of voicings and harmonization.....so i'm playing a tad bit more than just the normal chords and progressions that are in the songs i play.
That's because you're trying to play a D note which is not present in the new key of Ab and will not work for this method. The only note that will fit all 4 diatonic and 3 non-diatonic chords in this progression is the common note C, the 5th of the tonic. The F note fits all the chords except for one, the iii m7 or Am7, which would have to be changed to IV/3 or F/A to accommodate the F note but still retains the original feeling. Hope that helps a bit.
Yeah that does sound cool. Familiar, but I never put it together that that was what was happening. Why do harmonies that are borrowed from the flat mediant work this way?
same dominant family. we’re used to training our ear to hear the relations between note pitches and chords. what youre picking up on is what the sound of a minor third relation between keys is
Is there a reason he wrote Bb/\7 and then later F/\ without the 7? From what I understand and what google says the delta means major 7, so the 7 is redundant?
Its a short. They only have so long to explain in order for it to be a short - but basically take any chord progression in a key and modulate all the chords, except the tonic, up a minor third. His voicings are another thing though.
I dont understand taking it up to a minor 3rd. Explain it further for me. Are you saying that for the notes in the key of F, whatever they are in Ab is what you play?
Just asking here, but it sounds like the reason this works is because we're NOT using relative keys, but rather F major and Ab major, which are 3 flats apart from each other. Isn't this why the thing sounds so cool? It could be a similar exercise to shift upwards by a fourth or downwards by a whole step to shift by 1 and 2 flats keys. Fun ideas..!
The second chord in the second progression is listed as "V/3 C2/E" is that 5 of 3? or is that 5 over 3? Either way C2/E doesnt make sense to me. The 3 of F would be A, so if it's 5 over 3 it'd be C/A, and if it's 5 of 3 it'd be E7. I'm confused, someone halp
Not going to lie - this channel is the best thing since sliced bread.
These tips have done more for my playing in the past 6 months than the last 20 years.
Dude I’d agree with this even if I had coeliac’s disease 😮💨
Same! It’s crazy how a 60 second video has shown me more than some half hour ones 😪
Once the bread is sliced it soon becomes stale bread.Don't let other slice the bread for you. Sharpen your knife young lad!
Frfr
"Were gonna start with a basic progression in F"
Proceeds to playing the most insane progression in F I have ever heard.
Rock musicians discovering that there are 2, 3, 6, and 7 chords too 🤯
That last variation was beautiful, man!
Nasty
That is an amazing way to think about Modal interchange. Thanks Adam. Nice playing also.
This is because everything in that key is negative harmony, which is also the relative major of the parallel minor. When you mirror it like that you don’t get the actual negative version of the chords but it still sounds cush. It’s basically the minor major switch even though you’re going from major to major.
Why can't I like this video more that once?!?! Great stuff. Short, quick, and to the point. Keep it coming.
I've never wanted to learn piano as much as when hearing this.
Me too!
So...did you embark on the journey?
I didn't make keys handy.
Modal interchange is honestly the coolest subject ever ❤ I'll never get tired learning more about it
I'm a guitar player and that blew my mind. I know what modal interchange is but the tool you just gave me is invaluable.
"Take the chords other than the tonic up a minor 3rd."
End of story. That simple.
Cheers man. I love your stuff.
Me too, I just played about with it on my guitar, neat trick!
The modal interchange is cool... but these progressions are freakin sickkkkk!!
You sir, are a genius. Could listen to this whole day long
I've been working this in all 12 keys. Such an interesting approach.
yess keep it up man
This is so dope. Your voicings are truly magical...very Robert Glasper-esque
I’d say RG would be jealous of how glasperesque these are )))
Robert Glasper was the first guy to come to mind when I first heard these changes.
Bro… you got to start citing the specific courses these snippets come from! I’m coming to open studio!
In the gospel world, many guys can play like this, but they can rarely explain it, so it’s hard to transfer, or, at best, needlessly complex and difficult.
Thank you!
that church u played in is blest
I can listen to this over and over and over and over again! Beautiful progressions!
i can hear my friends voices goin WHOAHO! in my head at that last one u played
This little tip is astounding. Sounds so good, will use. Thanks!
It's all very Bruce Hornsby sounding, so amazing! You're very smart and talented. Thanks for the great content... Keep it up 🤟
OK, I'm hooked, doggonit.
Intoxicating concept.
Last one is a typical beautiful Bruce Hornsby progression
Adam = Genius 👑
This is so beautiful.
beautiful progression Adam, keep up the great work
the way it goes from the flat 6 to the one
Really really cool! I guess another way of looking at this move could be when you want to modulate on a dime you just land on a new tonic a minor third down?
a kind of deceptive deceptive cadence where V goes to the major VI (aka the new Imaj)
Not exactly. This works because of the relationship between the scale of Ab and F. Ab is the relative major of F minor. It’s a modal interchange because you imply F major then sort of imply F minor. That’s how I understand it.
At Berklee, I think they talk about the “subdominant minor”. Kind of a similar idea: say your in F major, you can use chords from the subdominant minor, the minor of the IV, Bb minor.
I like what he does here because he actually seems to modulate to that Ab key, but resolves back to F major, so it’s more of a journey to somewhere else before he resolves it.
Some of this sounds like 80s Bruce Hornsby's "The way it is" or Seal's 90s "Kiss From A Rose". Or 70's Keith Emerson ELP songs such as "Fugue" and "Trilogy".
Adam is definitely in the Hornsby lane, and that is no small thing.
@@MarkLAsche Glad to hear I was not imagining things. I have heard Hornsby stretch out more with jazz when he plays in more "jamband" situations, had no idea he could do that too til then and don't know much else of his, just going by ear the similarities came to mind
Sooooothinnnggg 🥰❤️
Please make a whole video on this
This is gold! Thank you!
Wow 😮 great sound
AHHHHHHHHH this is blowing my mind
Amazing! Sounds robertglasperish to me! ❤
Lately Mr Mannes has been blowing my mind quite a lot! 😊😮😅
He always opens up so many possibilities!
Am I the only one who is playing this repeatedly because it simply sounds so beautiful and am desperate to learn this!
Beautiful. Wow.
Thank you, very ear opening 🪟. I'll try this on guitar with songs/progressions I already know in F and play the other chord qualities in Ab
Good lord that’s killin! I hope you fellas are making a full episode on this .
Can’t get enough of this one. Elegant & stately 🧐
If i could push the like twice, i would for this video.
Why does it work so beautifully though?
Is it because we are technically moving from F major onto F minor, which is like playing on the keys of Ab major and then when we want to resolve, we go back onto F Major, which gives that "minor to major" feeling?
I think you're on to something
yeah that makes sense
Is there a more in depth version of this somewhere?
There are pdfs for these at Open Studio. Its part of the "Genius Chord Warmups" course.
It sounds magical but so simple by definition
Damn Adam, you got that Stevie thang happening. Beautiful man.
Sounds more kinda sorta like Keith Jarrett.
I love it. The last one especially.
Brother WHAT??? I had no idea 😂
Thanks for these videos...I'm learning much from your videos👍🏻👍🏻👍🏻👍🏻👍🏻
Pat would be proud
That last one is that best of the bunch, I think. Nice!
This is awesome and I want you to know, from the bottom of my heart, I have no clue what you just did
This is why I love you guys!!!!
OOOAAHH that's so unbelievably beautiful
I really like taking a 7 note scale and transposing it down an interval on the next chord/harmonic moment, and doing that over and over. Then, you choose your chords with those given notes over time! I like transposing the scale down a cycle of 4ths most, full cycle is pretty wild though. I'd absolutely love to demonstrate this technique if anyone I'd interested, never seen anyone else do it to this day! Smooth way to have each chord in its very own key, 4ths and 5ths being the smoothest
I'd like to see
@@fortunekosisochukwu2074 I'm about to head to bed, but I will keep a tab open so I remember tomorrow!
@@fortunekosisochukwu2074 I keep forgetting about this until the end of the day and it's been a week now...
I would've preferred to make a video but 2 years ago I already uploaded a little example to my soundcloud I use for this sorta thing, if you search Example Of Scale Cycle Concept (4ths) on there, you should be able to find it.
The picture that goes with it basically says it all, but I definitely wanna make a video soon where I show a BUNCH of different examples, this technique has an unbelievable amount of possible results.
Let me know if you got it from that example! Otherwise I'll remember to tell you when I get around to doing a proper video on it.
This whole channel is just amazing lol
“The price is right” theme
It should work as well with the minor third down, this is why : we apply the "if it fits for F , it fits for +1,5 but F" trick to the +1,5 but F, that fits (by the trick), then "+3 (triton) but F" fits and by the same process, +4,5=-1,5[mod6] fits😅😅😅😅😅
I tried it and it works (sometime with small changes among the "translation but I")
Beautiful idea
Super cool. Reminds me a bit of what the Swedish group Dungen does on keys/composure.
So transposing up a minor third is equivalent to the parallel Aeolian mode. If you wanted the parallel Dorian mode you could transpose everything down a whole step, Phrygian, down a major third, Lydian, down a fourth, Mixolydian, up a fourth, Aeolian like in this video up a minor third, and for the parallel locrian you transpose up a half step. Is that right?
Beautiful !
this is like discovering fire
Melody lines are sweet!
beautiful
This is exactly what Bruce Hornsby does in his solos. Now I know how he does it!
Oh, cool!
I’m CREAMING bro 😂 I neeeed to use this!
Blown my mind
gon use this thanks
GENIUS!!!!!!!!!!!!!
❤❤❤😢 you are amazing and this is amazing thank you bery very much
My ears say thank you.
Every chord has me stank facing. 😖😖😖😖😖😖😖😖😖
Crazy chords!
I LOVE THUS GUYS TIPS
DAMN!!!❤
absolutely beautiful.
im a beginner.....and i mean spring chicken beginner on the keyboard....so everything seems like chaos mathmatics to me with the language you guys speak of recording chords and chord progressions and whatnot....but im slowly learning.....and even the smallest things like this video is just amazing to me.
That's awesome! Get yourself a teacher and you'll go far and fast
@@Jupiter862 Well i just started playing piano 5 or 6 months ago.....but i'm not learning how to play by reading sheet music,....its all by ear...so its a lot of muscle memory for me when i play. My advancement is a little bit faster than the typical beginner, as so far i can play about 20 songs. I have played the saxophone for 36 years, so the transition is a little easier. My thing is, i want to actually know what chords I'm playing when i do play. I know what every note is on a piano....but if someone played a chord and asked me what chord it is?......i wouldnt be able to tell them.
@@Lyricalxsyou will develop your ears over time (which you know, having played sax).
I've been learning piano the same way for a few years. If yours is like mine, it will improve your sense on sax as well because you'll start to hear more fully, more musically.
Do you know how to build all kinds of chords and inversions of those chords?
@@Jupiter862 only when I'm playing a song that i've learned that do i actually do it. I'm sure I don't realize that I'm doing it, but I am....I just have no idea what the chords are that I'm playing when i do. I think I may install MIDIculous on my laptop so that it can transcribe what chords i'm playing so that it can provide a better tutorial for me to learn and build off of. However, my style of play deals with a lot of voicings and harmonization.....so i'm playing a tad bit more than just the normal chords and progressions that are in the songs i play.
@@LyricalxsLearn music theory
what kind of wizardry is this
When you have a melody that has the 3rd of the IV chord this doesn’t work as well. Anybody have any solutions?
That's because you're trying to play a D note which is not present in the new key of Ab and will not work for this method. The only note that will fit all 4 diatonic and 3 non-diatonic chords in this progression is the common note C, the 5th of the tonic. The F note fits all the chords except for one, the iii m7 or Am7, which would have to be changed to IV/3 or F/A to accommodate the F note but still retains the original feeling. Hope that helps a bit.
NICE
Woooooop🎉❤
Yeah that does sound cool. Familiar, but I never put it together that that was what was happening. Why do harmonies that are borrowed from the flat mediant work this way?
same dominant family. we’re used to training our ear to hear the relations between note pitches and chords. what youre picking up on is what the sound of a minor third relation between keys is
Is there a reason he wrote Bb/\7 and then later F/\ without the 7? From what I understand and what google says the delta means major 7, so the 7 is redundant?
Top👍👏👏👏
Do you have a sheet for the chords you played?
Sounds like Robert Glasper
Would this be see as borrowing from the parent major of your parralel minor? (Since Ab is the parent major of F minor)
what if its in a minor key?
That was saucy, does anyone know what mode (s?) He's pulling from by doing this?
The aeolian mode
Uhh...what??
Can you explain that in the more confusing fashion and even faster???
What do you need help with? Do you know the Roman numeral system?
Its a short. They only have so long to explain in order for it to be a short - but basically take any chord progression in a key and modulate all the chords, except the tonic, up a minor third.
His voicings are another thing though.
why in particular change keys from F to Ab? Does modal interchange here work smoothest with minor 3rd?
I dont understand taking it up to a minor 3rd. Explain it further for me.
Are you saying that for the notes in the key of F, whatever they are in Ab is what you play?
Worth noting Ab and F minor are parallel keys.
If I'm not mistaken, F major and F minor are parallel keys. F minor and Ab major are relative keys.
@@esauponce9759 whoops. I went to music school I swear
Just asking here, but it sounds like the reason this works is because we're NOT using relative keys, but rather F major and Ab major, which are 3 flats apart from each other. Isn't this why the thing sounds so cool? It could be a similar exercise to shift upwards by a fourth or downwards by a whole step to shift by 1 and 2 flats keys. Fun ideas..!
The second chord in the second progression is listed as "V/3 C2/E" is that 5 of 3? or is that 5 over 3? Either way C2/E doesnt make sense to me. The 3 of F would be A, so if it's 5 over 3 it'd be C/A, and if it's 5 of 3 it'd be E7. I'm confused, someone halp
🤯
Can we have guitar videos please 🙏🏼
I would love to know what these chord voicing are.
Ok so now I have to also brush up on my Roman numerals 😢😂
How do you get to the point of even being able to play those first changes?
I believe modal interchange releases an unknown chemical in the brain, that literally makes you feel the chords on your skin.
What do you mean "goes up to Ab"
What does the V3 and V's stand for in chords?
Okokokokeeeeey
What is a "cush" chord?