What is a Passing Chord?

[@6JEVAIS]

That's beautiful

[@dr.guyshkolnik_composer]

Thank you!

[@MrMikomi]

Wise man say...

[@marinn4158]

Only fools rush in...

[@nasapayrollsystem8701]

Yes

[@Paul-dw2cl]

But I can’t help

[@ansfridaeyowulfsdottir8095]

Nice. At first it sounds like _"I Can't Help Falling in Love with You"_ but then it sounds like the theme from _"Film..."_ as in _"Film '76", "Film '77"_ and so on. {:o:O:}

[@isaiayala2465]

Love it👏🏻

[@dr.guyshkolnik_composer]

Thank you! 😊

[@judebagaga935]

I like this

[@HeavenlyBridegroomMusic]

Beautiful hand movement

[@dr.guyshkolnik_composer]

Thank you so much 😀

[@joserivera8429]

Thank you. I’ll be using these today at church 😅

[@dr.guyshkolnik_composer]

Oh 👌👌👌☺️

[@seanonel]

Gosh, that's pretty.

[@Knighttemplarbibleschool]

Just great inspiration ❤❤❤❤😂.thank you so much.

[@dr.guyshkolnik_composer]

Sure!! I’m glad you liked it 🤗

[@the_RazorFire]

What the reason you went with E7

[@jonathanbassey848]

O 😊 good

[@dr.guyshkolnik_composer]

Jonathan 🙏

[@raphaelpaschal2273]

Very nice❤

[@dr.guyshkolnik_composer]

Thanks Raphael!

[@juanfernandez-bacatoledo7032]

Oghhhh yeah, hymn to freedom moment

[@dr.guyshkolnik_composer]

Also in I wish I knew how it would feel to be free :)

[@min3rpro927]

How do you determine the slash chord :/

[@chiramuroki5609]

nice one

[@dr.guyshkolnik_composer]

Thanks Chira!

[@cignox9705]

Why E7? Why does it sound good? Isnt it in the wrong key? And why G11? TELL MEEEEE

[@mordy91]

E7 is the dominant of Am often referred to as a second dominant since it is a dominant to another keycenter than the tonic to momentarily switch the gravity of ‘home’. G11 is just a way of adding more color by using some of the upper extensions (the thirds above the seven, like 9, 11 and 13) and give it a bit soul/pop vibe. A more correct way of referring to this chord would probably be to call it a sus chord since that is basically what it is. A 7-chord with a 9 and 11 instead of the third. The reason for it being called a 11 chord despite not having a third (ill come back to the whole missing third thing further down) might be that whereas in more traditional jazz where you would tend to resolve it and and feel it like a sus chord where you want the 11 or 9 suspension to be resolved to the third before the V-I resolution takes place and sometimes add even more tension like 13, b13, b9, #9 etc to increase tension before release (ex V7sus13-V(b)13(b)9-IMaj9) on the contrary the sound in that kind of soul/pop where you tend to hear this particular 11 sound as played in the video, you wouldn’t resolve it and just let it be. It is often a sound that rests in itself and is used without the need to resolve itself before the actual V-I. I guess you could say it has a bit more ‘modal’ quality to it even though there ofcouse still is the overall V-I pull. Also another reason why it is called 11 chord is that even if you wanted to keep the third you get a very dissonant b2/b9 interval between the third and the 11 above which is commonly not desired and therefore the third is omittet or removed. (There are some that use both that desire the clash example newer forms of jazz and modern choir music like ex. Kurt Rosenwinel and eric whitacre - this again point towards the fact that what might be considered tension undesiree or unstatic in one genre og tambre ideal might be concidered desirable, consonant, and static in another) There are workarounds like swithcing places of the 11 and the 3 so get a bit less dissonant Maj7 interval. However, I still think it is a bit misguiding to call it a 11 chord instead of 7sus11 or 11omit3 as you would normally only ever omit the third when strictly being specified to do so since the third is probably the one most caracter-defining tone of the chord. So I guess the chord naming here is the exception to the rule. After all 11 probably looks pretier and more simple to the eye than 11omit3. This whole thing is not a problem with m11 chords since you have a way more consonant Maj2 or Maj9 interval between the min 3 and 11 (or 4 which is basically the same as 11). Sometimes with major and dominant chords you raise the 11th to get a #11 thus getting rid of the b2/b9 interval and getting the more consonant M2/M9 interval between the 3 and #11 similar to minor 11 chords. Finally you can also write G11 like F/g since that is basically what it is. That might also eplain some of the good voice leading and the more serene resting quality to it you can get since you get the equal pull from the F to the C with one commontone (happening to be c, the tonal center and tonic) and two moving stepwise along with the bass moving from g to c. So basically you get a pull from both IV- I and V-I at the same time both a fourth away from C below and above (or a fifth depending on how you see it) ...so yeah, a very long and querky answer to your question.. Hope it helps more than it confuses though 😄

[@cignox9705]

Thanks. Just saw the reply and was pretty stunted hahaha. Thanks for taking the time, I am going to read through the entire text

[@PRIMEGospel]

If you play” B” as a passing chord, How do you know when it’s in the progression? How do you differentiate between part of a progression and a passing chord if the bass is part of the diatonic scale?

[@musicdaddee6578]

There are a bunch of ways to do it but when it’s diatonic…It’s the inversion of a diatonic chord so that the bass note fits in between and you pass through it. It’s a stepwise motion whether you modulate or not. So that progression C G/B Am is always described as G/B passing. Another would be G D/F# Em. Basically in any Key I V/3 vi

[@PRIMEGospel]

@@musicdaddee6578 So are you saying if it’s not in the expected circle of fifths progression, but a slash chord it’s considered passing? So a stepwise chord is considered a passing and not apart of the foundational progression?

[@Alexander-iq5yq]

Its impossible to say with certainty. But generally, there are chords that if taken away, the music falls apart. These chords are functional, they are the skeleton of the music. A passing chord is not functional, in the sense that they can be taken out and the music still stands. Typically passing chords are inverted, and built on a passing tone in the bass that walks between the bass notes of two other functional chords.

[@HelloooThere]

You hear itty

[@philmckenna5709]

@Alexander-iq5yq Thank you. Very well explained.

[@ponyboyofficial]

All I could hear was "O Canada" and I'm not even Canadian

[@dukeengine1339]

That's quite pop. What if the base moves to Bb? Which chord could fit well between Cmaj and Amin?

[@ErichkaAnikin-wu9yb]

My big guess is an F7 or FM13 which has both b- & e which are possibilities in his chromatic progression. What do you think?

[@jossua7524]

Em7b5/Bb sound really smooth and melancholic. I'm in love with this chord You can also just play Bb or Gm/Bb for a more simple sound

[@dr.guyshkolnik_composer]

If it moves to Bb in the bass, then C/Bb is common, as in the progression: C - C/Bb - F/A - Fm/Ab - C/G - Gsus4-3 - C

[@sakthisamuel2549]

🤝🤝🤝❤

[@yellowemojicat_3827]

Face Fabd Egbd Egac DA FU-

[@daanieele]

u could also put a Bm7

[@dr.guyshkolnik_composer]

That's true, or one of my favorites - a mixture of G/B with Bm7: Notes: B - A - D - G.

[@jossua7524]

3 : C - Cmaj7/B - Am

[@dr.guyshkolnik_composer]

Yep!

[@jumasaid570]

Please with passing chord on F Sharp

[@dr.guyshkolnik_composer]

I'm not sure I understand :)

[@m.vonhollen6673]

How about C- B diminished 7- Am?

[@dr.guyshkolnik_composer]

Also works! :) Notice that it would be basically be a G#dim7/B with note G# resolving to A, as opposed to Bdim7 that has Ab in it (B - D - F - Ab) which resolve more naturally to Cm or C major.

[@ImanuelSumargoMusic]

How did you come up with E7? Also C7

[@MrGleboPedo]

C7 too weak

[@99timewaster]

Harmony theory. E is the 5th of A which adds tension and making it a dominant adds even more tension which resolves nicely to A.

[@dr.guyshkolnik_composer]

Playing E7 is an evolution of the E7 with B in the bass ("E7/B") The note G# is a passing tone between notes G and A. With the B note (in the bass), we now have two passing tones: B in the bass and G# in the right hand. These two create the E7/B chord. Later musicians said, "Hey, that looks like an E7 chord! Let's play E in the bass!" and that's how we got C - E7 - Am. This E7 later got the name "secondary dominant," but it all began with that passing tone G#.

[@videosforthegoodlife2253]

I thought I was following this until the chord run at end. It sounds awesome, but I also wonder what it would have sounded like without the passing chords but with the same timing - I guess half the time (in use) staring with C - Am ... Instead of something like C Am Am.. Also, I'm guessing that you are are basically inserting chords between other chords, and you are designing the new chords (passing) around stacking passing tones somehow. I thought at first it was just a chord based on using the passing tone as the root and that would be the passing chord. In the example, C-B-A, but the middle (passing) chord is not B major - it's G (the 5th of C) over the passing tone "B", or chromatically, E7 over the passing tone "B" - no idea how you came up with E7. I can probably figure it out if I keep watching it long enough, lol. Another thing I noticed is that my brain knows a song (not Only Fools..) that uses the same chords as the last part (rooted with G-A-C), but that has passing notes in between that is a run under something like G-F-G-A-C (or maybe ends on B). I think it's a Hymn, but it could be ELO or Travelling Wilburys or something like that... I can't quite recall.

[@irrelevant2814]

E7 to resolve a P5 to Am, he does the same with C7 to F

[@dr.guyshkolnik_composer]

Santiago Exactly.

[@dr.guyshkolnik_composer]

Very good observations! 1) we can play it without the passing chords. The length of the progression will remain the same. Or we can play a passing chord between C and Am, but not between Am and F. 2) When we play E7/B there's a melody inside the harmony that moves G - G# - A against the upper melody E - D - C. We call it counterpoint. (see how the G# itself is a passing tone? ) This inner melody can become C - E7/B - Am (more classical) , or even C - E7 - Am (more pop)

[@richiestarks6163]

I still don’t understand the theory for this. C-Maj and Am are in the same scale. How would one find which chords to go to. I Love the Chromatic step but don’t understand how you traveled to that note.

[@dr.guyshkolnik_composer]

We can be in C Major, and still use a chromatic note, both in the melody and the harmony. Notice though that we use it as a passing tone.

[@pascalsinger4514]

Root beer rag billy joel progression

[@dr.guyshkolnik_composer]

Oh yeah! I’m the piano man 😉

[@AnthonyNaro]

Do you offer lesson

[@dr.guyshkolnik_composer]

Yes I do Anthony, contact me on my Instagram account.

[@reev9759]

Tucking your fingers does not help us see the keys any more clearly.

[@iseya3400]

Hide me now...