Half Diminished chords | m7b5 ⌀

[@helloiamhuman1146]

this is genuinely my favourite music theory channel ever. you do such a good job in explaining ideas and making it interesting at the same time. so underrated🙌

[@michaelkeithson]

🙏 Thank you for the kind comment and support. Glad you're enjoying the content 🎹👍

[@briand.9633]

Guitar player here, FINALLY, an easy to understand and perfectly presented explanation of what previously seemed so confusing. A big thankyou!

[@michaelkeithson]

Awesome. Great to hear, thanks for the kind words 🙏

[@gardenolagth2020]

100% agree. I wouldn’t be surprised if you have a million subscribers in a year.

[@RochelleM491]

Regardless of how well a chord progression can be learned and applied, I’m that guy who really likes knowing the scientific formula (“Why it works”)! Michael delivers this science so well.. !!

[@michaelkeithson]

Ah, nice. I seem to swing from needing to know why to convincing myself it doesn’t matter. It probably should be something in between!

[@virtuealso]

Knowing how to use it >> knowing why it works

[@JoeDeCarlo-km9nf]

Yep, same here, I always like to know how and why it works

[@JoeDeCarlo-km9nf]

@@michaelkeithson it’s been said we should learn everything we can and then forget it. I love this particular cord because it can be three different chords depending on the root note.

[@lunyxappocalypse7071]

Do you happen to be into the Xenharmony genre?

[@ebolds4918]

Most explanations on chord progressions minimize the value of this chord type. Your discussion really showed how useful this chord can be 👍🏽

[@michaelkeithson]

🙏😊 Thanks for the nice comment. Glad you enjoyed it 👍

[@TDavisOfficial]

Dude, your delivery is great. So glad I stumbled upon your channel! Thanks so much!

[@michaelkeithson]

I’m glad you’re here too! Thanks for the support and comments!

[@matrixxman187]

fire theory sauce. you truly have a gift explaining these things

[@michaelkeithson]

Thanks man, appreciate the kind comment 🙏

[@maf2525]

Really happy i found this channel

[@michaelkeithson]

I’m happy you’re here too! Thanks for the comment! 👍

[@anugrahpandey9841]

You are the best teacher ever man, love how committed you are to the feeling attached to the music theory you're explaining. Please please keep making videos like this! Love.

[@michaelkeithson]

🙏 Thanks for the kind comment, it’s really nice to see comments like yours, definitely motivates me to keep going! Thanks! ❤️

[@alexmckenzie8491]

Another guitarist here. Some of this I had already worked out for myself, but also lots of new nuggets which were unfamiliar to me, such as it being potentially a disguised dominant chord. Thanks a lot!

[@michaelkeithson]

Hey Alex, thanks for the comment, glad there was still something in there for you. 👍

[@billhasty5197]

Never disappoints. I always walk away with new knowledge. Thank you Michael.

[@michaelkeithson]

🙏 Thank you Bill.

[@1978Allanc]

Magic 🤣 , your tutorials are the by far the best on youtube , well done man

[@michaelkeithson]

Thank you 🙏. Really appreciate your kind comment.

[@JoeDeCarlo-km9nf]

The minor 7b5 chord can also be used as two other chords that share the same notes. D minor 7b5 can also be used as Bb9, or Fminor6 Bb9 = Bb D Ab C F as it is laid out on the guitar D minor 7b5 = D Ab C F F minor 6 is F D Ab C There are four different shapes that can be played on 3 adjacent string groups of 4 There are many other fingerings if you use the drop method

[@josephestes7076]

I play guitar, and this is so incredibly helpful. I've heard and played all these before, but this helps it click. Before felt more like reciting than comprehending.

[@michaelkeithson]

Hey Joseph, thanks for the comment! Glad you found it useful.

[@rebeccabelcher2173]

Thank you, Michael! Love how you break these concepts down! Will have to watch this a few times but you make it graspable!

[@michaelkeithson]

Thanks Rebecca!!

[@Alec.F.T.qe7vz2ek3i]

I shall forever refer to this chord as "The Ugly Duckling" ...again Brillint Sir!

[@startfoxmusic]

The half diminished d resolving to c is also a great example of negative harmony!

[@keithcrawford6103]

Mr Keithson! Excellent, as ever.

[@michaelkeithson]

Thanks Mr. Michaelsfather 😉❤️

[@pageljazz]

This is a very useful chord. Learning to use it in a variety of ways in different keys will get you a lot of mileage. 👍

[@karingoldberg2882]

Thank you so much for explaining this so patiently and clearly

[@michaelkeithson]

You’re very welcome Karin!

[@hakionkim]

Mr. Keithson, you are going to drive all the music schools out of business if you keep giving these invaluable lessons. Your clear explanation is too difficult not to understand. Thank you so much and I am an ambassador of this channel to whomever has any questions about music theory.

[@michaelkeithson]

Ah, thank you very much. I appreciate the kind comment and support for the channel 🙏. Really glad you're finding some value in the videos. Cheers

[@janaja1132]

Ви сте најбољи, апсолутно најбољи! Ово је мој омиљени канал!

[@michaelkeithson]

🙏 Thank you! I’m really glad you’re enjoying the videos. Thanks for the comment. 👍🎵

[@janaja1132]

@michaelkeithson thank you, I really enjoy it!

[@jamiesutphin1406]

Yup, watch it all again. This is my 4th or ...5th time? Like your others, too. Really love the dense, fast paced stream of theory and it lends well to playback and re-watching for "wannabe" composers like myself.

[@michaelkeithson]

Hey Jamie! I appreciate you adding to the view count 😂

[@paulorambo2552]

Hi Michael, I am just at the end of a couple of days' (interrupted) watching this video, trying bits out and making notes. Thank you for making this content available, I play mainly guitar and recently started to write my own material, your videos are invaluable in understanding how to make chord progressions so much more interesting.

[@paulorambo2552]

And yes, onto secondary dominants and backdoor progressions next...

[@michaelkeithson]

Hey Paulo! Thanks for the nice comment 🙏. Glad you found it helpful. Happy practising!!

[@mmmcccc7910]

Finally!! I am now waiting for your videos to be posted. Thank you so much, another incredible lesson!!

[@michaelkeithson]

🙏 Thanks for the kind comment!

[@kevingobin6725]

One more gem from you. Thanks!!!

[@michaelkeithson]

Cheers Kevin! 👍

[@danieltsan5141]

You are making incredible content and more people need to know about this

[@michaelkeithson]

🙏 Thanks Daniel, I really appreciate your kind words. Thanks for taking the time to leave a comment.

[@johan_r]

This channel is gold! Thanks

[@michaelkeithson]

Thanks Johan! Appreciate the comment and support 🙏

[@blackberryway]

this really are great examples to spice up chord progressions, helped a lot

[@michaelkeithson]

Good to hear! Thanks for the comment 👍

[@Danksta02]

I've been fascinated by music theory for the past 6 months and this is the best video I can remember seeing. Instant subscribe. Can't wait to watch them all now.

[@michaelkeithson]

Thanks Don 🙏. Glad you liked the video and appreciate your kind comment. Hope you enjoy the other videos too! 🤞

[@tizianogranelli641]

Awesome video, Michael. I really appreciate the full concept and detailed information on this matter. I will literally have to watch your videos from the beginning to fully understand this one 😅❤.

[@michaelkeithson]

Thanks man, appreciate your comment.

[@treforparry4054]

Your humour cracks me up!! What a brilliant video. Your progressions are so beautiful. I think I have got most of what you describe but will watch it again. I'd really love it if you could do something like this with gospel chord progressions as well. Many thanks.

[@michaelkeithson]

Ah, thanks for the kind comment Trevor, much appreciated. 🙏

[@tokenredhead1]

Really glad I get to learn about Half Diminisheds from the english pianist and musically inclined version of Andrew Scott (compliment)

[@ryan.noakes]

You don't often see a lot of love for the half-diminished 7 chord, but I have always thought it was a great chord. Nice to see I'm not alone!

[@michaelkeithson]

Cheers Ryan! Yeah, so versatile and add some interesting colour. Thanks for the comment! 👍

[@tonniegitar]

If the minor half diminished lasts at least 2 beats it sounds great to insert 7 chord a half step up from the following V7 chord. E.g. between Em7b5 to A7 insert a Bb7 chord. This chord may be altered to 7b5 chord (or a major 7 or a 13 chord) depending on the melody notes. Sometime one could skip the m7b5 chord and could go directly to the ”half step up chord”. Anyway, this creates a nice bassline and more chords to improvise over. Please try this! Brgds, Tonnie

[@CherryChauParis]

That is absolutely fantastic tutorial!! Thank you!

[@michaelkeithson]

Thank you very much, really appreciate the kind comment and pleased you enjoyed the video.

[@lnxguit]

This is the most charming presentation of this topic I have ever run across. Thank you

[@michaelkeithson]

Ah, thanks Carl. I appreciate your kind words 🙏

[@jefryjef]

you're awesome. this difficult concept become simple by you.

[@michaelkeithson]

Thank you 🙏 Really glad it was useful 👍

[@glenson4402]

I love this channel so much, I like the new perspective on modes and chords that I can use on my own compositions, Id love to get in touch some time

[@michaelkeithson]

🙏 Thank you! It's really nice to hear that and I'm super pleased you're finding the videos helpful. Thanks for leaving a comment, much appreciated!

[@FedericoSpano]

Thank you for this clear explenations. Great channel!!!!

[@michaelkeithson]

Thanks for the comment Frederico! Glad you're enjoying the videos! 👍

[@HerrVonSoUndSo]

Awesome content and brilliant explanations! Thank you so much Michael! 👍👍👍

[@michaelkeithson]

Cheers Christian, glad you enjoyed it 👍

[@bomboclaat9215]

Hey 👋 Just found your channel. Thanks for sharing your knowledge. So well explained 👏 Greetings from Germany/Cologne ✌️

[@michaelkeithson]

Hi! Thanks for the kind comment, I'm glad you found me, it's good to have you here!! 👍

[@TheJSalterino77]

Beautiful examples, well paced, clear and motivational. Nerd power! Love it thanks.

[@michaelkeithson]

Thank you 🙏. Glad you enjoyed it.

[@PavelFomenkov]

Great channel! I'm glad KZbin recommended it, and now I'm recommending it to my viewers. I've seen quite a few music theory videos in my 17 years on KZbin, and your videos might be the best ones yet to explain these things most concisely. I also see a lot of guitar players in the comments - understandable. Piano works the best when it comes to theory, and there's another proof of that.

[@michaelkeithson]

Thank you Pavel! I really appreciate your kind comment and you recommending it to your viewers, very much appreciated. Yes, I've noticed a number of guitarist commenting on my videos appreciating the simple linear layout of the piano to better understand some theory elements - definitely an advantage for these types of vids. Cheers. MK

[@elektroschmaus]

I fall in love. Your 20min. will take me weeks :) so great. Got already an "aha" moment where you explain how to move form C to F - incredible simple and genuines. And wow, what an incredibly beautiful ear-pleasure-ish piece at 10:23. Your channel made my day. Thank you so much for sharing.

[@michaelkeithson]

❤️ And your comment has made my day! Really appreciate your kind comment, glad you enjoyed the video. 👍🏼

[@torreyvia7629]

Great video! You are a talented and gifted pianist and a great teacher.

[@michaelkeithson]

🙏😊 Thanks man, appreciate the kind words. Pleased you enjoyed the video. 👍🏼

[@torreyvia7629]

@@michaelkeithson i have 2 songs on youtube. Will send you my link.

[@torreyvia7629]

@@michaelkeithson kzbin.info/www/bejne/ppPJoKyfZ7-faNE

[@walkerl7485]

man it is amazing hearing you play. so fluid.

[@michaelkeithson]

Thank man 🙏, appreciate it.

[@alphaomega6062]

Once again an excellent video with the perfect balance between information, explanation and example, with some gentle humor thrown in. Plus superb use of graphics to underline the explanation. Very enjoyable. Thank you.

[@michaelkeithson]

Thank you 🙏 I appreciate the support and encouragement 👍🏼

[@mrcego1309]

My new favourite music theory videos! Sooooo great!! Thank you so much Michael!

[@michaelkeithson]

Thank you! 🙏 Glad you're enjoying the content, thanks for the comment and the support. Much appreciated!

[@jdiaz4877]

Wow amazing! I knew some uses for the half diminished but I learned so many new ideas from this video alone!

[@michaelkeithson]

Awesome! Glad it was useful, thanks for the kind comment. 🙏

[@sturowe4985]

This is harmonic gold sir ! As always so well explained and great practical uses,

[@michaelkeithson]

🙏 Thanks Stu!

[@Michael-j7s5r]

Great video! Love your enthusiasm. Ty for your incite!

[@michaelkeithson]

Cheers Michael, appreciate your comment 🙏

[@SocialLoners]

I think this is one of the ones i will have to come back to, some parts moved a bit fast for me, but its also 4:34 am for me so that might have contributed to that.. Still i feel i understood most of it, but it hasnt clicked for me like many of your other videos have, i have also found videos where youtube doesnt show me that ive seen them so ive watched over half of it before i realise i actually had seen it, but it clicked much more the second time around so it was worth it :) I love that mindblowing aha moment i get watching them, like ''thats why that sounds so good/works'' for example when i realised why 2-5-1 works so well is because its like a dominant chain. Anyways keep up the great work, love these like allways :) (side note i said in a comment on your last video that the word ''dø'' means die in norwegian and just wanted to clarify that the letter ø alone does not mean that) also its easyer for me to think of half diminised like a dim#7 since they are both diminished, instead of a m7b5

[@michaelkeithson]

Thanks for watching, and re-watching! Glad you're enjoying the videos, even if it takes a couple of viewings to sink in! 👍

[@tonytoy3939]

Best theory channel hands down.

[@michaelkeithson]

🙏 Too kind 😳

[@MrKatfit]

Thank you very instructive but I will rewatch because there is gold in that lesson

[@michaelkeithson]

And that’s the beauty of these things, watch and rewatch, pause and take in at your own speed. Thanks for watching and leaving a comment 🙏

[@Hubip]

Can't believe I've never heard of the minor 2-5-1 before?! Sounds great!

[@ruscruz7976]

dude !!! so much information in such a short video ...i went into college looking fort all of his and got none of it Tanks!!

[@michaelkeithson]

Thanks for the comment man! Glad you enjoyed it👍🏼

[@ronckr1]

Your videos are superb, amazing amount of theory info made easy to digest by the clear and entertaining delivery. Great work!

[@michaelkeithson]

Thanks Ron 🙏 Really appreciate your comment. Glad you’re enjoying the content. 👍🏼

[@richardbloemenkamp8532]

Great video with great and clear examples. The first few minutes however I almost switched videos because it appeared too basic. Then after a few minutes it was exactly at my level I think. Thanks

[@michaelkeithson]

Thanks Richard!! Appreciate the feedback, that’s good to know. Glad you stuck it out though! 👍🏼

[@Bluescat13]

Thank you. Exactly what I was looking for 😊 I play guitar and your lesson is so useful for all musicians. Wow!

[@michaelkeithson]

Awesome! Glad it was helpful!! Thanks for the comment 🙏

[@mathis.lucasmusic2418]

yeaaah thank you for this one, made things a bit clearer for me, basically it can work as a dominant but also to susbtitute any other 7chords that uses the same notes

[@michaelkeithson]

Glad it was helpful! 👍🏼

[@brankokoprivica8465]

Very nice perspective on this type of chord. After you mentioned transition from C to F, using E half diminished, I went to the piano and played g half diminished, as a part of a E flat9, as you have demonstrated earlier in the video, it sounded cool ... Nice vids, love them all ...

[@michaelkeithson]

Thanks 🙏 Appreciate your comment. Glad your getting some use from the vids! 🎹🎵

[@corentinmusique]

Incredible as always. I don't mind you telling us about this backdoor dominant concept. I understand the principle but I hadn't heard of it. Everything seems so simple when you talk about music theory. Well, I still had to watch certain passages several times. Thank you very much for that.

[@michaelkeithson]

Thanks Corentin! Yeah, I wondered if I should do a separate video on the backdoor dominant and ii v. Thanks for the nudge. 👍🏼🎹

[@barrycoulter6951]

Damn enlightening! Im only half way thru the vid and have learned so much-especially about building maj/min chord progressions…wow… just wow…! Thanks!

[@michaelkeithson]

Awesome! Thanks for the comment Barry, glad you’re getting some value from the video 👍🏼

[@barrycoulter6951]

Keep em coming…i want to write really interesting songs and knowing my choices of what chords i can use in special places …like the, ii -v-i (& using the ii dim) within a progression put me on a hook!

[@michaelkeithson]

@@barrycoulter6951 👍

[@nhandang5105]

so well made, thank you

[@michaelkeithson]

You're very welcome!

[@tomandmarley]

Mate your videos are top shelf 👍🏼

[@michaelkeithson]

🙏 Thank you! I think, I'm assuming that's a good thing - when I was younger the top shelf was where the naughty magazines were put!! I'm guessing you're suggesting my videos should be censored?! 😂🤣

[@tomandmarley]

@@michaelkeithson hahaha the tallest in our group always had to make the purchase. And yes I found your fake tits very distracting 🤣

[@CounterRhythms]

So much information packed in there. Love it as usual. ❤

[@michaelkeithson]

🙏 Thanks for the love, much appreciated.

[@760Piper]

Your channel just popped up on my feed and I’m so happy it did. New subscriber here. So much to unpack here. I’ll be going back and checking out all your content which will no doubt keep me busy for a while.

[@michaelkeithson]

Nice!! Welcome, I’m happy the algorithm brought you here too! Stay a while, look around!

[@SocialLoners]

Heres a video idea: you go through some common chord progressions that have their own mood and talk about what gives it that mood, i feel like you could explain that well :D starting simple then making them a little more complex like you did with some of the progressions in this video

[@michaelkeithson]

I think that's a tricky one because I think the 'mood' can be a subjective thing. I've talked to different people who have differing opinions of the mood of progressions and modes.

[@SocialLoners]

@@michaelkeithson i see, could still work as a video, i personally would love to hear your subjective oppinion on what mood you feel from them 😄

[@danielsheltraw8773]

Best harmony channel on the net! A have a question for you. When moving from tonic to submediants I have been in search of good harmonies to plug in. Got any?

[@michaelkeithson]

Thanks Daniel 🙏 Do you mean chords to put in between to lead you to the submediant? There are a few pretty standard movements from the I chord. I’ll use C as an example. C - E7 - Am (Simple secondary dominant) C - G/B - Am C - E7/B - Am (A sort of mix of the first two, using the secondary dominant but also using the stepwise bass movement) C - E7/G# - Am C - Bm7b5 - E7 - Am C - Dm7 - Em7 - E7 - Am C - G#m7b5 - Am C - F - G - G#o - Am There’s a few. Hope that’s what you were asking!

[@shootytheturtle]

Now I understand better a progression I've been playing for years: it turns out to be a series of half diminished chords a semitone below my target chord. Thanks.

[@michaelkeithson]

Nice! 👍🏼

[@claytonlister25]

That definitely earns a sub. Thanks for the great info and examples.

[@michaelkeithson]

Glad you liked it and thanks for the sub!! Much appreciated.

[@HeathenHammer80]

Another great video!! I’ve learned so much useful knowledge from you. Thank you for putting up such outstanding videos! I still have fun with chromatic mediants every time I sit at the piano. I find myself playing the Star Wars theme 😂

[@michaelkeithson]

🙏 Thanks for the kind words, much appreciated. Really encouraging to hear your finding some value in my videos.

[@PavelSochev]

Your lessons are very heplful. Thank you very much.

[@michaelkeithson]

Really glad you’re finding them useful! Thanks for the comment! 🙏

[@lauraroberts2250]

Thank you, Michael. I'm starting to catch on. You explain things very well. Did get a little lost towards the middle (my bad. Still grasping the basics) then an unfamiliar phrase caught my attention. I apologise for bringing the tone down here but 'backdoor dominants'? Ooer, Mrs! (Sorry again. 😁)

[@michaelkeithson]

😂😂 Ha! Yeah, interesting choice of name!

Love your videos, Michael - beautifully produced, clear, and so helpful. Keep up the great work, and thank you!

[@michaelkeithson]

Ah, thank you 🙏. Glad you’re enjoying them. Thanks for the comment. 👍🏼🎹

[@Flightofphenomena]

Your playing is amazing

[@michaelkeithson]

Cheers Kevin! 🙏🎹

[@tommytam100]

Thank you for this video. I describe this as a Music lesson in story-telling mode.

[@michaelkeithson]

I like that! I might have to use it somewhere! Thanks for the comment 🙏

[@pedrosura]

That last option that you like where the ii half dim chord is like a iv chord is such a common JW trick. Is in Marion, Leia, and other romantic themes. Sounds very pretty.

[@Zyborggian]

The godtier best chord Especially second inversion close voicing 😎 Perfection CONSTANT staple in my writing

[@inakoto]

I feel like I'm about to go on a journey down Michael Keithson music theory rabbit hole

[@michaelkeithson]

Ha! Welcome! Thanks for watching man, appreciate the comment 🙏

[@3oaksmusic]

Thanx Michael, as always clear and useful !

[@michaelkeithson]

Thank you! 🙏 First comment on this video! 🥳

[@davidrowe3966]

Very Cool !!!! Smother approach sound.

[@michaelkeithson]

Cheers David. Happy exploring! 🎹

[@zachj4042]

I have a question. Around 9:47 you talk about the 6,2,5,1 in the minor key and you talked about how the 6 would be a minor 7 flat 5 in that progression, but you’re using F#? In A minor the 6 is F so I’m just trying to figure out how you got the F#? The B minor 7 flat 5 and the E altared make sense because it’s the harmonic minor scale but how do you get the F#? Just curious because I’m not understanding that part, thank you!

[@michaelkeithson]

Hey Zach! Thanks for the comment. A few people have asked this question, here's the response I gave to the others, hopefully it makes sense and helps a little: Sooooo.......I'm not sure I have an enlightening answer for you on the F# but here's my take. The 1-6-2-5-1 is a common progression and the F# is the 6th of an A - an F natural would be a b6. One of the defining characteristics of these movements 2-5-1, 6-2-5-1, 3-6-2-5-1 that are so ubiquitous throughout jazz (and other styles to some degree) is that they're moving in perfect 5ths and the strength of that works whether they're major chords or minor chords. In jazz you'll commonly come across a 3-6-2-5 where all the chords are dominant 7 chords and it sounds great and as pleasing to the ear, in my opinion, as when the chords are all diatonic. Hoping that might have been useful?!

[@ryanharris2462]

As ever, a fantastic video, all killer no filler! Can I please ask a question about the 2-5-1 in minor, is the 5 an E7 (major) because it’s on the harmonic minor scale so G#? Please keep posting! 👍

[@ryanharris2462]

Ah you already answered below. Cheers!

[@michaelkeithson]

Hey Ryan, yeah you’re completely right, often in a jazz context you’d use the harmonic minor as your improvisation tool over the three chords although there are other options too. I was trying to keep the examples more accessible to non jazz players/composers so didn’t delve too much into it. I’m starting to think there might be another possible video on half diminished chords! Thanks for the continued support 🙏

[@meiwolfy]

Thanks Michael for another lovely video… do we always/usually use the melodic minor to do the 2-5-1? Keep up the great videos 😊

[@michaelkeithson]

Thanks! No, it's also pretty common to use the harmonic minor over a minor 251 - with a harmonic minor you can use the same scale over all three chords. With melodic minor, you would typically use different scales for each chord. It could also depend on how you voice the V chord, it typically has some chromatic alterations in a minor ii v but that could be #9 b13 or just b9 or maybe b9 b13 or possibly just #5 - each of these voicing would give you a different possible scale to use. Hope that helps a bit!

[@boatfaceslim9005]

Excellent explanation 👍

[@michaelkeithson]

🙏 Thank you.

[@notreallyrook]

Hey really great video! I'm starting out learning about music theory and this one is really fun to wrap my head around! Thank you so much! I also have a quick question with 9:45: You mentioned this example being flipped into a minor key and I get the 251 part of the progression but I don't understand why the vi in this progression is a F#? It sounds much expressive and I personally like it than the Fm7b5 (I'm pretty sure F would be the diatonic vi) being put here but why is it F#? I wanna know how you came to this being a F#, is it reason/logic (if so I'd love to know why) or is it just taste?

[@michaelkeithson]

Hey! Thanks for the comment. So far you're the fourth person who's asked this question, here's the response I gave to the others, hopefully it makes sense and helps a little: Sooooo.......I'm not sure I have an enlightening answer for you on the F# but here's my take. The 1-6-2-5-1 is a common progression and the F# is the 6th of an A - an F natural would be a b6. One of the defining characteristics of these movements 2-5-1, 6-2-5-1, 3-6-2-5-1 that are so ubiquitous throughout jazz (and other styles to some degree) is that they're moving in perfect 5ths and the strength of that works whether they're major chords or minor chords. In jazz you'll commonly come across a 3-6-2-5 where all the chords are dominant 7 chords and it sounds great and as pleasing to the ear, in my opinion, as when the chords are all diatonic. Hoping that might have been useful?! 😬

[@kamehousedragon9661]

Great video as always

[@michaelkeithson]

🙏

[@SilverTheFlame]

absolutely awesome video

[@michaelkeithson]

Thank you!

[@davidhogan2460]

Yep, really enjoy watching the videos even when I don’t quite get all of the detail..🤔 Aspiring pianist of the grey haired variety. Here trying to prove you can teach old dogs new tricks….Thanks Michael…🎹

[@michaelkeithson]

Thanks David, glad you're enjoying the content. Pleased to be part of your piano journey!

[@lsuenaert]

Please explain, or link me to, how you get F# (7b5) in an Am progression. Thanks for your super videos! (9 minutes 45 seconds in the video)

[@michaelkeithson]

The F# is vi chord in the 16251 progression. In these progression we're using the same intervals as we would in a major scale, the vi is a natural 6, F# is 6th away from A. F natural, which you might assume from the key context of Am would be the 6th, would actually be the b6. This is a pretty standard jazz usage. Hope that helps!

[@brothercaleb]

A channel where myths are demystified… cuts through the noise and secrets laid bare; misunderstandings straightened; theory put into practice. Unreal 😳

[@michaelkeithson]

🙏 Thanks for your awesome comment, very much appreciated. Glad you enjoyed it.

[@brothercaleb]

@@michaelkeithson man, I’m just stating facts. You have a way about you that takes a subject matter and make it accessible to a lay person: It’s the simplicity with which you convey ideas; The demonstrations; your communication. -Super awesome Your knowledge of harmony is freaking awesome too. I hope your channel grow exponentially this year. Keep up the good work.

[@michaelkeithson]

@@brothercaleb 🙏 Thank you. You're too kind! 😳

[@ianw9731]

Love it! This is like piano ammunition for weeks for me lol

[@michaelkeithson]

Ha! Hey Ian, hope you’re good. Happy practising! 👍🏼

[@pie1337]

Thank you. Why is the E7 in the 2-5-1 on the minor is a major chord not Eminor 7

[@jackmartinleith]

I'd like to add two points, which perhaps are mentioned elsewhere. 1) The m7♭5 (half diminished) chord is a voicing of the m6 chord that's a minor third (three half steps) above: So Dm7♭5 = Fm6, Bm7♭5 = Dm6 , and so on. 2) X7♭9 is Y°7 with no root, where Y is half a step up from X. Example: A7♭9 = B♭°7 (aka D♭°7, E°7, G°7) with no A. In a band, the bass player is probably playing the root (A in this case), so nothing is lost. Hope some of you out there find this useful.

[@michaelkeithson]

Cheers for the contribution Jack! 👍

[@johndiraimo1444]

Great content Michael. Your explanations are spot on. Just a quick note... when you used the mi7b5 in the Key of A minor... I understood that you were using the Harmonic Minor form... with the raised 7th... hence the G# note. Unfortunately, in the video you did not make this distinction. Just a minor point. A minor 7 b5 point. 😊 Thanks Michael. Love the channel.

[@michaelkeithson]

Hi John! Thanks for your comment, glad you're liking the videos. I was trying to keep the tonal centre as C major, and use the minor 251 to move us to the 6 chord, so not necessarily think of it as moving to a minor tonal centre. So, yes, you're completely correct in that both the Bm7b5 and E7b9 are part of A harmonic minor but didn't specifically want to make that distinction as I was more trying to tie in the diatonic Bm7b5 with the key of C or A natural minor and show a possible diatonic usage. Does that make sense? Thanks for your comment!

[@johndiraimo1444]

@@michaelkeithson Thanks Michael, that makes perfect sense.

[@rigelloar7474]

Half diminished is ridiculously useful, Bmin7b5 is a synonym for Dmin6, and for F6#11, and it is also a rootless voicing for G9, and for E7sus4b9, and for Db7#5b9. That's 6 uses for a single four note pitch collection, it's crazy!

[@michaelkeithson]

Have you been watching my most recent video?! 🤔

[@rigelloar7474]

@@michaelkeithson I will check it out. I liked this one, it triggered my compulsive harmonic fascination, and I also enjoyed your playing!

[@robertomui333]

Great lesson ! thx !! 😎💥👌

[@michaelkeithson]

Cheers Roberto, pleased you enjoyed it. 👍

[@spivvo]

Gold dust…. Subscribed!

[@michaelkeithson]

🙏 Thank you!

[@robfile2424]

Magic!!! Love it...

[@michaelkeithson]

Thanks Rob! 🙏