The Chord That Changes Everything

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[@glennaldosf]

I usually find the cord that changes everything is the one that connects my guitar to the amp....

[@cactuz116]

glennaldosf underrated comment

[@oddjrgen7457]

glennaldosf lol you killed me

[@collinjohnson1398]

I would go with the power cord

[@fragmatic1964]

lmao

[@coppulor6500]

This comments actually wins over the guitar chord to the amp comment. Well done sir. well done

[@MasterP48HD]

is this the secret chord that david played and pleased the lord?

[@steelwarrior105]

MasterP48HD definitely

[@travidus]

MasterP48HD hallelujah!

[@ilikemyrealname]

MasterP48HD yup, and Turn My Head by Live, Creep by Radiohead (basically the same song lol), She's All I Ever Had by Ricky Martin. Many others. Once you hear it, you can't not hear it in songs when it's done.

[@slashcraiggatesrule]

HAHAHA I thought the same exact thing

[@emilcarr7190]

No,I believe that goes: The first, the fifth, the minor fall, the major lift.

[@JM-co6rf]

Saving everybody some time: He played a (IV) chord and made it minor. So, in the key of C, this would be an Fminor

[@aquamarine99911]

Thanks. I might add that Neil Young really liked to use minor 4ths. Also the Beatles "She Loves You", going into the chorus. Actually, that may be a minor sixth, which is an extra level of coolness.

[@JM-co6rf]

Saying "minor sixth" is redundant. A six chord is minor by default. And I think the best example of a band (often) using a minor 4 is Radiohead. I could list half a dozen songs that feature that relationship.

[@andrewknox8786]

When did Neil use them? Can you give some examples?

[@clockWorks10]

J M Beatles use it a lot too

[@TheEuphoricism]

J M thank you

[@CrysisMusic]

Ur right... the chord changed my dog into a bird

[@jaredneizel9547]

lol

[@darrkstarg]

Hey, that's weird... The chord changed my bird into a dog. Wanna trade? :-D

[@Ouzo66]

dude..you should teach your dog to sing ...or your bird to bark....relentlessly...(don t know if it s corect the last word ..)...haha

[@folkfingerstylefreddy2154]

Crysis Music You need to lay off the drugs dude!

[@avatacron60]

Crysis, LMAOOOOOOOOO!!!

[@II__DAVE__II]

Instructions unclear; girlfriend now pregnant.

[@musishoon7950]

Dave you followed the instructions perfectly

[@ChucksSEADnDEAD]

Dave as a side effect you'll fertilize any egg in the vicinity when you play this good.

[@tyler_bt3326]

Dave well...it's the chord that changes everything, so you did something right

[@mikecorey8370]

I hate it when that happens. You should have played a suspended chord, then you wouldn't have this major problem of bringing up a minor. I'm sure the problem will be diminished over time.

[@sethdavis459]

Dave here's the next part of the instructions.... run. don't stop.

[@crazydrummer4827]

For a semi-begginer, a chord that changes everything is defenetly a diminished chord. I remember how impressed I was when I discovered that you can put a dim between any two neighbour chords from scale.

[@dennisneo1608]

Crazy drummer ooh I don't know. I remember when I first played a sus4. Wow!!

[@DiNosaurioWTF]

add9 and add6 minor chords man

[@hapax87]

I like augmented chords as well...LOL

[@johnmac8084]

Crazy drummer - I didn't know that, can you give us an example?

[@crazydrummer4827]

If you have progression C Dm Em for example, you can play C C#dim Dm D#dim Em.

[@JorgeDaniel98]

- clicks Music is Win video - thumbs up it - procedes to watch the video

[@MusicisWin]

[@hearinggonebeethoven5787]

every time..

[@bokopiiti2275]

same here mayne ^^

[@hearinggonebeethoven5787]

lol.. i listen to nirvana and i play them.. xD

[@vzm4663]

That guitar playing that demonstrates the minor 4th is relaxing as heck ❤😂😂

[@chriszoupa7898]

This is such a simple way to make boring chords more interesting. Such an awesome lesson dude!

[@scottholyk8224]

Be careful with your terminology. An "altered" chord is a very specific thing: a 7(b9b5), 7(b9#5), 7(#9b5), or a 7(#9#5)

[@MusicisWin]

An altered chord is not limited to those intervals and extensions. It can be any chord with one or more raised or lowered pitches which subsequently changes its function in a given key.

[@yerayns]

He is talking about a chord is being altered, you are talking about THE ALTERED CHORD, people should know the difference otherwise if they play a score and see ALT chord they would do strange things and making minor a dominant chord, that is where we could normally see them.

[@Mumblecrust.]

I kind of had the same thought, but I understand his thought process. A more accurate term would be "Borrowed Chord" because he's referring to a concept called Modal Interchange. The term alteration is generally reserved for specific chord tones like Scott mentioned. The bottom line is that I think he provided enough context to establish that he wasn't referring to an actual altered chord (in the sense that a lot of cats are familiar) and also mentioned that it's his personal label for borrowed chords. Doesn't mean it wasn't confusing for a second, but I ended up getting the gist of it. All-in-all, neat video. Keep it up!

[@fangrocker]

Not true. An "altered" chord is formally a dominant chord with fifth or ninth raised/lowered. It does not apply to just any chord. He was being a bit loose in his video and probably should mention he is using "altered" in an informal way and should not be confused with the real deal. Personally I would have used a different word to describe his non-diatonic chords to beginners. Also, kudos to a decent lesson otherwise (although the teaser is a bit much). :)

[@fellow026]

No, an "altered chord" is a specific type of dominant chord. And also, when you played the diatonic triads at the beginning, you played the wrong dim triad, introducing a G#, which isn't in C.

[@marcoduo4451]

OMG is it triads again?

[@MusicisWin]

Lol

[@redwalrustmnc5256]

I have heard them called "Borrowed chords"...Hotel California's progression shows it off good.

[@piotr8853]

Red Walrus which hotel california chords are these altered chords?

[@redwalrustmnc5256]

HC chords are: Bm,F#,A,E,G,D,Em,F#.........The Bm progression chords are Bm,C#dim,D,Em,F#m,G,A. So the "borrowerd" chords (from the parallel key -minor or major scale with the same tonic) are F# MAJOR and E Major.

[@Polipeptidico7]

Please note: Red Walrus is correct and his example is great, but the one borrowed chord Tyler is talking about here is not present in Hotel California. In Hotel California, the IVmin would be G minor. I don't mean to sound annoying, I just didn't want you to search for a G minor that isn't there

[@petedavis7970]

Interesting, I've been listening to Oasis - Stop Crying Your Heart Out, which is also in B minor and borrows the E Major (also has the E Minor, but no F# Major).

[@maratgabbasov2810]

Red WalrusTM NC52 ддшгн гдл

[@Wasthere73]

It's a shame you have to apologize for music theory. If only people would be willing to put in the time to learn it (or realize that they are learning music theory), they would see how much easier life gets for a musician.

[@bytrusted7797]

too many fake guitarists out there that wanna get good quick, doesn't work like that

[@JackstandJohnny]

Kent Shin The problem is when you really heavily on the theory or the technical side of things. Anyone can learn to paint a picture of a bird or a tree, and it basically marginalizes naturally talented artists even though its pretty obvious who is a natural artist and who just took lessons and learned howto memorize and imitate.

[@Wasthere73]

JackstandJohnny People don't really care how much or how little lessons the creator had to take. People only care about the end product. All natural talent is is a small headstart. However, for people who constantly work with other musicians, it becomes insanely irritating (not to mention time consuming) trying to get them to do something. When the people you work with know theory, everything suddenly becomes so pleasant and a joy.

[@sethguitar5395]

+Bytrusted Hendrix, Clapton, slash are fake ? Didn't know. Not to mention the beetles.

[@themennissvids]

All of these guys have a good understanding of music theory. They may not study it as a specific subject but they have learnt it. Members of The Beatles even went as far as to learn non-western scales. This idea of the top players all being "pure feel" is bullshit. Pure feel is internalised knowledge. They learnt first, then they understood and only then did they innovate.

[@dquaidman]

I am altering the chord. Pray I don't alter it any further.

[@kaoD]

Now the real info: It's not an altered chord as this guy calls it (altered chords are a different thing): it's a borrowed chord. In minor keys the "formula" (actually called diatonic chords) goes "im7 iim7b5 IIIM7 ivm7 vm7 VIM7 VII7". He's borrowing a chord from the parallel minor (C minor): iv of C natural minor is F minor. It has this unique character. It's like you changed tonality to the parallel minor for a bar, and then went back to the major tonality. IMHO he's doing wrong trying to hide the complexity of music theory behind magic names. It makes it harder for students to google for more information and is not simpler in any way. It's also pretty much confusing if the terminology is wrong: if a guy comes to me saying "altered chord" the last thing I'm gonna think of is a borrowed chord.

[@skrobie]

imma say this: there’s not of a point to explain all of music theory. whether you know theory or not, all u need is a direct application of a chord. the magic name is needed no matter what with or without knowledge of theory. u might need theory once, but once it’s explained, it works. the most important part is the application and you can’t go through all that theory when playing. it’s simple, the iv chord just works when resolving to I. there’s a chromatic tension between the Ab and the G. the rest, besides extensions, is all in key and follow a normal IV to I progression. u dumb flip

[@marciamakesmusic]

@@skrobie half the reason to learn theory is to be able to effectively communicate musical ideas to other people. You really can't do that if you don't use the agreed-upon names for things.

[@DoofusMusician]

This is actually a concept called "modal borrowing", "modal mixture", "mode mix", or "modal interchange" (depending on which theorist or music professor you ask). As many have also said, an altered chord is something very different than the concept described above. The reason theorists call it "modal borrowing" is because each substituted chord briefly creates a sound from another mode. In the Lydian mode, the II chord is major. So playing a D major chord in the key of C borrows from the C Lydian tonality. A iv (F minor in the key of C) borrows from the parallel minor (also known as the Aeolian mode). Additionally, you can borrow, for example, an Ab major chord in the key of C (which is built off the 6th scale degree in C minor), and this would be abbreviated as bVI, because its root is a half-step below what it would normally be in the C major mode. Also, one more important clarification: when referring to chords built off scale degrees, it's not kosher to call them "third" or "fourth" chords, et cetera. A chord built off the third scale degree in any key is the "three" chord (abbreviated as iii or III). In music theory, we use the suffixes "-th", "-st", "-rd", and so forth only when referring to intervals. A "major third" is defined concretely as two notes that are exactly 4 half steps apart. A "major three" chord is what he played near the end of the video, also abbreviated as III. Consistent nomenclature is important because music theory is confusing enough without mixing up our terms. My apologies for the "excessive" quotation marks. It was a conscious choice for the purpose of clarity.

[@theskv21]

Your guitar tone, and the way you played your chords gives me joy.

[@diaspiano]

That progression reminds me of Beatles' In My Life

[@tonjametanoia]

Yeah, a little bit

[@maeb9131]

Yeah, the verse goes like this. A > E > F#m > A7 > *D > Dm* > A The song is in A, so the 4th is D. It goes from *D to D minor*. That song was my first experience with this tonality, closely followed up with Wake Me Up When September Ends by Green Day.

[@krang07]

reminded me of the old classic sleepwalking. similar anyway

[@nic1514]

I'll Be Back does that "major to minor" change too

[@maeb9131]

Nico Blaziken It's a classic Beatles move.

[@Mordred478]

Thanks so much for this video, I found it particularly meaningful, as my musical sensibilities are firmly rooted in that 60s British/Beatles sound that makes use of that back to back IV Major/IV minor chord change. Noel Gallagher of Oasis, a primary musical hero and inspiration of mine, has put it to much good use in his classic songs.

[@Novaimplode]

You're so good at what you do and I can't thank you enough, since finding you and watching your vids my playing has really started to come along again after a long hiatus. Thankyou!

[@jacobstout9769]

Dude you just helped me write a song that I've been working on for a few months. Thanks for the inspiration and a visual explanation of chord construction.

[@jaypickard]

Reminds me of green day for some reason. edit: Wake me up when September ends is in Gmajor but uses a Cmaj to Cmin change very often. They might have some other songs with it in.

[@z3idd]

exactly

[@ThunderHunter100]

Jay Pickard Coming from a huge Green Day fan, Wild One and Last Night On Earth use this aswell.

[@antonijejosifovic5561]

G#minor is used instead of G#major in christina pery's song jar of hearts also

[@MysteryHardRocker]

Crazy, by Aerosmith, also uses this. It changes from D to Dm, but I feel it is much more recognizable because the song is in the key of D major.

[@jacobmccracken6784]

Deathcab for cutie- into the dark. F -then I'll follow- Fm -you into the- C -dark

[@Eddie2P]

click bait makes the world go round

[@garlandpoolfredpool]

Right on! Hey, this sort of thing has been my OBSESSION for years! Nice to find someone else making a fuss about such an important point.

[@nickbuchwald1332]

I'm not a huge theory guy, but altered chords are a huge part of my songwriting process. I always just called them non diatonic, or just "wrong" chords before watching this. Great info as always.

[@Nick-px1vl]

but I'm a creep I'm a weirdo what the hell I'm i doing here...

[@timmay301]

thats a good one, because the song creep does use the major to minor progression on the line I don't belong here.. BUt im not sure why this guy thinks that that specific thing changes everything.

[@thedivinezero4117]

I DONT BELONG HERE

[@portalgangadventures]

You are here learning guitar. That is what you are doing here.

[@affair2k]

People learning to play guitar now thinking a Dmaj is an altered chord are gonna have a lot of troubles in the future. Other people comment's are right, these are borrowed chords...you can also view them as part of modal interchange, but calling them altered chords... Don't get me wrong, musically speaking, this "lesson" can be very helpful to a beginner, he will find new ways to create new music as well as identifying those chord changes in other songs. I know that the important thing is the music, not the names, but still...for example, for me, calling the VII chord of a major scale a diminished chord is wrong...i know where you are going, but its just a Xmin5b, a diminished chord has a 7bb, and that note (in C it will be a Gb) doesn't even belong to the major scale. Again, i don't want to be an ass (i know i am being one though), but beginners need their facts to be accurate. Sorry

[@chrisdurhammusicchannel]

Sergio, in traditional theory, the VII TRIAD is considered diminished because it is made up of two minor third intervals. You are definitely right that the seventh chord on that step of the scale is minor 7 with a flat 5 (Bmin7b5), but it is also called half diminished because the lower 3 notes form a diminished triad. If we lower that seventh by a half step, it becomes a fully diminished 7th chord (B-D-F-Ab), with a each consecutive interval being a minor third. There is some disagreement between jazz and traditional names of certain things in music theory, but the three note chord (B-D-F) is diminished, the four note chord (B-D-F-A) is minor7(b5) or half diminished. As far as altered chords are concerned, anyone who calls a simple D triad an altered chord needs a slap upside the head!

[@affair2k]

Thanks for the answer! I didn't know the VII triad was diminished in traditional theory...there's always stuff to learn, eh? :=)

[@slapmyfunkybass]

Sergio Dominguez It wouldn't be Gb, it would be Ab. Don't forget ypu make up chords from their root, not what key you're in. A 'B major seventh' is A sharp (strictly speaking it can't be a B flat, though enharmonically it is), minor 7th is A, dim7th is Ab. I wouldn't call them borrowed chords but chromatic chords, as opposed to diatonic chords.

[@shkwave99]

Loving the sound of your rig!

[@Philnyethemetalguy]

I've found adding the minIV like so makes it a much more festive kinda sound. It's one of my favorite things to do, good job spreading it!

[@kickenwing30]

The first song I thought of was Sleep Walk.

[@orbodman]

Yep. Sleepwalk.... Santo and Johnny. Love it

[@Slimboyfat1979]

That's borrowing chords from its parallel minor aye?

[@Elintasokas]

Yep. The minor iv chord anyway.

[@inigofustermusica7594]

Actually, that is the negative harmony version of a G7

[@adapotato53]

I love all your chords!

[@marekvodicka]

This is great, I saw/heard this done a lot in jazz songs

[@yeezak5660]

Reminds me of No surprises by Radiohead

[@kennygates1192]

Yeezak Thought the same!

[@justsomeguy727]

people who dislike these videos are either deaf or just salty that they can't play as well as you do

[@alexanderedwards8863]

Ignister Prominence, The Blasting Dracoslayer or, they wanna be a dick and have that one dislike

[@justsomeguy727]

Alexander Edwards too edgy for me

[@rodjohnson8953]

Or they know some music theory and realize he's getting it wrong.

[@Popopatop]

I love the way your guitar sounds. That's gorgeous

[@philgigante7171]

Simple and great concept. Thanks!

[@stinkwhistle756]

you should deff do more theory based stuffff aside from the super system stuff

[@MusicisWin]

I've done tons of music theory videos. Check out the Music Theory playlist on my channel: kzbin.info/aero/PLyv8ypjHOdWHYZr1iaqzNha1yDp1RRaDM

[@InTheLifeOfAnArtist]

I think its a trick to get more views.

[@stinkwhistle756]

Yeah Ty....gimme some fresh ones ehh

[@Charlyfromthenuclearcity]

Clickbaity. Changing the IV chord to minor, that's all there is.

[@lenardwei9455]

I can remember stumbling upon the "Minor IV" in a Major Scale some years ago and falling in love with it instantly. Now I don't want to sound like a Know-it-all, but here he's actually playing a "Minor IV 7"-Chord, which is IMHO not the typical sound for the chord that changes everything - try a Minor IV Chord with a major 6 or major 7 for that effect. Of Course, in a more "jazzy" context, IV minor 7 combined with the bVII Dom7 makes for a great backdoor-progression!

[@3mstudiospalmdesert]

Nice clear description.Thanks.

[@renjay3743]

I find this kind of information to be (A) useful and (B) useless. Play whatever chords you want that way it's not contrived. The best place for the rule book is firmly out the window. Jandek anybody?

[@gregdenis5191]

Good post ... Curt Cobain is one that comes to mind on going outside the box a lot with his rhythm playing ... Theory is okay , and I understand it , but my rule is there are no rules ... If it sounds good to you , that's fine ... most players know when something doesn't sound good or make sense. I saw an interesting YT video today with George Lynch talking about purposefully going outside the scale box just to make things unique , interesting & his own.

[@KingBlonde]

I agree to an extent, theory is helpful, but it's not a strict guideline. A lot of music these days feels contrived (especially metal) because it's written by fresh out of college music graduates, the underdog always made more interesting art.

[@gaiusgrdn]

You seem to have a common misunderstanding of what music theory is considering it is nothing more than a language used to describe the practices and possibilities of music. The only reason you think there's a rulebook is because you and everyone else just assumes that the most popular traditions of music theory are the only ones that matter. The whole point of music theory is to realize that there is and never will be a rule book. There are merely sounds to be arranged, and theory is an incredibly effective language used to communicate musical ideas. Think of theory like the way a poet would think of grammar. Just remember that while you're talking about throwing the rulebook out the window, the very concept of a note (and calling a certain frequency a vibration a certain note) and any chord built with any combination of those notes are inherently a part of music theory. You cannot create music outside of theory. You can only not know how to express your music using the language of theory. There are many more traditions in music theory than the standard Bach-style approach that has remained the most popular in Western culture for the past few centuries. Jandek never once threw theory out the window. The project just crafted its own idea of music outside of tradition, but if you were to analyze it closely enough, you could begin to map out things even more experimental and bizzare than Jandek.

[@renjay3743]

gaiusgrdn I used Jandek as an example. I never said he was the ultimate in experimental music. I was merely getting at the fact you don't need theory to come up with something original. A lack of theory would more than likely see the creator move towards a sound rather than something they already know which would therefore make it contrived. That's why prog rock generally sounds like shit to me. It's contrived and only seems to be heralded by music students.

[@michaelmiller8600]

Nonetheless I think it is good to learn the rules, if only so that you can understand better the reasons you have to break them.

[@clockWorks10]

An "altered chord"? If your gonna be doing a video containing theory, please use the real terms. Calling a secondary dominant chord an "altered chord" is condescending to your audience and it makes me feel like you think we are stupid. Using simplistic fake names for a concept is like what teacher do when they think you are too stupid to understand the real thing. For everyone watching this video, "altered chord" is a made up fake term. These chords are called secondary dominant chords because they function as the dominant chords to other keys. For example, when the ii chord is major, you would write the Roman numeral as V/V (sounds like "five of five") because a major 2 chord in any key functions as the five chord to the five chord of the key you are in, effectively making the five chord sound like a one chord. If you do this briefly (say for less than a whole verse, so a phrase or measure) it's called tonicization. Please don't condescend your audience.

[@fellow026]

True but "altered chord" is still a real thing/term - an altered dominant chord.

[@slapmyfunkybass]

clockWorks10 An altered chord is very much a real term. C7 (b9, sharp5th) is an altered chord.

[@clockWorks10]

slapmyfunkybass This is correct but it's not what he is referring to. An altered chord is a real thing but he's not talking about jazz extensions. He's talking about secondary dominance. So he is using the wrong term for something completely different reinforcing his lack of musical credibility.

[@slapmyfunkybass]

clockWorks10​ Well you did say an altered chord "is a made up fake term". Technically they're not Jazz extensions either, they're natural intervals that have been altered, and can be used in any style. Impressionism for example uses a lot of complex altered harmony.

[@rodjohnson8953]

I agree with what you're saying about terminology, but he's talking about a minor IV chord, which isn't a secondary dominant. The people here who are talking about borrowed chords and mode mixture have it right. But your basic point--"altered chord" already has a meaning, don't use that expression for other concepts--is spot on.

[@johnpatrickmatthewsmusic]

thanks man was looking for a new sound, loved the lesson

[@jackloganbill605]

Great lesson and great tone from your guitar/amp/fingers!

[@ScrewballMcAdams]

Great lesson, easy to follow. Thanks!

[@MacAttack42069]

Sounds SICK!

[@teosiriosica]

awesome classes. Thank you! I'll follow

[@andrewnicorn]

Well, this is one of those guitar lessons that pretty much upends my brain and blows my mind.

[@downhill240]

Excellent lesson!

[@ronaldgarciaguitar6414]

Great lesson man. Your whole channel is win!

[@tripps5415]

Awesome lesson man,Thanks.

[@pdean6907]

Awesome vid thanks. Will have to try this out

[@richardburchett]

Thanks. You do hear this a lot. I've always loved the sound. It's good to know what's technically going on.

[@pbourget]

Well done!

[@noelmunday7578]

Great lesson!!!

[@jeremiahhaney6733]

love the video man. this is something that i've added to songs after learning them. never really knowing exactly what i was doing. love music and love music theory, definitely subscribing.

[@ianedmonds9191]

Good instructive video. Luv and Peace.

[@manoskf]

That was awesome!!!

[@TimDAville]

Thanks for awesome advice!

[@CROSSFIRE19604]

Thanks helpful, nice tone on your rig!

[@gregoftheyoyo]

Great stuff man! I love watching guitarists like you who explain the theory. You just earned a new sub.

[@TrueFallacy]

Dude this is crazy helpful. I’m convinced, I’m going to learn and start the journey of mastery.

[@GilAraya]

Wow... great ideas, Tyler. Keep it up.

[@duppykitoon]

I am so stealing this! Thank you!

[@CarlosdeFrance]

Thanks! Great trick! Already using it! Best

[@djklavir5690]

Thanks man ! It really helps me !!

[@jacobmccracken6784]

Dude thank you so much for giving such good content. Your lessons have been digging me out of a plateau and I've noticed a lot of progress in myself, that I think I can attribute greatly to your lessons.

[@jacobmccracken6784]

Can't wait to get to the SVR video. Trying to process some other stuff first :)

[@amsde8205]

great explanation! Thank you!

[@RenRen2577]

"keep shreddin" nice touch,and great little review :)

[@luisLopez-uz3mv]

great lesson brother thank you.

[@MetalChad]

I think I recently encountered this chord in Hozier's "Someone New", when he sings, "Honey, there is no right way." The chord falls on the word, "there". I didn't know exactly what was going on until I started learning the chord progression in that song. I remember thinking, "How did he think to use that chord there? I wouldn't have thought of doing that." But it sounds so cool, especially considering that chord is a major every other time in that song. So cool to be learning these little tricks here and there. Gonna be adding this one to the repertoire. Thanks for the vid!

[@eriktempelman2097]

nice one, thanks! got me practicing again, cheers.

[@reaganjones7329]

Subscribed to your channel just because that tone was so god damn beautiful

[@stbny4444]

Dude, your vids are amazing. And the reason is because it does what no other video (that i have seen) does, which is show the viewer how to actually use the things that they may or may not already know. Case and point - examples! if you show a cool new concept, you show how to implement it in various ways. This also helps, at least me, to get us thinking in other ways how to use the concept. I always struggle with, gee i wonder how i can make this progression more awesome? this is how! thanks man

[@beatsbybastian7581]

loved it!

[@uncleboyet]

today i learned something thank you

[@elspuddo]

Thanks dude, I'm gonna go write a song using an IV -> iv move, it sounds great! Well presented material, quite enjoyed it.

[@roge69charger]

Ive first used in on Sleepwalk and Whispering bells. Back in the day. Always loved that minor effect

[@WalshSpain]

Couldn't resist commenting because this chord progression explained has always been my favourite. Before even knowing it theorically, it produced sadness on me no matter what was the song like (even in some fast-tempo ones such as Spanish bombs by The Clash). It started being used in Romantic music (XIX century's classical compositions) so you'll here it often in Chopin or Liszt. Nowadays, supposes an alternative to the standard progression I- IV- V by substituting V with IVminor. Can be heard clearly in songs like Creep, Last Night On Earth by Green Day or Nobody home by Pink Floyd. I repeat, it automatically makes me feel sadness and nostalgia with no reason, and hopefully I'll get to know why. Have a nice Day everyone

[@charliealvarado9177]

thanks for this awesome video, its realky usefull. Keep it up!

[@geeekstink]

super love the minor 4 chord technique. i kind of derived it from the beatles. they have a ton of those in their catalogue. thanks man!

[@Hacate]

The fact that you had the name of the chords you were playing in the screen was a great help! You should do that more often, really makes the lesson click imo.

[@ZackDavidMusic]

AAAAAAND this will now inevitably be included in every one of my songs. Thanks a lot, man ;)

[@maneshkumarofficial7536]

that's a wonderful tone that u used

[@youbigtubership]

Neat inlays on that fretboard.

[@DerekJones]

all Santo and Johnny. love it.

[@learnerlearns]

Statement at 2:30 is wrong. Chords outside the major scale are not necessarily "altered" chords. They are simply, NON-DIATONIC. They can be (and often are) simple normal chords. Altered chords are those with alterations to the 5 or 9. There are only two notes that can be called "altered" and only two ways to alter any note. ( sharp or flat) SO, there are only four possible alterations: b5 ( same as sharp 4 or # 11) #5, b9, and #9. The term altered refers to any chord that has b5, #5, b9 or #9. Since it is cumbersome to write more than one or two "alterations. we sometimes see the abbreviation "Alt" for any chord with two or more alterations. Chords built strictly from inside the major scale (or any of its modes) are "diatonic." Chords with notes outside the major scale or its modes are NON-diatonic.

[@jahiasad]

Very cool! Thank you so much for this valuable insight ;-)

[@peasley9]

I figured this out by ear pretty recently. Sounds nice

[@garym2372]

Nice tone!

[@RawHeightsBeats]

great info bro ! props !

[@dropbeatslikebombs]

Hey man, great video. I started learning pedal steel last year and sort of inevitably started learning some theory recently. This really helped me think of voicings differently on steel guitar and definitely freed me up a little creatively. Thanks for the demonstration.

[@LarryFournillier]

Great stuff! I'm a new subscriber and you are definitely, the man! :) I got so much out this video and thanks for sharing!

[@rootoable]

I don't understand half the things you say since I don't really play but I still watch your vids. Keep up the good work!

[@AdamEmond]

if you're hanging around in this realm (Using Fm in C) also check out C augmented. Fm has an Ab, Caug has an Ab. fun stuff.

[@kreathhscs2015]

That is one of my favorite tricks to use. I usually use it going IV iv then I. I really like the progression I II IV iv as well.

[@ray3mondo]

Great. Thanks.

[@jasoncarpenter7108]

Thanks for the tip

[@steaktastebetterpill]

Love the outro tune :)