How to Analyze Chord Progressions

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  • čas přidán 4. 05. 2024
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Komentáře • 19

  • @marcodiaz120
    @marcodiaz120 Před 2 měsíci +5

    Thanks a lot! 🙏 Great lesson💯

    • @tinajackel
      @tinajackel  Před 2 měsíci +1

      thank you Marco

    • @johnwhitmore2531
      @johnwhitmore2531 Před 2 měsíci

      Echo that, great lesson, but so much work to do, so so much. Thanks a million.

  • @jimmaveety6343
    @jimmaveety6343 Před 2 měsíci

    Thank you Tina !! I learn a lot from your song analysis videos b/c you highlight application. Here I found your discussion on Secondary Dom, Tritone subs and the adding of a ii-chord to a V-chord within the progression is very useful. Your tips on scale and mode options is also very useful.

  • @ziegunerweiser
    @ziegunerweiser Před 2 měsíci +2

    very helpful thank you

  • @Paris-dh4tb
    @Paris-dh4tb Před 2 měsíci +1

    Спасибо!.. Иногда полезно все структурированно пересмотреть / переслушать...
    Thank you!.. Sometimes it’s useful to review / re-listen everything in a structured way...

  • @bozakarlin9034
    @bozakarlin9034 Před 2 měsíci +2

    Great video , thanks.

  • @fierlefranz1730
    @fierlefranz1730 Před 2 měsíci +2

    Sehr cooles Video!! ... das macht wieder Mut :). Danke

  • @StefanoBarosi
    @StefanoBarosi Před 2 měsíci

    Great lessons

  • @VinePest
    @VinePest Před 2 měsíci +1

    Danke, dass Sie nicht müde werden, die Konzepte immer wieder detailliert durchzukauen! Auch mit zehn verschiedenen Quellen für dieselbe Sache ist es für mich pures Elend, Musiktheorie zu lernen; vielleicht klappt's mit zwanzig Quellen. Danke, danke, danke!

  • @TheCompleteGuitarist
    @TheCompleteGuitarist Před měsícem

    OK so I thought I knew secondary dominants already, which I mostly did but you hightlighted a gap in my knowledge, so to make sure I have understood I will explain it back to you as in good educational practice. *A secondary dominant resolves down a fifth like any dominant and it has to move to a chord* *~built on a note that exists in the given scale.~* So C7 cannot be a secondary dominant (in the key of G) because it resolves to F which is not in the key. It makes sense, it is simply that I had never given it any thought. Thanks :)

    • @tinajackel
      @tinajackel  Před měsícem +1

      yes that‘s exactly right and i want to add the C7 in Fmajor is called a blues subdominant plus the secondary dominant does not have to resolve to the chord which would be a fifth lower but it still will be a secondary dominant 😀

  • @amoebacakes
    @amoebacakes Před 2 měsíci +1