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This video is awesome! Brilliant explanation and demonstration!

The Alien part is unforgettable. Great lesson, thanks!

Subscribed. There are a lot of great channels on RUclips that explain these topics, but this video makes me feel like I am fully understanding the topic, going to remember the concepts, and be able to generalize this knowledge to grow as a musician in general. So great, thank you.

This is very nice, instructive and amusing. Reading the keys of a piano is not my forte, i would prefer normal musical notation instead. (My piano teacher forbid us to look at the keys.)

I understand what you are saying but getting it into my fingers without writing it all down very painfully is another thing all together

Im asked this for an audition : scales will be followed by either an arpeggio, a Dominant 7th arpeggio built on the 5th degree of the scale, or a Diminished 7th arpeggio built on the 7th degree of the scale, and will resolve to the tonic. I know when to use the Dominant 5th degree chord but when should the diminished 7th be used on harmony? Thanks.

That dimished thing with the dropping any note to make it a dominant is from Barry Harris' method. He has a really interesting concept of jazz harmony based on these "families of chords."

And lydian interchange? What transposition is that?

Very good video can't wait to try some of this when I get off work

The way I remember the sound of the backdoor 2 5 is the victory song in final fantasy

This video is absurdly amazing. This is the type of content I really need, and more than ever I see I really need to learn about The different modes other than the common major/minor, I can't delay it anymore 😅

Excellent!

You explained it wonderfully. Thank you

just what I needed to understand this concept. Thanks so much!

Pretty mindblowing. I love how you explain the contrast between the strong tension of the tritone in the dominant vs the slightly weaker one in the backdoor dominant.

The Bm7b5 resolves to A - probably because you’re borrowing the Bm7b5 ii chord from the parallel key of Am Plus the F note is going to an E - and the D note is going to C# - the A note stays the same

Another guitarist here - SOLID CONTENT - cheers!!!

totally agree with you that it's not [parallel], they have the same tonic. Just like branches spreading from a tree. Thank you for giving your time making this video!

Wow, this is high quality

Hi Michael! I appreciate your work very much. Guitarist here, for 50+ yrs. Guitar is a tricky bitch... as transposition is easy and most guitarists are trapped into chords w/Root in the bass and transposing a few shapes they know. Most of them don't see a shape as other possible chords, unless VERY advanced musicians. I moved away from chords with a root in them, unless I want to strongly state their function in a harmonic progression. Learned a lot about these things from Charlie Banacos, back in '90s, when he was around. See... another problem with guitarists is often poor voice leading; most of them are trapped by knowing chords shapes rather than "morphing" one into the next chord. Like in a II V I or other progressions. As a simple example... take the Dom7 b9 sus voicing from this video... and play it like this Ab C D G as D h/dim, then simply lower that C to B for a G add b9 (7b9 function) and finall down to C G Bb Eb G for a complete minor II V I . On the other hand, the magic of this voicing from the melodic minor scale can also be great in the typical guitarist transposition mindset, so you could play Ab C D G and move it up a minor 3rd to B D# F A# and move it up again a maj 3rd to Eb G A D and here you have your minor II V I, DH/Dim/G7b9/Cm69. Melodic minor scale chords are VERY useful in the way they can be used for many different families... and the scale has that powerful unstable character given by its double tritone. Guitar has a hard time with clustery chords. Those multiple seconds are impossible to play, whereas on the piano it's much easier. The voicing you are showing here is VERY hard when making inversions on the guitar. Impossible seconds in it. But spreading the notes a bit helps to get some other voicings and helps the adventurous guitarist to wander in piano land! Great to see somebody talking about these things on YT.... where too many chat about the same old stuff... Cheers to you!

About that alien third hand, do you offer a discount?

Great stuff. Watched multiple times already. But confused about adding the ii to the tritone substitution - C|Am7|Abm7|Db7|C The Abm7 is the ii of what?Gb? ??? I understand the Ab is V/Db, and Db7 subs for G7 which acts as a V, so it’s a progression of descending 5ths. But why do we call the Abm7 a ii chord? It isn’t a ii of the tonic, nor is it a ii of the Db.

You are not only master at your craft, but also a master at being really clear in your teachings. I think i've commented this before, but your channel really deserves more subscribers and attention. Also, you seem like a really down to earth guy who deserves it. Very grateful for the great content. It has really kept me occupied since i've found your channel. I would like to share that this year my sister passed away due to cancer, and i haven't played guitar nor practiced music for several years, but i played on her funeral with her daughter singing and after that i have started coming back to music, it is my therapy.. And your content and the way you teach, helps a lot on how i can evolve my way to express myself through music and deal with the pain.. So thanks a lot, and i really really hope you can grow this channel to the extent it deserves. I hope i can do my share on your way and help come up with ideas for content/topics that would be interesting to learn deeper about. Thanks Michael, best regards from Sweden 🇸🇪❤

Nice 🙂👍

Fantastic demonstration. Cogent and concise, well done sir.

So glad i came across your channel! Very well explained videos

One of the significant problems connected to this chord, is that most people do not play the E natural, over the B flat 7th- the correct note is e natural, of the chord d minor 7th flat five, with an e natural, with B flat in the bass. its's a 4 minor chord- with the e flat used as the melodic tone, and entirely different harmonic scenario results. Example- C maj7, C 7th, F major 7, B flat 7 with #11 is the correct melodic scenario, as in Misty. the B flat note is a melodic tone, not a root-

It is an interesting arena for creative debate... I've always considered myself one of the more "Music Theory Aware" musicians in the numerous rock bands I've played in. However, one time, while working with a band comprised of Musician's Institute students in LA, I presented a new composition where the first section of the verse was a slow, two chord progression that modulated between D6 and Amaj7. My rather gifted guitarist's initial reaction was, "You can't do that!" To which I responded, "Can't? There's no can't"

So instructive, informative yet comical "insertions" here and there! Love it, great stuff will be watching more of your videos!

I love videos from this guy

Do you have a video on borrowed chords

You are the best brother..from Namibia

Mr. Keithson, you are so organic. Thank you so much.

Brilliant. Thank you. P.S., I see it, "Sweet Baby James" album on the floor....nice

This reminds me the good times at the music college, it would be great to have you as a harmony teacher!

I get the feeling this is more applicable to Jazz right? I'm trying to find out how to use modes in "simple" music. I want to make Progressive House with a sad touch

Very good. (Double bass player.)

How did I see someone mention backdoor chords, google what the hell they are, analyse the wiki page until it made sense (took a lot of talking to myself and trying to visualise diatonic chords and a piano keyboard to figure out what notes were in each chord and how they overlap because I was too lazy to get up and walk ten feet to a piano) and THEN WHEN I LOOK INTO MY WATCH HISTORY TO FIND VIDEOS I DIDNT WATCH/FINISH BUT CLICKED ON TO WATCH LATER, I SEE THIS. Would've been really handy an hour ago or yesterday when I apparently clicked it but I guess now it'll reinforce my new knowledge and maybe give me some advice.

9:52 Giant Steps

Options yes, but we're guided in our choices by the vertical chords that come before and after each chord. But very solid.

Still got mine, bought new, still calculating... I've also still got my SK-1, the original fart machine...😁 (Still burping and farting to a bossanovo beat...).🤗

The way you teach theory in incredible and i feel that you use of simple numerical dictation for chord progressions opens your audience up to thousands of MIDI and synth musicians who cant read notation. So many options in C Major i would have never considered, and there is a lifetime of possibility in those pivot chords, cant thank you enough!

This is awesome Michael! This needs to become a series that evolves into the advanced stuff ❤

Hi Michael, thank you so much for your service to the music community, your breakdown of these concepts is the best ive ever come across and so helpful. I do have one doubt, the last two progressions in the video went over my head. How's the F# half dim moving to the F min? And the D half dim back to C?

Your content is brilliant! Period. Cheers. 🎹

Another brilliant tutorial! My primary instrument is the alto sax, but I dabble with keys, mostly as a learning and compositional tool. A couple of things I noticed is that a) the C , C+, C6 progression sounds very much like Miles Davis's It Never Entered My Mind b) I really love your chord voicings

As a ham fisted keyboard playing guitarist, this is pure gold. Really love your content.

Excellent content and presentation. I'll be referring my students to your channel. Keep up the great work.

I just iscovered your channel and you're an awesome teacher! Thanks for sharing your knowledge in such a simple way to understand!

So clear and precise feels like I'm at Berklee college of music great content