Seriously, you have a gift for teaching. It's amazing how you can make everything look simple.
@michaelkeithson3 ай бұрын
Thanks man, really appreciate it. Glad you enjoyed it 👍
@alainkempa21393 ай бұрын
I am a guitar player but I prefer a pianist like you explaining me these concepts. It's really a nice lesson.
@michaelkeithson3 ай бұрын
Cheers Alain, glad you enjoyed the lesson. Seems there's a lot of you guitarists who like learning theory stuff from pianists! Good to have you here! 👍
@thymick55813 ай бұрын
@@michaelkeithson I have learnt piano with guitar lessons and guitar with piano lessons! Because I am a visual learning guy, piano is better for me to understand but I apply on guitar...
@LawrinMaxwellsmpc5003 ай бұрын
Facts. As a guitarist I find it amazingly streamlined learning theory concepts on the piano. The piano is fundamental imo if you want a better understanding of harmony.
@LawrinMaxwellsmpc5003 ай бұрын
@@michaelkeithsonI like learning theory from the pianist standpoint also. Most piano players even beginners have a better understanding of chords and musical movement than my guitar buddies. So I play both and teach my guitar friends also. Peace
@michaelkeithson2 ай бұрын
@@LawrinMaxwellsmpc500 Thanks for the comments man, glad you enjoyed the vid. Cheers
@barrycoulter69513 ай бұрын
Wow.. didnt realize diminished chords really put in the work!
@michaelkeithson3 ай бұрын
😂 Yep, gotta love those diminished chords holding everything together!
@NickWeissMusic3 ай бұрын
A little tangent on the diminished talk: the vii dim7 chord is interchangeable with the V7b9 chord. Exactly the same chord, with a V note in the bass. Conversely, if you play a V7b9 chord and delete the root, you’re left with vii diminished 7. E.g., G7b9 without a root is Bdim7. That B diminished chord sounds cool over G7b9 and is easily repeatable.And the half whole diminished scale starting from the V note sounds really good, and it’s also fairly easy to play over this sound. Literally half note, whole note until you hit the octave and it starts over. For a G7 leading to C, it’s G,Ab,Bb,B, C#, D and so on. Yes it has 8 notes if you’re finding that confusing lol, I certainly did at first. You only need to learn 3 of them because the pattern starts over once you’ve gotten to the minor 3rd. Here’s a very practical way to think of half whole diminished: take the vi dim 7 chord, which is 4 notes, and give every note a half step leading tone below it. That’s the 8 note scale. If you use these chromatic leading tones to the chord tones of vii dim7 and mix it up a bit, you sound like Stan Getz, ta da! Dominant b9 is a bebop staple especially in any V dominant chord leading to minor 1. Half whole diminished is kind of a dark bebop dominant scale to me, with very little to remember ;) . Btw, vii dim 7 naturally leads up a half step to minor 1, not major, it’s just a darker version of V7 to 1 minor, used often in classical harmonic minor music. You can absolutely use V7b9 (or vii dim 7, again, same basic chord) to major 1, but that’s the kind of thing the band’s going to want to agree on, not exactly interchangeable sounds. In other words, you don’t always want dark V7b9 chords leading to major 1’s, as it’s nice to have simple major sounds to contrast with dark, more complex minor sounds. Learning to use diminished chords is weird but useful, and all the greats use it. It’s generally easy to do physically, or at least, it’s only 3 patterns to learn on any instrument. Diminished is its own thing, man, but it’s in the dominant family. That’s why a lot of people don’t like calling minor7b5 chords “half diminished.”They’re minor family chords, they don’t normally act as dominant. They’re not “diminished” at all, they’re just dark minor chords. Their function is subdominant, not dominant. That’s a lot of nerding there but I’m stuck on a plane, whattyagonnado.
@michaelkeithson3 ай бұрын
Wow! Thank you for sharing Nick 🙏
@davidschneider8262Ай бұрын
Beguiling delivery. Understated humor. I just became a Patreon. Urge others to get on board.
@michaelkeithsonАй бұрын
Thank you David! 🙏 I really appreciate your comment and support. See you over on Patreon 🙏
@moheimer3 ай бұрын
Hi Michael, I cannot thank you enough for breaking things down sooooo well and - even for me - understandable and "usable" ... I really wish I found you years earlier ... because I often (still) struggle with "WHAT? ... HOW?" ... but with your explanationa analyses and "try it this or that way" some of the odd puzzle pieces fall into place ... 🥰
@michaelkeithson3 ай бұрын
Hey Manfred! Thanks for the nice comment. It's really nice hear you've found some value in my videos and appreciate what I'm creating. Thanks for taking the time to comment 🙏
@rubenchannel82373 ай бұрын
Honestly, I've been watching many KZbin channels and this is one of the best channels. Amazing video. Thanks for sharing it.
@michaelkeithson3 ай бұрын
🙏 Thanks Ruben, I really appreciate your comment. Thanks for watching 👍
@markus40133 ай бұрын
I had 6 semesters of Music Theory. This is how it should be taught. 👍
@michaelkeithson3 ай бұрын
🙏 Cheers Markus, glad you enjoyed it.
@lucasfabisiak95863 ай бұрын
My guess regarding why the E7 to C isn't as strong of a cadence as the others is because the third of C (which is E) is what gives the chord its color, so its presence in the previous chord makes it more similar to it than the others (less tension prior to the resolution). That's perhaps also why the dominant third (in this case, E7), especially with a #9, can even be used as a substitution for the I chord in, for example, a I vi ii V progression. So, instead of C Am7 Dm7 G7, you get E7#9 Am7 Dm7 G7, which sounds quite cool.
@nxyuu3 ай бұрын
I also feel like that since it's already so uncommon, my brain just automatically assumes the Bm7-E7b9 is going to end up at Am in some circle of 5ths progression (and im going to assume that most people feel similarly) so since there's already an established "path" for the vii7-IIIb9-... it would be difficult for a new use to become commonplace simply because people will chose more familiar options like backdoor or tritone sub edit: I saw another comment point this out, and mentioned that you can resolve E7 to C6 instead of C so you get that A which makes it a little more satisfying
@lucasfabisiak95863 ай бұрын
@@nxyuu Sure, but the reason that works is because C6 is an inversion of Am7.
@sus-kupp3 ай бұрын
The same could be said of G7 though.
@lucasfabisiak95863 ай бұрын
@@sus-kupp How so? G7 is GBDF.
@mikesmovingimages3 ай бұрын
I agree. The lack of a progression to the third of the scale (E) weakens the resolution. The resolutions are to the 1st and 5th notes of the scale, and that by parallel fourths (hidden parallel fifth to boot!), creating a perfect fifth that is meeting the existing third. Try that alone and compare it to the other three options, which do not start with any notes in common with the resolving chord. It "works" but is less interesting, though maybe useful as a deceptive cadence.
@Steeyuv3 ай бұрын
Part of the fun of watching and listening to your excellent videos is watching the 'like' count keep building as it plays.
@michaelkeithson3 ай бұрын
❤️
@MrMixolydian73 ай бұрын
I’m a classically trained pianist and music theory nerd…also play guitar and bass, mainly in the rock genre, but I’m always looking for ways to expand my musical vocabulary. I’ve never heard this concept explained so clearly! You truly have a gift, and your playing was a pleasure to listen to. Thank you.
@michaelkeithson3 ай бұрын
🙏 Thanks man, really appreciate the nice comment. Cheers.
@erickgales99913 ай бұрын
This reminds me the good times at the music college, it would be great to have you as a harmony teacher!
@michaelkeithson3 ай бұрын
Cheers Eric, appreciate the comment 👍
@omnomnom5043 ай бұрын
Subscribed. There are a lot of great channels on KZbin 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.
@michaelkeithson2 ай бұрын
Thanks for the sub and the nice comment🙏. Glad you enjoyed the video. Cheers
@williammcghee86313 күн бұрын
"Backdoor Progressions" got me to click on, watch and listen; didn't expect much. But actually you provided me with some very useful information and I appreciate the title of this video even more; one can imagine that if I'm knowing on someone's backdoor, the listener will perceive the ''knock' differently because it's just not expected. I just can't use it in some settings. 😂
@michaelkeithson12 күн бұрын
😂Ha! Glad you stayed and got something out of it!
@cwtag20 күн бұрын
Top notch thank you. I hope you're receiving compensation enough for your channel because I'm finding it incredibly valuable
@michaelkeithson20 күн бұрын
Thanks Colin, really pleased to hear you're finding some value in the videos. 👍
@dannyprasetya24963 ай бұрын
Just woke up and having my coffee when your video came out. Ngl, I got “wait, what?!?” moments. A lot. 🤣🤣 Thank you for sharing the knowledge man. Cheers
@michaelkeithson3 ай бұрын
😂 Cheers Danny! Glad you enjoyed it and appreciate the comment 👍
@JamesUnityFuchs24 күн бұрын
totally relate to your teaching. clear concise and basic fundamentals to complex theories.....bravo
@michaelkeithson24 күн бұрын
Thanks man, that's nice to hear 🙏
@tudore_jams3 ай бұрын
Is it worth going to music school when this info exists? This pedagogic talent is beyond what most higher education professors can provide.
@michaelkeithson3 ай бұрын
Ah, thanks man. Really appreciate it, not sure it's true but appreciate it nonetheless. 🙏❤️
@bradrunyan95343 ай бұрын
You have to go to music school for the parties! 🎉
@jessrow12753 ай бұрын
I agree. It’s a really clear explanation.
@michaelkeithson3 ай бұрын
@@jessrow1275 🙏
@ANordicPainer3 ай бұрын
Music school is for making connections and getting an idea of where you stand in the pecking order
@benjaminsahuc235429 күн бұрын
this commentary is for support. thank you for those awesome lessons !
@kierenmoore323621 күн бұрын
Seeing it as Modal Interchange: that’s cool. Examples: some really nice ones in there … No shortage of ‘Pixar vibes’. 😉
@user-Musicfilm2 ай бұрын
This might actually be the best music theory channel ever existed. So educational and sophisticated.
@michaelkeithson2 ай бұрын
🙏 Thanks man, appreciate the nice comment. Glad you enjoyed it.
@DanDanDan-c2wАй бұрын
all this stuff about the dominants relating back to the same diminished chord reminds me of what i've been learning about barry harris's "family of dominants"
@michaelkeithsonАй бұрын
Spot on. It's all connected! 👍
@P._Version3 ай бұрын
Backdoor Dominant, no Diddy.
@telli69313 ай бұрын
😂😂😂
@alchemysticgoldmind41643 ай бұрын
No you didn't Diddy 🤔?
@stuffnuns3 ай бұрын
No Doubt.
@alchemysticgoldmind41643 ай бұрын
@@stuffnuns 😁
@kierenmoore32363 ай бұрын
No cap.
@christianpacode3 ай бұрын
As a guitarist this was one of this was an amazing lesson!
@michaelkeithson3 ай бұрын
Cheers Christian, glad you enjoyed it 👍
@seanperkinsmusic2 ай бұрын
Impressed that everytime you "beg the question", we immediately cut to you addressing it and giving us a moment, then seemlessly integrating the next level of understanding. 🍿🍿🍿🍿🍿💥
@michaelkeithson2 ай бұрын
Ah, cheers Sean! I appreciate the nice comment. Thanks 🙏
@jamesmitchell69253 ай бұрын
I feel like the best way to explain why the flat seven dominant works is because it’s really a minor plagal cadence. Borrowing from a parallel minor gives you plenty of harmonic nuance.
@AmodeusR2 ай бұрын
I always wanted to know why and how it was called the 1 tone down chromatic chord that worked like a charm, FINALLY I figure out what it is and how it works, thank you!
@michaelkeithson2 ай бұрын
@@AmodeusR Thanks for the comment, glad you found the video useful. 👍
@CalvinMoore-sq9pn25 күн бұрын
You are doing a great job. I am learning a lot, and you are reinforcing what I previously learned. Keep up the good work 👏
@michaelkeithson24 күн бұрын
Cheers Calvin, appreciate the support 👍
@plouf19693 ай бұрын
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.
@michaelkeithson3 ай бұрын
Thanks Joel, I appreciate your comment 🙏. Glad you enjoyed the video 👍
@GhostXb3 ай бұрын
I look forward to all your videos.
@michaelkeithson3 ай бұрын
Ah, thanks man. Appreciate you being here. 🙏
@jonathanustin62953 ай бұрын
Excellent content and presentation. I'll be referring my students to your channel. Keep up the great work.
@michaelkeithson3 ай бұрын
Ah, cheers Jonathan! I appreciate the support and you sharing the love. Thank you 🙏
@dylanduke10752 ай бұрын
1. Very good lesson. I was kind of researching a bit and was nearing some kind of conclusion like this myself but you really tied sooo many concepts up nicely and put a bow on them. 2. I subscribed and then realised your channel is woefully underrated. Hope to see you grow. Thanks for the videos!
@michaelkeithson2 ай бұрын
🙏 Thanks Dylan! I really appreciate your kind comment. Glad you enjoyed the video and thanks for the sub and sharing the love! ❤️
@jonathanelambo263 ай бұрын
Hey Buddy! Your Teaching Is Exceptional. You Deserve Five Stars....God Bless You
@michaelkeithson3 ай бұрын
Cheers Jonathan, really appreciate your kind comment. Glad you enjoyed it 🙏
@baixistasp893 ай бұрын
We see this E7 going to C at the Jazz standard "ALONE TOGETHER". In the key of Dm, at measure 9, 10 and 11 we have: |B-7 E7| G-7 C7|Fmaj7| I didn't know how to explain and understand this part of the tune. Now I know, thanks to you!!❤
@michaelkeithson3 ай бұрын
Thanks Marcel, appreciate the comment, thanks for watching 👍
@tomgleason5546Ай бұрын
Ive been thinking about it for a lot more than a second! Thanks!
@stuffnuns3 ай бұрын
Gonna have to watch this a couple more times to grok everything you’re sharing, but I wanted to show my gratitude for the work you put into the presentation. The visuals of the keyboard, the chord names, and the color highlight when the chord is played, really helped me to understand how one chord flows to another. I’ve been trying to step up my songwriting, and this is exactly what I needed to learn, ‘cause I’ve been playing with 2-5 variations, dim7’s, and aug5’s and how they feel as they resolve. My theory is a little weak, so, here’s this video to help me. !!! The tension and release, the sound of one path and resolution, compared with another, gives me cues of how to play with these changes to tell the emotional story inside a song. This lesson is filled with pearls. Thank you., Mr. Keithson.
@michaelkeithson3 ай бұрын
Mitchel! Thank you so much for your generous comment 🙏. I'm really glad to hear that you're getting some value from my videos. Cheers
@Guitarslngr3 ай бұрын
Nice job. As to the Bm7-E7b9-C, and "Why don't we see it," I think it is associated with resolving to Am (which is relative). If you resolve E7b9 to C6 by adding the A, the solutuion is much stronger. My two cents anyway. You are a good teacher. I feel as if we are having a conversation...
@seanperkinsmusic2 ай бұрын
Also, no pull from F to E in E7 to C, which I think has the strongest resolution, after the LT resolution. The E already being in the chord and sustaining into the C chord feels softer than when the F and B pull in contrasting semitone movement.
@yashasvibhardwaj64543 ай бұрын
You are extremely underrated 😭😭😭❤️❤️I absolutely love your work,thankyou for everything
@michaelkeithson3 ай бұрын
Thanks Yashasvi! You are very welcome. I really appreciate the kind words, thanks for sharing the love! ❤️
@personalwatching93123 ай бұрын
Not for long. Young man's coming up. And I'm rapt for him
@michaelkeithson3 ай бұрын
@@personalwatching9312 ❤
@CurtisMcLeodMusic3 ай бұрын
Newer subscriber here. Love and appreciate your channel. The diminished chord placed before the backdoor ii-V is a nice touch.
@michaelkeithson3 ай бұрын
Cheers Curtis! Thanks for the sub 👍
@nickbutler13953 ай бұрын
Fabulous content great delivery, you and Adam, the other talent, inspire music. Many thanks for your generosity.
@michaelkeithson3 ай бұрын
Ah, cheers for the kind comment Nick, much appreciated 🙏
@bradrunyan95343 ай бұрын
Music is math, math is music. Thank you. Great teacher - great teaching!
@michaelkeithson3 ай бұрын
👍 You're very welcome Brad. Thanks for the comment 🙏
@ryanharris24623 ай бұрын
Another top notch video! Had to watch this one a few times, which I take as a sign of learning a lot of new things. Awesome, awesome content - please keep it coming!
@michaelkeithson3 ай бұрын
Cheers Ryan, pleased you enjoyed it. Thanks for support and suggestions on Patreon too, much appreciated 🙏
@tasmansea16203 ай бұрын
great video on this topic, slowly connecting a few more dots because of it. well done and thank you!
@michaelkeithson3 ай бұрын
Thank you, I'm glad it was helpful 👍
@DJDRAK3 ай бұрын
man THANK YOU. you explained all of this so well
@michaelkeithson3 ай бұрын
You are very welcome! Thanks for the comment 👍
@bunkersamples3 ай бұрын
Clear and concise, well done!
@michaelkeithson3 ай бұрын
Thanks man, appreciate it 👍
@foytb56843 ай бұрын
It's uncanny how I want to learn about some concept I don't know, and the day after that you upload a video of it, it's amazing
@michaelkeithson3 ай бұрын
Your wish is my command Leòn!! 😉
@corentinmusique3 ай бұрын
Love it. Never thought if using the iiidim instead of a I chord ❤
@michaelkeithson3 ай бұрын
Hey Corentin, really appreciate the Patreon sub. Looking forward to connecting with people over there 🙏
@corentinmusique3 ай бұрын
@@michaelkeithson Don't forget to speak out at each video, there are always people who are interested but forget to do so! I can't wait to see how it all turns out!
@mrcego13093 ай бұрын
the best teacher! Thanks Michael🥇
@michaelkeithson3 ай бұрын
🙏😳 Thank you! I appreciate your kind words.
@saxmanpete3 ай бұрын
Brilliantly explained.
@michaelkeithson3 ай бұрын
🙏 Thank you.
@Bradovski3 ай бұрын
Just the right amount of confused and intrigued after that. Excellent content
@michaelkeithson3 ай бұрын
Ha! Great comment Brad! Thanks for watching 👍
@samuel24993 ай бұрын
Your content is a godsend - clear, concise and to the point. Keep it up Michael
@michaelkeithson3 ай бұрын
Thanks Samuel. Glad you're enjoying it 👍
@krutochuvak57983 ай бұрын
5:33 really got me
@wprtube3 ай бұрын
Great. The graphics too are special.
@michaelkeithson3 ай бұрын
🙏 Thanks
@papie51513 ай бұрын
Dreamy. So glad I watched this video.
@michaelkeithson3 ай бұрын
I'm glad you watched it too! 😉👍
@lukaskronsteiner44273 ай бұрын
It really fascinates me how different you can look at those chords and why they work, i arrived there and understood them just as the 2-5 of the parallel minor key.😌
@ABFranklin29 күн бұрын
Great lesson, nice touch.
@michaelkeithson28 күн бұрын
🙏 Thanks Ken, appreciate the comment 👍
@carbonmonoxide50523 ай бұрын
A couple things on the III7 - I resolution: Something very close to this resolution is found in the Kabalevsky Violin Concerto in C Major. In the third movement, there is a chain of these resolutions that marks a large cadence. The actual chords are F/D# C#m/E Am (and it’s later repeated up a minor third). While it is technically just a chromatic mediant resolution, it feels like a dominant and is treated like a dominant, clearly making it a substitution (the E in the bass helps a lot with this). The F/D# chord before it is a Ger6 in Am (and Ger6s are just tritone substitutions of II7 or V/V), but it also acts as the III7 of C#m. Since we have only have three diminished chords, C (Class 1), C# (Class 2), and D (Class 3), we can then analyze everything in relation to them. A dominant built on a note in Class 1 will include or imply the Class 2 diminished chord and resolve to a chord built on a note in Class 3. To connect this to the 2-5 and backdoor 2-5 (and other 2-5 variations), any chord built on a Class 2 will have subdominant function leading to a dominant function chord built on a Class 1 note, which will resolve to a chord built on a Class 3 note. In other words, in any given key, there are actually 8 tonic chords, 8 dominant chords, and 8 subdominant chords, although most music tends to limit focus to only a few of those tonic chords at a time (ex: modal interchange focuses on the relation of C to Cm, using the relative minor focuses on the relation of C to Am, and classical pieces in Cm often end their expositions in Eb).
@31plemoine23 күн бұрын
At 10:20 I really like when you "discover" how E7 resolves to C as a result of the properties of the diminished 7 chord. Neptune has been discovered after noticing some discrepancies in the orbit of another planet and by pointing a telescope at a region predicted by calculus only 😄 To my knowledge, the resolution exhibited by the backdoor dominant can been found by selectively altering the regular dominant, but I like your explanation better. It has some unifying elegance and examplifies once again how the diminished 7 chord can behave as a gateway. At 11:55 I have to disagree though. Modal interchange is a great tool when a single chord is borrowed. It's fruitful and brings transient modal colors very effectively. However, from experience, when two chords or more are borrowed from the same mode, there's a risk that tonal relationships between them will emerge back. As an example, you notice that Fm7 and Bb7 are respectively degrees IV and VII in C aeolian, which is simultaneously true and misleading. The two chords exhibit that predominant/dominant function which implies a strong pull to Eb major as the new tonal center. It's precisely how iiV cells (either major or minor) are used in countless standards. In other words we have plain modulations here, from C to Eb and then back to C. On the contrary, it's a prerequisite of modal interchange that the tonal center stays the same thoughout, only allowing to change its modal color.
@normanspurgeon53243 ай бұрын
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-
@RichardEarle-l5w3 ай бұрын
Very thought provoking in it's mechanics of 2 elements moving up, moving down and how it draws the ear to the resolution. I have to rewind and listen a lot but, with the slow repetition the fog starts to clear. Also I really appreciate the way you segue into "tangents" like Modal Interchange here referring back to your previous videoes on those subjects to help build a concrete understanding of how these things are ...homogeneous(?)
@michaelkeithson3 ай бұрын
Thanks Richard, I appreciate your comment. Glad you're enjoying the vibe! 👍
@theredstash3 ай бұрын
I watch lots of theory vids on youtube and I find the ones you make are especially useful and easy to understand, and for free makes it a steal thanks mate
@michaelkeithson3 ай бұрын
🙏 Thanks Patrick, I really appreciate your generous comment. Really good to hear you're enjoying the content. Cheers.
@helloiamhuman11463 ай бұрын
i’d love to see you try out a new series where you break down famous chord progressions. Easy by Mac Ayres has some really jazzy chords and i’d love to learn why the chords work and so on
@michaelkeithson3 ай бұрын
Thanks for the suggestion. 👍
@personalwatching93123 ай бұрын
Ok EVERYONE SHARE THIS ON THEIR NEWS FEED. LETS GET MICHAEL TO 30K THIS WEEKEND
@michaelkeithson3 ай бұрын
Ha! Thanks. I appreciate the support and you sharing the love. Would be great to see that 30k come that quickly but I'm not holding out much hope! Appreciate you and your encouragement. Thanks 🙏
@sholynphotoworks3 ай бұрын
Wow! Thank you sir... You're the youtubers I've been searching for all my life 😅🎉
@michaelkeithson3 ай бұрын
I'm glad you found me too!! Thanks for being here. Glad you enjoyed the video 👍
@DonovanDeans3 ай бұрын
Big fan of all your work, can't recommend you enough. Every video is an "Ahhh!" moment for me. Thanks, Michael!
@michaelkeithson3 ай бұрын
🙏 Thanks Donovan, appreciate your comment. Glad you enjoyed this one too 👍
@Debangshuification3 ай бұрын
Thank you for the clear to the point good stuff
@michaelkeithson3 ай бұрын
No problem, thanks for watching 👍🏼
@messagefromthevacuum24563 ай бұрын
Fantastic - best music theory on YT. So much insight and practical application. You are bossing it! 🙂
@michaelkeithson3 ай бұрын
Thank you 🙏 Appreciate the kind comment.
@seanonel3 ай бұрын
Disclaimer! I wrote this comment before you started talking about it on the video! Still, my fingers hurt from typing it, so I’m not deleting all that hard work! If you build a diminished off of the 2nd, 4th, flat 6 or 7th degrees of a scale, you can lower *_any_* of the notes by a half step and all of them will resolve to the tonic. If we play an F diminished whilst in the key of C we can lower the F to E to give us a “median dominant” that ideally resolves to the relative minor root, but also does a good job of taking us to the tonic. Lowering the Ab by half a tone takes us to the diatonic dominant. Similarly, lowering the B to Bb takes us to the backdoor dominant and lowering the D to Db gives us the tritone substitution. Similarly going up from that diminished by a perfect fifth to (for example) C Diminished allows us to do the same thing with some really nice altered dominants all resolving to the tonic of C. Probably nothing new to you, but just stuff I discovered while I was mucking around... Very interesting, thanks mate.
@michaelkeithson3 ай бұрын
🤣😂 It's always useful to hear something from more than one perspective. Thanks for sharing!
@peterkelly83573 ай бұрын
Michael, this video was recommended to me by KZbin, I really enjoyed this content and it has given me some inspiration and new ideas. Thank you.
@michaelkeithson3 ай бұрын
Peter! Praise to the KZbin algorithm. I'm glad it brought you here too!! Glad you enjoyed it and that it's inspired you play. Happy exploring!!
@claytronico3 ай бұрын
@6:30 your takin' it to the streets.
@chilidawq77973 ай бұрын
I absolutely love these videos. Even as a guitar player who cant read or write music (surprise surprise) I feel like your explanations and humor make it so easy for me to understand musical concepts I can hear but can't quite understand yet. Thanks for all your effort you put into these videos man. Spot fuckin on
@michaelkeithson3 ай бұрын
🙏 Thanks for the comment man, really nice to hear that. Cheers
@ShahabShahani-co8xz20 күн бұрын
Thank you very much It was very useful ❤
@SilverTheFlame3 ай бұрын
Fuck yes another video! Your channel is becoming my new favorite place to go and further my understanding of super nerdy harmony stuff 😇
@SilverTheFlame3 ай бұрын
I’d also just like to add that every video of yours I watch I end up sitting down and coming up with new ideas or exploring different voicings/progressions. Brilliant, thank you!
@michaelkeithson3 ай бұрын
Thanks man, that's really nice to hear. I appreciate you taking the time to share the love. It's great to know that the vids are inspiring you to play and explore. Cheers.
@TheRealMellowFellow3 ай бұрын
great video. a lot of the concepts you talk about here are discussed further by Barry Harris on his study called the family of four dominants.
@michaelkeithson3 ай бұрын
Thanks man, glad you enjoyed it. Thanks for sharing 👍
@milkgrapes64202 ай бұрын
Stevie Wonder has so many great examples of Backdoors and ii-V using it. Just brilliant
@cbolt44923 ай бұрын
Great explanation
@michaelkeithson3 ай бұрын
🙏👍🎹🎵
@robertomui3332 ай бұрын
One of the goddamn best lessons on this particular subject ! So coool 😎 thx so much !
@michaelkeithsonАй бұрын
Cheers Roberto, I appreciate the kind comment.
@Caspitein3 ай бұрын
Hey Michael, your lessons are always top notch! I've already shared your videos with many of my musician friends, you communicate concept and the ideas around it so clearly 😄
@michaelkeithson3 ай бұрын
Thanks man! Really appreciate your kind comment and appreciate you sharing the love and videos around. 🙏
@Hogman6663 ай бұрын
Ace stuff again. Thank you.
@michaelkeithson3 ай бұрын
Cheers Steve 👍
@chasjazzz3 ай бұрын
Just another great lesson/video plenty of gems in this video. Thanks doesn’t seems like enough, I sincerely appreciate the knowledge
@michaelkeithson3 ай бұрын
Thank you 🙏. And I sincerely appreciate the kind comment. It's really rewarding to know that other people are finding value in what I'm creating.
@TheAdultInTheRoom743 ай бұрын
I love your videos! Your explanations are so crystal clear. Small correction, the cadence V-I that you referred to is called an authentic cadence. However, there are perfect authentic cadences, but that’s a qualifier. The type of cadence itself is called authentic.
@michaelkeithson3 ай бұрын
Thanks man, glad you're enjoying the videos. Thanks for the correction, I wasn't aware of that, good to know 👍
@TheAdultInTheRoom743 ай бұрын
@@michaelkeithson You’re among the best music educators on KZbin, and I learn quite a bit from you, especially when it comes to the nuts and bolts of functional harmony, which, in case you couldn’t already tell, is my jam! Haha! I’m sorry that our first interaction is me making a correction, but I’d much rather offer a minor correction to someone who otherwise knows their shit really well, than try to educate someone who has no clue what they’re talking about, and there are no shortage of people like that on here. I concede that I don’t know whether or not ‘perfect cadence’ has come into the vernacular over the years, it may have, in which case, I wouldn’t object to the use of it, but I think I’d still object to it coming into use in the first place. Don’t get me started on 6/9 chords! Haha. Anyway, you’re great and I love what you do. Thank you for the excellent content!
@michaelkeithson3 ай бұрын
@@TheAdultInTheRoom74 No worries man, we're all eternal students and I'm fully aware that I don't know everything so it's good to have some course corrections when it's required. Pleased to hear you're enjoying the content, especially as you seem to be someone who already has a good grasp on a lot of this stuff. Cheers
@wegap20123 ай бұрын
Another clearly explained concept. You make it look and sound easier than it is!😂😂Well done and thanks.
@michaelkeithson3 ай бұрын
Ha! Thanks. It's not that hard really, theoretically. You got this 👊
@astrolappio3 ай бұрын
wonderful, as always. There are many videos on this subjet, but this is outstanding others! Steve Wonder was using a lot those backdoor dominants ;) Thanks a lot
@michaelkeithson3 ай бұрын
Cheers Fabio, always appreciate your support and encouragement. Yeah, Stevie loves a good backdoor progression!
@astrolappio3 ай бұрын
@@michaelkeithson I think I've subscribed you channel when it has like 600 people, it's great seeing today it have more than 25k 👍 keep on rockin'
@michaelkeithson3 ай бұрын
@@astrolappio Ah, that's so cool. So you're one of the OGs then! 600-25k, let's see if we can get to 100k!!
@iamfrankbiesta3 ай бұрын
Man, you're good. Tons of stuff to learn - and your explanation is brilliant - as usual. Thanks!
@michaelkeithson3 ай бұрын
Thanks Frank, always appreciate the support and encouragement! 🙏
@LennyPrice3 ай бұрын
Your content is brilliant! Period. Cheers. 🎹
@michaelkeithson3 ай бұрын
🙏 Thanks Lenny, appreciate the kind comment.
@mikegleim52413 ай бұрын
You're bringing us along nicely. Many thanks 👁️
@michaelkeithson3 ай бұрын
Cheers Mike! 👍
@ImpliedMusic3 ай бұрын
great video. to your aside question, i can't think of an example of that "side door" cadence either, though now i'll be on the lookout. my guess about its rarity is that it strongly suggests a move to the relative minor... in C, Bm7-E7 is the ii-V to Am. that relative minor has its own host of associations and complications, and the two common tones from the triads Am and CMaj weaken the surprise element. that said, i don't recall ever thinking about this, so yay.
@michaelkeithson3 ай бұрын
Hey, thanks for the comment. I appreciate your take on it. 👍 I agree, I think there is already a stronger diatonic resolution to the Am so the movement to the C feels weak. Also, as lots of people have mentioned, we already have the 3rd of C in the E7 and so the lack of movement to the onto the 3rd weakens the impact of the resolution. Thanks for sharing man. 👍
@kierenmoore323621 күн бұрын
8:25 - 10:57 … lol, stopped after the last section to work out that fourth dominant chord, myself. And the obvious answer without thinking too much about it is that the position of that ‘weak’ D that dissolves away, is costing us more as a ‘dissolving 7’ … ? Perhaps a ‘dissolving 5’ is the least of our problems, but a ‘dissolving 7’ is the most problematic (with the other 2 options being somewhere in-between?)? Very interesting … Food for thought …
@12BITJuNGLEOuTTHeRe3 ай бұрын
Brilliant thanks 🙏
@damiens46013 ай бұрын
We need a website or app where you can write chord progression and then add and tweak with all those options to test things out
@insight8273 ай бұрын
Wow, this is high quality
@michaelkeithson3 ай бұрын
🙏 Thank you. Pleased you enjoyed it. 👍🎹
@GreggOliverBass3 ай бұрын
as far as the "little aside" goes... I think the E7 to C sounds weaker than the others is because the E is the Tonic in the sub and the third in the C... without any half step movement in the 3rd of the C, it weakens it a lot
@michaelkeithson3 ай бұрын
Thanks Gregg! Yeah, I think you're right, also because the E7 is already the dominant chord with a diatonic resolution (Am) it has a stronger pull to the A than the C so it's not as pleasing.
@axelmilomusic3 ай бұрын
Good bless you Michael
@wpaganperez3 ай бұрын
Thanks!
@jeroenbohan36453 ай бұрын
About the E7-C: you’re right, this one is not being used at all. The other cadences (G7-C, Db7-C and Bb7-C) all have the important line F-E. This is not the case for the E7-C cadens. The E is the major 3rd of the C chord, arguably the most important chord tone. The E7 already contains the E, giving it away too soon. Also, think about III in C major: Em7. Why is this never used as a replacement for V, although it’s third related to it? Because it’s also third related to the tonic. It just sounds too much as a tonic. The same goes for the E7, although in a lesser degree.
@sus-kupp3 ай бұрын
Your point about the F-E line being most important is very interesting because it seems intuitive that the most important would be B-C since it resolves to the root. But in jazz you will often see the V7 replaced with a V7sus, replacing B with C. If B-C was most important, using a V7sus wouldn't make any sense because you are replacing the most tense note with the most resolved note, which would surely dissolve all tension. It doesn't however, because the most important line is not B-C but F-E. Additionally, in jazz you typically will resolve to Cmaj7, which contains a B, and occasionally even a Cmaj7#5, which contains a G#/Ab, but I can't think of any common resolutions that include an F.
@paulschipper94283 ай бұрын
Another excellent lesson Michel! Thank you!
@michaelkeithson3 ай бұрын
🙏 Thanks Paul! I appreciate your kind comment, thanks for watching.
@batlin3 ай бұрын
Thanks! I saw some nice examples of Stevie Wonder's backdoor progressions before but this helped a lot to understand better what's going on and why it works.
@michaelkeithson3 ай бұрын
Yeah, Stevie loves a backdoor progression 👍 Glad you found the video helpful.
@onpatrolforthejuice3 ай бұрын
The way I remember the sound of the backdoor 2 5 is the victory song in final fantasy
@wilyamdein13593 ай бұрын
As always thanks sir
@michaelkeithson3 ай бұрын
🙏 You are very welcome!
@LZMAmzelle3 ай бұрын
Maybe the Bm7 - E7b9 - C resolution should be called a relative 2 5 1 or relative dominant as it resolves to Am7 which is the relative of C major. Or perhaps it makes sense to call these by their modal function, this one being an Aeolian 2 5. Anyway, they all sound cool and I’m gonna put them all to work! Thanks for a brilliant video!
@michaelkeithson3 ай бұрын
Cheers for the comment man, I appreciate the input 👍