The Most Powerful Harmonic Progression In Music

[@jtdavis2393]

Someone wrote this song before, and I could tell you where it’s from

[@thomasjefferson2372]

The *4* *7* *3* *6* *2* *5* *1*-

[@aldenotis2781]

To put my mind at ease

[@somekindofmixt5307]

These sounds are already crowned

[@_015_8]

Come on it's a silly dream

[@bilfbunter2248]

Unfound

[@jo_nm9484]

Music: I need *tension* and _resolution_ Tyler the Creator: there is only tension

[@denisblack9897]

its valid by the way resolution is when song ends - people feel good when this shit stops

[@LimeGreenTeknii]

This feels like a video for people who have a fetish for music theory. Oh yes, tell me about the tension that builds. Don't resolve before I do!

[@MikeFarleyHealer]

your not a true musician i suppose otherwise you would go crazy to find the tonic. (roll eyes)

[@midnightbreeze3950]

Ima just sweep on here and say that he probs doesn’t have as much OCD

[@midnightbreeze3950]

I have no clue where I’m going with this

[@abbesatty9498]

lol

[@MVMHansOlsson]

lol

[@A19316]

I think that the name of this video should be: THE MOST POWERFUL HARMONIC CADENCE IN MUSIC. A PROGRESSION implies more than two chords.

[@zecariaa.h.gallardo157]

+Christopher Nowak I 100% agree with you!

[@urinveisinfeksjon]

+Christopher Nowak Not even the most powerful dominant. A dominant seventh that also includes the minor ninth has even more tension if buildt correctly. A simple D7 to T isn't even a valid cadance, misleading title...

[@Wulffrick]

+Kaos What about VII0, the diminished seventh chord, which is comprised solely of two diminished fifths and a diminished seventh? At least theoretically I find it even more powerful, since the dominant V79 already contains the resolution of the 9, like Ab in the G7 chord.

[@urinveisinfeksjon]

Indeed. Dominants is an art in its own right, and there is still way more out there in in the world of theory. My point is mainly the misleading-ness of the title as the D7 is certainly not the most powerful. In harmonics, you can always go from a dominant to a new version of the dominant, with the sole requierment that the new version is more tense than the last. The D - D7 is merly the first and most basic such sequence of many many more powerful dominant buildups. (You need perhaps only listen to 2 min of any wagner-piece before encountering one, lol)....

[@JirkaMichalik]

+Christopher Nowak I think it should be "How to make a soulless song in 10 minutes"

[@wskg24]

5:55 I really like the vibe

[@TheMattJacks]

I love the way you personify musical notes and chords. They are alive in a way, and they do have will.

[@PersonalJesus97]

Am I the only one who had a few different ideas as to where he was going? Music isn't this linear.

[@LasseBoogieJensen]

+Brent Spiner Nope, you're not the only one.

[@acasale]

+Brent Spiner No, it's not strictly this linear. But I think his intention was to give a decent grounding to people who are trying to learn a bit of music theory.

[@PersonalJesus97]

+acasale I agree, its just that he presents it as if that was the only right option.

[@ivanokmunoz]

+Brent Spiner It coul be an A minor, that's called a broken cadence, V7 to VI. also it coul resolve to an C minor.

[@Wulffrick]

+ivanok muñoz Well, it could resolve to F sharp major/minor just as well.

[@pamela06hughes16]

This, by far, is the most detailed tutorial that I have ever listened to pertaining to the lesson at hand. He made me understand what I have heard and listened to all these years. I can hear exactly what he is conveying. I feel highly enlightened. Thank you.

[@authenticmusic4815]

At the beginning, when he asked where is that chord going, jazz musicians were like "oh, it goes to Bb##sus98#3#6dim#9b11add23

[@mayosawthis7935]

sus

[@thatoneanimatorsstudio3134]

Sus

[@ketameal]

sus

[@pianorikardhallberg9162]

I remember when my teacher taught me this, it was probably one of the first things I got to know about in music theory. You showcased this concept with clarity.

[@Unluck9000]

I think, as we all know, the most powerful is that o'l I V vi IV

[@ldgaming4213]

Me, a classical musician: *NO, THATS NOT TRUE, THATS IMPOSSIBLE!*

[@kenshinhimura5906]

Basically it is to music what talk no jutsu is to all villains in Naruto. lol invincible.

[@jonathanharold3767]

I swear this dude's voice alone is putting funk in my soul.

[@shaggybreeks]

Hehe, that second chord wasn't what I was expecting. I was expecting higher pitch than the first. But these are great lessons!

[@RhythmicCanadaStudio]

shaggybreeks thanks!

[@hunterphillips5142]

shaggybreeks that might be b/c a traditional G Maj 7th would have had an F sharp (F#) instead of an F. idk if that was intentional or not

[@hunterphillips5142]

UTlonghorns32 actually yeah i guess a maj7 and dom7 are different things lol

[@rhall249]

shaggybreeks so do i!

[@annamoan2107]

UTlonghorns32 Yes, maj7 is a natural seventh whereas 7 is a flat seventh.

[@jakeeeGST]

1:00 I’ve defidently been listening to too much Tyler the creator

[@pericIesss]

I don’t get it 😭

[@doll.perasite9030]

...

[@jakeeeGST]

holy fucking 2+ years ago i kinda get what i was saying but this a dumbass comment hahahahahah

[@lilysthapit2222]

Me: *Plays the dominant 7 Chord.* Audience: OMG this is intense! Me: *plays DECEPTIVE CADENCE* HAHAHA **Harmonic Expectations DENIED**

[@georgespalengat5129]

super! j'ai 67 ans et je comprends enfin ce qu'on m'a caché à l'école!... Il ne me reste plus qu'à comprendre comment exploiter un accord pour imrpoviser et c'est dans la poche... enfin, dans le pavillon de mon sax!!! Mille mercis!

[@avielp]

05:58 Sounds like Chef from Southpark explaining it to the children

[@jimligon1460]

Thank. Just when I would start to get bored, that wonderful percolating organ comes through like the charismatic ark of the covenant. And all the roadies say amen. Good teaching.

[@pauldjanson]

Great video! Important clarification regarding dominant 7th chords-- It's true that the V is the dominant of the tonic, but this isn't why the V7 is called a dominant 7th chord. In the key of C for example, C7 is also a dominant 7th chord, even though C is obviously the tonic not the dominant. The reason it's called a dominant 7th is because the 7th tone comes from the key that the tonic is the dominant of- in the case of C, C is the dominant of F. The key of F has a Bb. The Bb is the 7th tone in the C7 (C dominant 7th) chord. In the case of G, G is the dominant of C. The key of C has an F natural. The F natural is the 7th tone in the G7 (G dominant 7th) chord. Better to call it the V7 or V dominant 7 or V flat 7 to specify which dominant 7th you're referring to. Just saying dominant 7th doesn't imply the V7. Otherwise, great info, and suave presentation.

[@tronduick7028]

+Paul Janson By far yours the most valuable among these comments, most of which are typically ridiculous.

[@tandemwings4733]

>Paul Janson. I totally agree. I always call it flat7, (Vb7), because people of different education systems can't seem to agree on the 'dominant7' origin.

[@Fanchen]

Tandemwings calling it flat 7 is ambiguous, since there may be major and minor 7ths. Dominant 7ths are very clear, it’s structure is definite and always the same. major triad built with minor third above the 5th. Vb7 is very odd, normally just V7 is clear enough to tell us it’s a dominant 7th chord. Actually, Vb would indicate that the 3rd degree of that triad is flattened, making Vb7 a minor 7th quality chord. Such as C Eb G Bb.

[@blackcatjazzin]

Paul Janson, thank you so much, I agree with Tron Duick. KZbinrs tend to be a very insecure bunch,,

[@TomGoldsmithguitar]

Very important knowledge. 10 /10 FOR clear concise explanation of an often overlooked topic. TRAINING THE EAR. People (especially guitar players) need to realise that 90% of learning music is about training the ear.

[@paulawilliamson637]

I'm so enlightened!!!! Thank you so very much as this is ridiculously important when I'm writing my music. I will definitely be pressing that subscription button.......

[@wanderingwade8877]

Excellent! I'm a self taught guitarist who has been picking things out by ear for years and it may take me a while to hear the tension/ resolution to figure out a key, but I can usually get it and get a feel for the various types of cords, but I never had a lesson like this. Mind blown!

[@ONRIPRESENCE]

Dude! I guessed it just right the first time! Awesome man!

[@mikegreene7273]

Staggeringly good series of videos. So clear, calm and well paced.

[@mannixbg84]

Video was great for someone like me who has only been reading music and playing piano for 7 weeks as i can hear what you mean. I think its great to "listen" to other peoples ideas whether you agree or not. We are always learning and always teaching and to be honest music has built in rules but at the same time grants the player freedom to play as they so choose, it may not to ve every body's liking but thats life. Anyhow thx for the vid and loving the jazz vibe more pleaese and a sub from me. Bless

[@tonybates7870]

I sometimes wonder how many people in pop music are self taught. I got a book with some basic open chords for guitar as a kid and never looked back - the rest took time to learn but was ultimately self explanatory. Everything else is practice, practice, practice. To this day there are technical terms I'm not aware of but I understand the harmonic concepts. For instance, up until a few years ago I would have called the chord B - D - F - A a D minor with a B in the bass, but I now understand it's more commonly known as Bm7 flat 5. Both descriptions make sense to me.

[@omarcheri]

B minor seven flat five i counterintuitive since, it doesn't give any information of how the chord might function. B-D-F is a diminished triad and if we add the A, then it becomes a half-diminished seventh chord. It shares two tones with the dominant V in C major and three with the dominant V7 and thus will resolve to C major. The fully diminished seventh chord is more versatile and is used more, since it can resolve to different chords, because of enharmonic equivalence. I hope you've continued studying harmony. It's a gift to be able to have a good harmonic vocabulary when playing or composing.

[@max-fj7np]

Resolving to a tonic chord in root position is more stable and powerful sounding than resolving to a second inversion tonic chord with a G as the bass note instead of a C in C major

[@LasseBoogieJensen]

+Max Stepien However, all triads sound their most powerful in second inversion :) Like if you had Gsus (yes, ha ha, the holiest chord etc., moving on) - G+F above in the left hand and then an F-major triad in your right hand. Try them all. 2nd inversion of Fmajor gives the best voicing / sound.

[@ejtonefan]

only in Boogie Woogie music.

[@tandemwings4733]

Disagree with you Max. Agree with Lasse.

[@Fanchen]

Lasse Ebbeskov Jensen why you would end with a 2nd inversion chord is beyond me. It sounds unfinished, hollow, unsupported. The root position definitely has more resolution, just listen to Schubert’s Erlking for easy reference. The bass is most important when it comes to cadencing authentic. But oh, I’m talking about full voicing, not just triads.

[@cer9ss]

Perfect Rhytmic Canada, PLEASE MAKE MORE VIDEOS, We really need them!!!

[@AmericanIdiot2002]

Me: expecting some deep modal secondary non-chordal progression KZbinr: Let's talk for 11 minutes about the second chord you learn in music theory

[@slapmeisterrecords8226]

These theory refreshers are well appreciated. Its been a few decades since music school for me...

[@DKendrick1]

dope how D' Angelo comes in when he makes a good point lol. Nice touch

[@joncavanaugh9980]

Not only a great lesson, but perfected presented and illustrated, as well. Thanks.

[@kristiansharpe1470]

Great video... good pace for beginners... never mind the 'experts' on here, why are they here anyway??? xxxx

[@irene9116]

this flew right over my head.

[@RollinRocker]

Inverting the tonic to the second inversion has a nice resolve as well. For example,when he plays the V7 to 1 go from G C E to C E G Descending. It's a nice way to end a song.

[@GorZart]

Thanks for posting. I've always considered the 1 chord in a 1/4/5 progression to be the tonic such as E,A, B or C,F, G etc even if the 1 chord was voiced as a dominant 7 in which case I usually voice all 3 chords as dominant 7s. This gives me a different approach with of course a different key.

[@joshuapotter82]

This video was full of a rich knowledge I was able to not only comprehend. But FEEL! Im so grateful that you have taken the time out of your life to teach us this leaf of Music Theory. You sketched it out in purple crayon for us to understand. I have subscribed and liked this video and will be looking further into your Videos. Thank you Sir.

[@RhythmicCanadaStudio]

Thank you Josh. I'm very happy to hear you enjoyed the video. I'm working on more :)

[@joshuapotter82]

I speak for us all when I say we look forward to it. God bless your and yours!

[@paulawilliamson637]

Josh Potter excellent comment, it is such a treasure to be taught in a professional manner by this generous man. He ga e us a permanent gift & we don't even know him.......

[@transdata3035]

Excellent music analogy. Thank you!

[@Frosmad]

Very informative but also entertaining. I love the background music you use when you are explaining things. fits the video perfectly.

[@AmiPropagator]

+Frosmad That music is from D'Angelo. Song titled 'Brown Sugar'

[@OliFreke]

You could also mention that pretty much the whole of western classical music over the last 500 years is based on playing with this tension; creating the expectation of this perfect cadence (along with some others) and either frustrating it, creating surprises by not doing it or otherwise maintaining the tension / suspense until that resolution occurs.

[@defj2005]

That voice rythm..got us in a jazzy radio host feels.

[@SpacePatrollerLaser]

The Dominant 7th to Tonic was used effectivley in HEARTS OF STONE by the Rolling Stone

[@LasseBoogieJensen]

+Cl Lyman Uhm... it's used effectively in pretty much every song..

[@RollinRocker]

+Cl Lyman I was thinking the same thing LOL

[@dgrjazz]

+Lasse Ebbeskov Jensen yea, in pretty much every song, for about 300 years.

[@TheHardTake]

Nice video but what with the distracting music in the background

[@insertnamehere9154]

Omg... that brown sugar song popping up every 20 secs is madness when ur trying to learn tones.

[@roywiegman5517]

You can also use V7 to I to pitch your singing voice: play G7 and C on your instrument and you will automatically sing in the key of C. Play E7 and A and you will automatically sing in the key of A.

[@mousdrvr]

I LOVE this video. I like your style. Give the haters none of your valuable mind :) I love your voice too.

[@KLIPAMSoulRadioStation]

We learned so much about the "Dominant Seventh" !! And the natural tendency for tonic resolution. Great musical lesson. Thank you!

[@Yaboi713]

Great video. Your better than my piano teacher when it comes to explaining about dominants and tonics...

[@RhythmicCanadaStudio]

Thanks! I've been thinking about putting Theory lessons together :)

[@birdsadventuresinwoodandmusic]

That's the beauty of the number system. It works in any key because it's all about relationships of the tones to each other either separately or together. Any musician who doesn't understand the number system would do well to learn it. It will serve you very well indeed. There was my life in music before, and then after learning it. Night and day. It's like suddenly being able to understand the language instead of just knowing a few phrases.

[@adammartinez586]

1:03 okay that’s insane

[@silassrinivas6712]

Excellent Harmonic Progression !

[@samuelluisdelespiritusanto7343]

1:06 i actually thought it's f#m am i edgy now

[@danielmulholland5869]

Me too woulda sounded way better

[@kayrabcebll8259]

Is that a tritone substitution?

[@neweraboy]

Glad to have you back!

[@RhythmicCanadaStudio]

Thanks!

[@berryandrewm]

first off not a progression, just a two chord cadence if you will... also i would say this is arguably not the most powerful harmonic progression in music.... yes probably has one of the highest tendencies, however arguably not the most powerful. In my opinion powerful progressions are those where you do not expect whats coming after a tendency chord (deceptive cadence for example) and then later resolving to the tonic after a couple of progressed chords. For example my favorite deceptive cadence progression is V-bVI-bVII-I. This is by far in my opinion the most powerful progression (lol again just my opinion, music is very personalized so its wrong to say music is definite in any sense, such as the title of this video). Go to a piano and play this.... C Maj (I), G Maj (V), Ab Maj (bVI), Bb Maj (bVII), C Maj (I). I think most people really enjoy that progression and is one of my favorites. Another one I like is V/IV(Technically I in a minor key)-i-VI-V/III-V/IV (or I again). Basically saying here is that there is not ONE MOST POWERFUL PROGRESSION IN MUSIC, because ofcourse music is not definite... it is personal to each and every one of us. But to give credit to the maker gof this video he did have a very good understanding of theory from what I have heard so good for him too.

[@tandemwings4733]

Andrew Berry. I think that reads - in Key of F. 1 (C), 3(E), #V (G#(or C+), b7 (Bb), 1 (C). Now make that the 3rd inversion, Play Bb, E, G# and try NOT to resolve to a tonic F Maj chord. To my knowledge this the most powerful (dissonant) harmonic 'progression' I have found. (self taught). I feel that we agree.

[@Fanchen]

Andrew Berry a progression can’t be all that powerful if we expect it or have experienced it the same way. The bVII-I is very typical of modal writing, and is used commonly in adventure type of gaming soundtracks. It’s not all that powerful unless decorated. For a powerful ending, check out Bach’s Toccata and Fugue in D minor. The final measures contain deceptive cadence in the dominant and resolving in the tonic with plagal cadence, giving us a final Amen. A simple iv-i can be just as powerful as something complex.

[@energale]

the first experiment almost teared me apart. tension for 20 sec. the release was a relief. point made clear

[@synchro505]

I love that "Ahhh!" when it resolves. LOL

[@Googurty]

In case anyone was wondering, the background music you hear is "Brown Sugar - D'Angelo".

[@silvera1109]

Heh. Your voice has such a cool tone - it's musical in itself, and you explain things really well. Thanks for your videos :)

[@RhythmicCanadaStudio]

Anytime man

[@Lashoun]

What you do is awesome, please keep on posting!

[@purpleAiPEy]

never encountered a video that reminds me of a smooth jazz radio show. thank you for great production that is unique to me after 10 years on youtube

[@9stopable]

Need you back these are the best please come back !

[@RhythmicCanadaStudio]

Sorry man I'm still here. I know I'm really slow at this but I have a ton more I promise. I'll keep trying to push them out :)

[@9stopable]

thank you no problem Rhythmic Canada

[@wildman00sax]

V7 cords are well used in jazz. Some of those won't resolve as our minds would expect.

[@jesusneverexisted300]

I don't know anything about music composition and I barely have knowledge of basic chords but this video was very educational as I learned a lot from it. Great video!

[@madelyndavenport295]

I feel like this guy should call all of his friends "daddyo"

[@armstronglance]

You crack me up! I loved this entire video! (The devil notes!)

[@dark4king]

So the next cord is JOOOOOOOOOOHN CEEEEEEEEEENAAAAAAAAAAAAA

[@katanaking90210]

Awe, look everybody its 2016

[@samuelluisdelespiritusanto7343]

@@katanaking90210 :3

[@aproposracer855]

Gn Adri : it all started with the death of Harambe

[@yatescr]

I've watched several "tutorials" and many were sub-par, to say the least (I'm already a moderate pianist). Your tutorial is theoretically rock solid and a joy to listen to. Thanks!

[@RhythmicCanadaStudio]

Randy Yates thank you

[@aldenotis2781]

Wait a minute why am I so amazed that I guessed the chord in the beggining

[@aldenotis2781]

Avery is this also the same resason why we can reconize pitches that are exactly double and half?

[@BeatPresse]

Clear, short and nice spoken. Thank you so much for this introduction.

[@RhythmicCanadaStudio]

Anytime

[@MVMHansOlsson]

"Did you hear it?" "Noooo!" :P

[@ehuezo]

Looking forward to more vids, extremely helpful!

[@RhythmicCanadaStudio]

Xavi Forlyfe Thanks!

[@BladezifyHD]

8:32 DJ KHALED WOULD BE PROUD xD

[@andrechandler938]

I want to say thanks to u Guys that share the knowledge of music on You tube i have learn so much for free my good ness thank u all so much

[@RhythmicCanadaStudio]

Andre Chandler anytime man! :)

[@moradshebli9562]

was expecting a g major xd

[@TheShatteredlamp12]

+Morad Shebli But then a Cmajor after that surely?

[@Vio45lin]

+Morad Shebli I expected a Bm/F#, followed by F dim, then F#m... probably played too much rossini

[@0live0wire0]

+Vio45lin nice one. How would you analyze that? Fdim is a secondary dominant to F#m but how that G7 to Bm/F# functions?

[@MaggaraMarine]

+Stephen Dedalus G7 chord in the key of F#m would be a tritone substitution for the dominant. Though "G7" followed by Bm/F# has a very strong augmented 6th chord sound to it. But then again, an augmented 6th is pretty much the same thing as a tritone sub. Augmented 6th is the classical explanation, tritone sub is the jazz explanation. It's about "horizontal" vs "vertical" music.

[@marcuswilespage]

+MaggaraMarine Yeah but what makes a tritone sub interesting is that it isn't what's expected, unless you're listening to jazz maybe.

[@Tartw]

Thank you. I love your approach and attitude about sharing!!!!

[@PiEndsWith0]

Actually, at the beginning, you kept the dominant in the bass. Wouldn't it be more powerful if the bass note would also resolve from G to C? Thanks

[@lilpoisen213]

Yeah that's what I heard in my head too. It sounds good both ways depending on the situation

[@bfish89ryuhayabusa]

I assume that was to keep the F-to-E on top, as that's the defining sound of this cadence.

[@Fanchen]

BFisch yes but ending in a 2nd inversion chord is not the way to make a defined resolution, and definitely not as powerful as a perfect authentic cadence.

[@slapmyfunkybass]

BFisch Still keep the f and e on top and play g to c in the bass.

[@bonksmusic1]

I kind of knew about this in music school but I am once again mind blown, some people in the comment section are probably not frequent piano players but I found this quite interesting and possibly useful in my general piano improvising

[@bootytheduck]

Actually, I was expecting an A minor lol... though that's just me

[@drunkgamerx]

Evan Li no you are not the only one haha

[@thejohnhoang]

+dgb1tch hello

[@drunkgamerx]

+John Hoang omg u found me, you found meeee, lying on the flooor learnin music theory.. memefied 2 pls

[@thejohnhoang]

I GOTTA LEARN MUSIC THEORY BEFORE ANY MEMEFIED

[@thomassegaert]

+Evan Li an A minor is largely the same as a C major, you were not wrong, they are both tonic chords within the C major scale

[@christopherleach157]

clear and simple, basic chord progression foundation, well done

[@jimmyalderson1639]

10:00 the way you said 'Eb' 😂

[@moadot720]

"D, F"?

[@Troijkcalhgj]

Love the D'angelo in the background Great Tutorial btw! helped so much!

[@RhythmicCanadaStudio]

Glad to hear it :)

[@carlosgranados9301]

Oh yeah, they use the V7 to I in Queen's "Don't Stop Me Now"

[@firpliussoftware1034]

I wish KZbin had a feature where you could favorite a video as well as liking them. This would be the first video I would favorite. Thank you very much.

[@timedriverable]

Very good explanations

[@nathanielevan4856]

I was never able to lift a car, but thanks to this video I finally gained tremendous strength to be able to do that. 200/10 would watch again

[@sultown4343]

I have some sort of musical ocd I think lol.. When you kept playing the same chord I was like, "just play it already, its killing me!" I grew so restless and was tapping my foot and fidgeting.. Hm.. Anyway, I got the chord right.

[@jameshercals9651]

Same

[@massimookissed1023]

Sovu , there, you see? It needed to be resolved.

[@TimothyRyanFisher]

G7 to C, V7 to I perfect cadence, most common chord movement in modern music, It contains the two tendency tones the 4th and major 7th, if you subtract these you get the pentatonic scale.

[@kobioved]

!...Have more? Great teaching

[@RhythmicCanadaStudio]

Thank you. Hopefully have more out soon.

[@mppalves]

+Rhythmic Canada congrats... more please!

[@cheerfulerik]

Great video! Just subscribed, thanks! You've got 500,000 "like" viewers hoping for more, including me! Thanks again!

[@ejtonefan]

this is a very uninteresting Boogie Woogie chord progression. check out jazz or classical music for more fascinating chord progressions!

[@JiveDadson]

Reason 3. The V has a frequency of 3/2 times that of the I. The change from 3/2 to 1 is very prevalent, even when not moving from the V to I.. Frequently it goes from a minor chord to a dominant 7 (II mi V7).. It can also go from half-diminished to minor.

[@quetzal785]

thank you!

[@RhythmicCanadaStudio]

Anytime :)

[@MrDogonjon]

V7>I = Full Cadence. V7> vi= false cadence. IV>I(6/4)>V= half cadence. BDF= diminished triad= stacking of two minor third intervals. There are only three diminished triads before they reoccur as inversions there fore they make a good way to modulate to any other key. tritones can be inverted and substituted (Coletrain Exchanges) to move all over the tonality spectrum to create jazz improvisations.

[@stevenburrell8582]

yea, This video is pretty biased and opinionated. He has his points but music is more than just law an theory. It's art, therefore to call one chord progression the 'most powerful' is (in the grand scheme of things) baseless.

[@mycofairbanks3321]

+Steven Burrell Don't forget this is geared to people who are new to music theory. The dominant to 1 cord is in fact the Most Powerful Progression in music and widely accepted in every music school in the country. It is one of the first thing taught to new music students. It simply means that the majority of people want to hear the resolve to 1 after hearing the dominant 5. It is not a rule that you have to go there every time you play a dominant 5 cord. It may be based on opinions, but it is the opinion of the majority of the masses which make it a fact. Ask any music instructor what the strongest progression in music is and you will get the same answer. 5 - 1 or cycle of 5ths. Ever heard of a 2-5-1? or a 3-6-2-5-1 They are both cycles of 5ths and widely used in jazz as well as other even more popular styles music. Do venture to tell of another progression which you believe gets more use than the 5-1

[@stevenburrell8582]

+Michael Fairbanks I understand what you are saying, and according to music theory you're correct. However, I wasn't talking about music theory. "Majority" is a strong word to use here. Just because a lot of people agree on something, (majority or not) that never makes something a fact. Facts are not based on opinion but verifiable truth, and in truth most musicians, who continually strive toward creativity and thinking "outside the box," may avoid such a progression.

[@mycofairbanks3321]

You can avoid the progression if you wish. In my view that would be foolish. Popular music is repeat with 5th cycles. It would be like throwing out the most common phrase from your vocabulary, or avoiding a particular color to paint with. All that accomplishes is to limit your possible choices. To understand all possible progressions and their respective emotion they invoke is, or should be, the goal of an aspiring musician. Let me put the "fact" statement in a better to understand format for you. It is a fact that more people prefer rock music to jazz. Yes the choice is based on opinion but the fact becomes evident that rock is more popular. In other words, musical taste is indeed an opinion, but after the choices are made, the statistics as to how many people have chosen one style over the other become fact. In the same way it is a fact, not an opinion, that most people who hear the dominant 5 cord will automatically hear the resolve before it is played. Therefore the dominant 5 to 1 is the path of least resistance which equates to most powerful progression... on this planet at least. What you do with it is where your "ART" aspect comes in to play. There is a logical reason why Jazz, which is one of the most creative and outside the box styles of music, follows rock and country in popularity. The 5-1 has more power to appeal to the masses than any other progression, and that is where the money is. Please, indulge me. Do tell of a more widely used or more powerful progression in music.

[@exoressdelivers70]

+Michael Fairbanks Well said Mr Fairbanks. 'Powerful' in this context means that you have a better chance of playing 🎶 likeable to more people when using this progression. If on the other ✋ you don't care whether others like your music as long as you like it then the dominant 7th has no more power than any other chord.

[@Fanchen]

It’s not about whether music theory is inhibiting creativity, it’s about why it gravitates us to use it. Of course there are plenty of atonal works to this day that have abandoned the circle of fifths and usage of tonic dominant function chords. But that does not mean the basic knowledge of voice leading have been neglected. This simple cadence shown in this video is the most basic, all-should-know concept. There is nothing “law” restricting about a simple perfect cadence. In fact, it allows many more opportunities to use these methods and develop them. But of course, a simple cadence can’t be powerful, it is the context which it’s in that makes it powerful.

[@drew92gill]

Great video! Very clear explanation of quality chord progression. Thank you!

[@RhythmicCanadaStudio]

Andrew Z Anytime =)

[@fitagoraz]

totally agree! this guy really easy rocks!

[@SssagaBenches4U]

One of the most complex videos to understand i've stumled upon. God damn, youtube!

[@yidingyang2807]

This has showed me alot more about resolution than any other video I've watched so far

[@kimokeokeahi8526]

It took eleven minutes to say that? Oy. Leonard Bernstein could have said it in a sneeze.

[@agathosdamon728]

Your presentation swings...BRAWTHA

[@larryromano7510]

I'm confused. Why is it called the dominant 7th when F is 4 in c major and isn't in g major at all?

[@InvalidFingerprint]

Major seventh means that, from the root of the chord, you go a Major seventh up. So in this case, a V7 in C major is a G dominant seventh chord. G to F is not a Major seventh, it's a minor seventh. If it were G to F#, then there is your Major seventh chord. A dominant seventh chord builds a Major triad, in this case G-B-D, and drops the minor seventh on top, so G-B-D-F. (and if you notice, a dominant five chord uses Sol-Ti-Re-Fa. Just remember to raise the leading tone if you're in natural minor) A Major seventh chord builds a Major triad, again G-B-D, but tops it off with the Major seventh, so G-B-D-F# Related info: Major seventh chord: G-B-D-F# (easy to remember: Major triad + Major seventh (Do-Ti) Dominant seventh chord: G-B-D-F (easy to remember: it's so common, also just remember Sol-Ti-Re-Fa) Minor seventh chord: G-Bb-D-F (easy to remember: minor third (Do-Me) and minor seventh (Do-Te) Half-diminished seventh chord: G-Bb-D-Fb (easy to remember: minor triad with a diminished seventh on top) Fully-diminished seventh chord: G-Bb-Db-Fb (easy to remember: built of all minor third intervals)

[@nurso8179]

Thanks, brother! Wish I had a teacher like you for my little son :)

[@RhythmicCanadaStudio]

Thanks man

[@zefanyasadrakh]

lol I expected BbM7 as the second chord

[@vitormedeiros153]

HELL YEAH YEAH ME TOO

[@GDRhodes1]

Very useful lessons for growing musicians! Thank you!