Tonal, Modal and Polytonal ii V I Jazz and Classical Chord Voicing's

[@AlexanderKhanukhov]

Will repeat myself..This is Gold, the info you guys getting here for free is taught in best music schools over many years ..took me 12 years actually.... Take it while you can..Thank you Rick Beato.

[@seiph80]

Alexander Khanukhov I am! this is the best thing on here!

[@AimeeNolte]

Valuable valuable information, very well-delivered. 👏🏼👏🏼

[@galgabrielisrael3237]

Man the videos from the 2016 era are the best thing in the internet

[@joethebar1]

Hi Rick- Long time veteran bassist here. Your videos are easily the best on the web. I study piano theory even though I don’t need it at this level; I pride myself in being the complete musician

[@crystalplanet09]

These older vidoes are university courses in music and I love every one of them!

[@KennyMacMusic]

Wow. It is not every day you finally stumble across some high-level theory videos. Thank you Rick for providing all this. Really good stuff

[@blindsteinofthemountain3831]

I've seen a few of your clips. Always solid. I'm a songwriter/guitar player and I came here first after listening to a 20 year old Terry Gross interview of Dave Brubeck. I'll have to dig a bit further into your library. Thanks so much for sharing.

[@pwhi2251]

these are really the greatest music lessons i have come across.! thankyou rick

[@RickBeato]

Thanks Camel! Have you subscribed? :) Rick

[@pwhi2251]

+Rick Beato of course :)

[@videomauro07]

I'm going thru each one of your videos.... unbelievable stuff. Thanks so much Rick. That's all I can say!!!!!

[@woytd6435]

same here, crazy amount of amazing knowledge!

[@saadalhumaid8043]

Mauro Colangelo he so good.

[@alsegno4347]

this is obviously a summary of advanced harmony I have not YET come to terms with, however I am working my way through the Beato Book. What would really help, for me, would be to hear the chords without the sustain pedal. It seems to wash out the tones, sort of like putting them in a blender. Just a thought.

[@mybiggrin]

You are so incredible and so right. Every time I log into KZbin there is a new video that you have made that teaches me something new and I've been to college for music! Thank you so much!

[@dougappel5924]

Invaluable. This whole series is gold.

[@SCOREWIZARDSMUSIC]

Polytonal ii V I blew my mind

[@reallyreallyryan]

Brilliant! I've stagnated currently with my piano writing, so I'm hoarding all substitution ideas I can get my hands on. Thanks, Rick! Keep the content coming.:)

[@manuel8887]

Amaj/Fmaj could be a Fmaj7(b13), which comes from the harmonic major scale.

[@lukaszha8826]

The modal is surely exclusive for sophisticated ears.

[@carlosmontoyamusic]

Thank you very much, Rick! I've not seen anyone else explaining this concepts like you. Thanks again!

[@Mellon5858]

Rick, brilliant as usual. But give the sustain pedal some rest! Makes it blurry, at times, so didactically less strong if you wish to clarify complex sounds.

[@MrOzkarlopez]

I would like to hear more about those polytonal voicings!!! still can't get it how you come to those voicings with minor and major triads played together, x'!

[@feratgoogle]

The dominant in modal leaving the 3d out: as Miles said to Herbie: " don't play the butter notes". ( at least that's what Herbie thought he said😀)

[@danielmanahan692]

I know it is a bit of production work, but it would be really great to get a visual on the keys you are pressing. you are putting up only the Chords over the other Chords and anyone's guess as to how they are inverted. two solutions either angle the camera down to your fingers pressing the keys. or put up a graphic each time. easiest is to just angle the camera down. or use two cameras to see your face and one to see your hands. from this angle it is impossible to see clearly what notes are being pressed and follow such a complex lesson. great stuff as always. have to watch it a few times to wrap my brain around it. keep up the great work.

[@RickBeato]

I have all the voicing's available for my Patreon subscribers but I want people to use their ears. But ok Daniel here's a little segment for you: Example 6:10 G Phrygian - Ab C Eb Ab over G octave C Altered Bb Eb Gb (E) F Lydian A B C G over F Octave 2nd x G Phrygian - Ab C Eb Ab over G octave C Altered C# F# A# C over C Bass F Lydian C F B over F and C Polytonal Voicing’s at 7:30 Abmaj/Gmin = Low to high G Bb D / Ab C Eb F#maj/ C maj = Low To High G C E / F# A# C# F# E maj/ F maj = Low to High C F A / G# B E

[@edmccormack8032]

At 7:33 - I think he meant Abmaj/Gmin is from G Phrygian? At 8:01, I think he meant to say Emaj/Fmaj is more of a "Lydian #9" sound (6th mode harm. min.)? At 9:20, I think he meant to say that Amaj/Fmaj comes from the six note augmented scale (F,G#,A,B#,C#,E)? I'm applying what I've learned from his ear training course and later youtube videos.

[@grabas619]

"This is a typical G-7 voicing jazz player would play... it's actually a G-9". lol... jazz players.

[@RickBeato]

+Rudolf Grabowski that's why I said it was typical:) haha

[@solenelle]

It's a common approach to categorize chords as major, minor and dominant or tonic, pre-dominant and dominant for their function. 7 stands for any chord that has the dominant 7th in it. 7, 9, #11, 13, b5, #5 and more.

[@patbreacadh]

Great sounds! This is really amazing stuff. I like all you lessons, but the ones you do on the acoustic piano are my favourites. Not that I don't like the guitar, but I guess the piano illustrates harmony more freely and sometimes more clearly that the guitar does. I think the acoustic piano is an added value for the learner. I reckon most of us don't have an upright piano at home, not to mention a grand or baby grand. Those voicings sound really awesome with the dampers lifted.

[@JoseHernandez-vh1kb]

This is mind blowing material

[@oettamo]

9:57 very important point! Thank you!

[@oettamo]

True! But the important point is after that phrase!

[@sandalero]

theory exists to descibe what people practically are doing. (at least in music ) and not the other way around. so rick describes stuff that people usually or sometimes do. and these people find it sounding pleasant. both the people that are doing it and the people that find it interesting to talk about the theory of it

[@sandalero]

so "never been used before" should read "almost never been used before" i think

[@braddeathridge]

It's funny, I heard a bit of harmonic minor tonality when you were talking about secondary dominants and diminished sevenths a couple videos ago. Maybe that's just me though. I love your videos. Very inspiring. Thank you.

[@kylebarnett350]

great lesson! pretty eye opening

[@bobbybordbar2096]

This is Great! Thank you again Rick.

[@jonbrown448]

I love your music lessons!!

[@SamWalston]

i wish i could see the piano

[@SWillis]

I learned some of this theory some time ago-and appreciate the reup-but sometimes I feel like someone could accidentally sit on the keyboard and it be OK as long as a pedal is pressed and one ends on a I (or, I- maj7 or I-b7 chord). Can you show the keyboard and/or play it on guitar?

[@ObsidianLife]

LOVE these vids! Thanks!!!

[@sandalero]

isnt Abmaj over Gm Gphry instead of g locr , rick?

[@RickBeato]

+sandalero You are correct :) I was wondering when someone was going to notice that. Haha! I was going to correct it but wanted to see if anyone was paying attention. Thanks! Rick

[@legatorecordsstudio4818]

I'd easily say that Fmaj/Em is E Phrygian (as I mostly used to be in "C major environment") ... but as about Abmaj/Gm - not at once

[@steelplayer118]

Excellent. Thank you.

[@parkerpolen]

Thank you Rick!

[@Guilherme-nc5li]

But can all these modes on the ii-V-I progression, do they all belong to one scale or is he just putting them together because they have teh same harmonic function as the original progression?

[@stynway59]

I suspect he's talking about the function withinn the human ear, not the mathematical relation on the page

[@TheApostleofRock]

Not a clue. But at least in the second polytonal example the roots of the left hand chord are a 2-5-1. Couldn't guess how he chose the other parts of the polychords tho

[@leonardo_rossetti]

Just curious: when does a modal approach to the various chords become simply using a lot of very altered extensions and viceversa ? Or for that matter, when does it become using different triads over a pedal tone that are normally avoided by the conventional player (the pedal tone being either the II, the V or I)? Am I right that the lines between these approaches are blurred and that it might just be a matter of how the player perceives what he/she is doing?

[@stefanwagner8859]

very nice tunes!

[@alexandergadjiev3733]

Hey Rick quick question : how do you choose those polytonal chords? Do you try to find a consequentiality also between the "added" chords?

[@Charlyfromthenuclearcity]

I think I'm missing something. I don't understand the relationship between the major modes and the one you're using. For example, F is first degree so Ionian, but you change it to a F Lydian Augmented. Is there a relationship I'm missing between these two modes ? Or is it just because you thought it'd sound good ? :) Thanks.

[@Charlyfromthenuclearcity]

I'll check your linked videos to get some clues about this.

[@545parsa]

FSBass it would just be a substitution to add some flavor to the regular I chord

[@juanmaidana8185]

This is great! Do you think there is any chance of taking this ideas and translating them to the guitar? I just don't know what would be the best way of getting those polytonal flavors without destroying your fingers, hahahaha. Maybe just playing a triad on the top 4 strings with the root of the other one on the sixth string? Think it would be pretty dull tho :/ Your videos are amazing, cheers!

[@PaulTheSkeptic]

What does dominant mean? I know what a lot of those words mean. Mode, augmented, diminished, polytonal, Phrygian, Lydian etc. but I don't know what dominant means. What makes a chord dominant?

[@stefanmuehlenkamp]

When it comes in and feel it has something very important to say!

[@Docom13]

A Major chord with the 7th minor. ;)

[@terry3254]

I'm sure I've heard some of those chords on Pink Floyds Dark Side of the Moon. Am I right?

[@D_Money_Mane]

So Sunday morning by Maroon 5 is ii V I...lol got it

[@sandalero]

how about D over Eb with Gbass for Gharmonic min? the Ebm one is new and fresh to me .-)

[@MrFLAVIUS12]

Hi Beato,you know some pianist who use the modal voicings? Its a good sound. (sorry my english)

[@RickBeato]

McCoy Tyner is one.

[@MrFLAVIUS12]

Ok, Thanks!

[@fiorpietro]

Rick Beato

[@michelevalletta9451]

Why does those modal chords sound like the mode? What is the principle? how can i build a modal chord without checking online which is it?

[@gregorio98000]

Thank you :)

[@MaybeMaxwell]

I wish you would use guitar for you music theory videos.

[@huncauac2808]

Hi Rick, how are you? Coud you explain the same on the guitar ???????? Pleaseeee!!!

[@RizalBudiLeksono]

Can you release the sustain pedal?

[@johnjacquard2182]

please do more polytonal lesson with bebop fine sir!

[@lauriewinestock4195]

Thai stuff is SOOOOOO AMAZING!! I am a jazz composer and am learning so much from your youtube videos. How do I become a Patreon subscriber - I am reading the post below, where you suggest doing this in order to get your 'voicings' etc.

[@RickBeato]

HI Laurie- You can email me at [e-mail]. Thanks! Rick

[@jaytilson421]

After mentioning people don't really talk about the harmonic minor scale, you play a C harmonic minor scale...but isn't the voicing you are playing ebm/gm based on the G harmonic minor scale?

[@diggyonutube]

Very Interesting!

[@zenncatt]

I'm coming to a point that I feel that there isn't any harmonic device that you can't use - at least in an jazz oriented improv scenario. As long as we resolve nicely, it's all game. While that thought opens up a lot of vistas, it does kind of make you reel at the prospect of all that freedom.

[@RickBeato]

+zenncatt now I know that that I'm doing my job well. Thank you! There are so many melodic and harmonic possibilities out there that have gone virtually untapped. Not just in jazz but classical music and Pop music.

[@zenncatt]

You are indeed doing an excellent job, Mr. Beato! Thank you for doing all these professionally produced educational videos. PS. I think it is a good thing that you don't show the chord shapes, but rather give the voicing and the notes intervallic value in relation to the root. I personally find that more helpful than looking at someones hands. Thank you again.

[@ranielyfire]

mind sharing some of those possibilities for pop music? it would be greatly appreciated!!

[@anilec333]

Learn a lot

[@toneseeker87]

i love you man

[@kalM856]

uhhh ! cadê as teclas??? assim fica difícil

[@lyndamcardle4123]

Rick... I know this is jazz and I understand the ii V 1 (and the vi) concept and also understand the voicings and modes you use here (I even use some myself) ....however, this "lesson or study" is way beyond the comprehension of most musicians...you're just being too complicated ....which is when or why "punk rock" came in. As I recall, the late Phil Lynott once opined, that he felt that "sometimes you needed to believe you had to have a CGSE (grade) to play guitar !"

[@Cursan]

Tank you Rick for the vidéo but it would be better with less pedal. The resonance is disturbing the ears.