"E shape connects to the D shape so then I hope you went to this shape and located these two roots on our fourth string and second string. Great job!"
"Moving up the neck chords opens up new musical possibilities with chords you already know."
"Learning to solo involves listening for the chord progression."
"Thinking about the motion between chords and how strongly a key is being defined can help you slip in chords from outside the key in a way that feels very natural."
"One, four, and five is major. Two, three, and six are minor. And seven is diminished."
"Now, when we get to B flat, we're gonna remain with the same chord here, the D augmented."
"This chord what we're gonna do, if we have the D flat major chord, we could also add the seventh degree which is B, and we could lower this half, the E. So this would be a D flat minor seven chord."
"It's pretty cool how they delay with the minor chords going back and forth into the five chord - a clever technique."
"Voice leading and part writing can be defined as the ways in which chords are produced by the motions of individual musical lines."
"Five going to one is considered one of, if not the strongest, chord progressions in tonal music."
"This chord progression earlier, to show more ways to get something really cool out of just a simple patch."
"So I guess you can call that a secret. If you ever see a B chord in the key of E, you can always use a B7."
"You can play around with this and start sounding really professional really fast with just one chord."
"Once you start moving around hunting, it's like, alright, let's say I find an A, okay? Now, an A in the key of A, this will sound right over even the chords when they're changing."
"There's a power that the parent key, the parent note, has over a chord progression."
"Ending on a minor six chord is the way to do it because it adds so much drama to anything you're doing."
"The CAGED system allows you to expand your vision of the fretboard. But a consequence of this is that if you're in one area of the fretboard and you're playing a chord progression, you can actually play this entire chord progression in this area."
"You can literally dance through a harmonic space with the chord map."
"So, for example, if you take C major, the trick is, without getting into too much theory at this stage, if you take the middle note and put it down by one semitone, now that's a C minor. You've changed one of the flavors in the harmony."
"So as I'm moving from the C major key, my goal is to get to E. So rather than just jumping straight to the E, I could throw a B beforehand or B7."
"...I just feel like there's some harmonic content that's missing when you leave out like the third or the six which is the three of the four chord or the seven which is the three of the five chord."
"Let's take a look at like a C major. Instead of playing C, E, and G together, you're gonna go C, E, G and then maybe go back down E, C. So it's this ascending and descending pattern that's rooted in a chord."
"Starting on the four chord means we're starting away from home, in a place that is less stable, and that automatically creates some interest for the ear."
"Like the 2-5-1, this little three-chord sequence packs so much punch because, again, we're starting away from home and arriving there in a very satisfying way."
"Typically you're going to find patterns occurring and repeating through the chords of the progression."
"When we play every other note of a C scale starting on G, that's how we get a G chord. Well, it turns out the way you get all your seventh chords in a key is you keep going with this little every-other madness."
"C7 dominant of F rolls out the red carpet for F."
"So just in those first four introduction bars you get C minor which sets the scene, then it sinks, then you get a major chord so it sounds more positive, and then it expands and then it feels like it's becoming more final to land back on chord one."
"So, I could put a chord on each of those notes, but you see what happens, the chords move very quickly and the music sounds quite agitated."
"...and then this time, instead of going for a C major chord, I'm going to be a little bit cheeky and go for a C minor chord."
"The Neapolitan chord is really just the flat two major, right? So in the key of C, it's like a D flat."
"You should have freaking known, man. I can't escape it. It's the most epic chord progression of all time."
"One thing to think about even when you're just soloing over the like a blues scale or a minor pentatonic scale is think about the the notes you're hitting in relation to the chords going on in the background."
"Three simple tricks that you can use to get more mileage out of the stuff that you already know. Major, minor, and diminished triads can be strategically combined to form expensive-sounding major seven, minor seven, and dominant chords in a flash."
"This exercise in and of itself just to be able to map out the chord tones is so powerful."
"...that's kind of a nice one but what's really cool is when it goes to the four chord, any of those moves will work."
"...any of those moves will work okay so we heard the first one we focused on those notes and as we go to the four chord something like that's going to work really well."
"A suspended fourth... you just lift it."
"A suspended second on that chord."
"You're going to learn how chords fit together within a key."
"How can we use the major ninth chord? We can use the major ninth chords much like we use the Major Seventh chords."
"You can experiment with substituting 13th chords anywhere in your own chord progressions to add some extra complexity and interest to your music."
"Seven flat 5 chords are often used in jazz standards, giving a distinct sound flavor."
"It's all happening because it's all dictated by that characteristic chord combination."
"...come up with a melody and a chord progression that captures your attention even though it's just in a piano sound."
"It's like an F major 9 and then it goes to IV [B♭] and just going from I to IV, you just feel like you're at home and safe and all that."
"A really nice blend of jazz and rock with great solos and chord changes."
"The real reason why this song has real estate in my heart is because of this b section right here and the way it's set up with the seventh chord leading into this breakdown gets me every single time i'll never get used to it i'll never be over it."
"...the most interesting chord progression across the entire Beatles catalog which is a big statement is 'I Am the Walrus.'"
"10/10 chord motion, would listen to again."
"Honestly, stuff like this is why I wanted to make this list in the first place: it's easy to focus on the normal chord relationships, but going through all of them one by one can uncover hidden gems that might otherwise have gone unnoticed."
"A chord progression is the distilled concept of an entire song."
"Major chord makes me happy, minor chord makes me very sad."
"It's easy to forget just how beautiful a simple chord progression can sound with the right approach to voicing and voice leading."
"It's a great combination: II7 first inversion, V, I with a little passing note that's creating a seventh."
"We're looking for a pivot chord to take us from G major to D major."
"It could be just the thing that's needed to accurately nail the chord changes when playing or composing over diminished chords or dominant seventh chords."
"You hint at certain notes or sounds of each chord to capture the sound."
"If you start on the C major seven and you shift to the G nine sus four, you don't really have to move very many notes."
"I tend to think of an arpeggio as a liquid chord, or you could think of a chord as a frozen arpeggio."
"It's not chords themselves that create most of the feeling; it's the changing between chords."
"A 2-5-1 chord progression is the most common chord progression in all of jazz."
"So far, we're following the same formula with these chord progressions, just in a different key."
"This whole song is very beginner-friendly because it follows the same chord progression through the whole song."
"Remember, it's the E major scale played over B chords, but you're not going to end your lines to E notes; you're going to be thinking about ending to B or notes that are within the B chord."
"I really, really like this chord progression; I feel like we can really build it."
"So when you repeat something over chords that are moving, it's like what you're repeating seems to change color against that background within a new chord."
"In this video, we're going to look at how to expand the basic chord progression in flamenco."
"Our basic chord progression, right, is D minor, C seven, B flat seven, and A."
"Assigning a chord to every pattern gives you a great overview and helps you to focus on the important tones."
"It's just C over D, so anytime I'm talking about a D7 sus, I'm thinking about a C major triad over a D in the base."
"Our goal is to find the nearest possible chord to make it sound really smooth and have more voicings available."
"The vibe and the emotion that that conjures up, those three chords just sound completely different."
"As long as we're working around that chord tone framework, everything will work out fine."
"We're really emphasizing the chord tones in there and then leading into the tonic at the end."
"That's a perfect chord to pull me back to the G."
"The whole thing was played using chord shapes."
"Here's your challenge: Take three chords, a G chord, a D chord, and an E minor chord, and make them sound interesting."
"It's a really popular chord progression in R&B; you also find it in 'Just the Two of Us' by Bill Withers."
"It goes like this: the fourth, the fifth, the minor fall, the major lift."
"You know what you're doing; you're playing the changes; it becomes more harmonically rich because you're targeting notes that actually exist in the underlying chords."
"Voice leading, where you're really trying to connect the notes from each chord melodically to the notes in another chord, is very important."
"We're thinking of 5 1 sound, 5 1, right? We're thinking a dominant chord leading into the next chord which is coming up."
"It's a classic walk down for G major, which takes you to E minor in so many different popular songs."
"It's how I like to work these days, and I find Scaler really is full in not only coming up with the chord progression and variations on the progression to make it a little bit more interesting but also ways to generate melodies and basslines from that."
"The best chord progression to use, whether you're a beginner or an experienced jazz pianist, is the turnaround chord progression."
"Understanding chord function means knowing the role of any particular chord in a progression and where it wants to go."
"Playing melodies and making sure that every instance of the melody is supported by some sort of chord shape."
"We're just going to arpeggiate the seventh chords up and down through the entire progression."
"In a major key, chords one, four, and five are major; the rest are all minor except for the odd one out, chord seven, which is diminished."
"The circle of fifths is a progression of chords that reaches your soul."
"See if you can see what we've been talking about with the chord analysis and the key analysis."
"It's better that you learn the chords and learn how which one sound best and how to put those together."
"A chord progression is basically a series of chords played in a sequence, the foundation of any song."
"Every musician should easily be able to identify what key they're in and be able to make the movement to the four chord or to the five chord."
"It's the same chord progression as autumn leaves."
"By learning the chord progression of the solo section, I'm gonna be able to target notes that are in those chords and land on them at critical times."
"Everything I do is based from pentatonic, but no, absolutely thinking about making the chord changes."
"So that's gone to the subdominant key there."
"Stick with me on this, these are fun chords to play."
"Any diminished seventh chord could be in any inversion; if you drop the bass note down a half step, it becomes a dominant seventh."
"It's called a 'figuration prelude'—a Baroque genre in which a composer takes some chord progression and then brings it to life."
"This has helped me so much with really understanding chord harmony and how chords fit together."
"Theories should reflect what actually *happens* in music: and IV goes to I all the time."
"The magic formula here is the major, major, minor, major and it just gives this really powerful emotional impact."
"You can create these really cool melodies out of these chord shapes."
"Breaking down the chord progression as an introduction to analysis will help a lot with going forward into walking bass lines and solos."
"It just gives off that pleasant, very crunchy dissonant tone that also leads nicely to other consonant chords."
"Once you sort of learn your chords, start to experiment with what I call the one five one."
"This book will help you to play songs with chords very early on and very easily."
"You can do almost anything if you have a scale that goes up because the human ear hears that pattern, understands it, and allows for unusual chord progression."
"These one six two five turnarounds are extremely useful for linking our songs together."
"Every week we get a new chord progression to help you expand your chord vocabulary and take your playing to another level."
"This chord progression is used in thousands of songs."
"That's a very powerful seventh chord to use when you're trying to set up these really strong relationships."
"Often enough, you want tension in that key; you want the V chord to have this tension that resolves back to the one chord."
"Once you start to add that nine to your chord, listen how this sound just starts to sound a little bit more mature."
"It's kind of behind the scenes... Richard was kind of changing things, the foundation of some of those chord progressions and the songs."