In all my 8 years of music education. The dry whitty humor of this video explained this concept better than anyting else I have seen. Simple. bite sized. stright to the point.
@oar700
Жыл бұрын
I think the Trapdoor 2 5 1 works so well because its only one transformation away from the regular 2 5 1 if you apply parallel motion first, then relative, i.e. D maj > parallel > D min > relative > Fmaj. You can cycle through the chain backwards this way too. You can kinda look at it as the trapdoor and backdoor 2 5 1s being once-removed from a diatonic pattern, whereas the Dameron 2 5 1 is twice removed as either way you cycle you have to apply two transformations.
@RealPeteRyan
Жыл бұрын
Pitches love the backdoor 251.
@muzikorius3378
Жыл бұрын
Good video. Engaging, short and makes the concept clear. Subscribed, keep it up
@Synthulhu
Жыл бұрын
This is really cool. Id love some more theory videos like this.
@AjayTheBard
Жыл бұрын
he sounds like a musical sam'o'nella
@jojotheworld
Жыл бұрын
What about the 25 that starts a tritone away and resolves up a half step what door is that(like I remember you)
@joechrismanmusic
Жыл бұрын
Ah, the rare window 251 lol! Functionally this acts like a tonic expansion: T(PT)T. First you get the B E then the C F and it feels nice.
@REMYCREATES
Жыл бұрын
👍👍
@jonahsungwolf
Жыл бұрын
i’m tryna do a backdoor 251 if u know what i’m sayin
@HeroDestrin
Жыл бұрын
suspicious
@mishaelparaiso783
Жыл бұрын
Hey Joe, I'm your first view 😂
@clemmcguinness1087
Жыл бұрын
OK, let's play Global Neopolitan 6ths ...
@tholz6403
Жыл бұрын
I think your analytics are a little messed up unless KZitem for some reason has me down as a man 🤔
@jamie1234591
Жыл бұрын
So is the parallel of dominant diminished?
@joechrismanmusic
Жыл бұрын
These transformations only work for major and minor triads. You may be thinking of inverting all of the intervals, in which case a dominant 7 chord becomes a half diminished 7 chord.
@jamie1234591
Жыл бұрын
@@joechrismanmusic Right, so you can sub the G7 with Bb7 or C#7 or E7? I'm thinking that a rule of thumb here could be that any of the chords can be subbed with a chord with the same character (maj,min,dom) rooted on one of the notes on the dim arpeddio of the original chord. I've tried it and it seems to sound good. EG you can sub Dm with Fm, Abm or Bm.
@joechrismanmusic
Жыл бұрын
@@jamie1234591 Yes! You can retain the function of most chords by transposing them up minor thirds. I'm planning a large video in summer that goes pretty in depth on this concept :)
@jamie1234591
Жыл бұрын
@@joechrismanmusic This is very cool! I wish someone had told me this 30 years ago!
@YourFriendBassist
Жыл бұрын
2:48 What?.. all modes in one key share same notes in different order. So now you're saying that not just dorian 2 and lydian 4 have same function, BUT LOCRIAN 7 AND MAJOR 1, WTF
@joechrismanmusic
Жыл бұрын
I definitely could have worded this better and am glad you asked this! The transformation chain has nothing to do with modes. It instead uses major and minor. When changing the scales built on chords 2 and 4 to minor and major respectively, they will have the same key signature (and because of this, the same notes). This is what makes the relative relationship meaningful.
@YourFriendBassist
Жыл бұрын
@@joechrismanmusic but scales on 2 and 4 are already minor and major respectively. I just cant understand why same notes in scales on chords = same chords function..
@5naxalotl
Жыл бұрын
this was where i got lost. it seems to be using relative in a way i'm not familiar with. i'd like to see joe explain this from a different angle
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