Wednesday, January 15, 2025

36 thoughts on “Beautiful Neo soul chord progression in 2 minutes (Mini-lesson)

  • I've been watching guitar videos on YouTube for years and years hundreds and hundreds of them This one is really great. It's concise and there is a lot packed into a short video. I really got a lot out of it.

    I think when people start getty more advanced into like jazz guitar and stuff I think a lot of it's overcomplicated. Some of the best things I've seen are simplifications and this is a good example of that. Now I understand sometimes we have to use complicated/sophisticated stuff but the idea is to keep it as light as we can in my opinion anyway. I know some people like overcomplication but that's not my way

    One of Einstein's great quotes was "make things as simple as possible but not simpler"

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  • Bro I thought bar chords were bad

    Now I gotta bar chord with my fckin pinky? I couldn’t even bar chord with my big ones now I gotta use this wee prick to push 3 strings down ????

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  • Imagine what I got from chat gpt as chord progression analysis to this chords progression. FROM TODAY I WILL NEVER TRUST TGUS AI THING. How could it say Amin7 is relative minor to Dmaj7?? Wow lies you can read the whole analysis below.

    The chords in this progression are related through a combination of diatonic and chromatic harmony:

    1. **Dmaj7 to Amin7**: These chords are related by being the I and vi chords in the key of D major. Amin7 is the relative minor of D major, sharing many of the same notes and providing a smooth transition between the two chords.

    2. **Amin7 to Gmaj7**: Here, we have a common chord progression known as a ii-V-I in the key of G major. Amin7 acts as the ii chord, Gmaj7 as the V chord, and they resolve to each other naturally due to their functional relationship.

    3. **Gmaj7 to Bbmaj7**: This transition is a bit more unexpected. Gmaj7 serves as the IV chord in the key of D major, while Bbmaj7 is borrowed from the parallel key of D minor. The movement from Gmaj7 to Bbmaj7 introduces chromaticism, adding tension and interest to the progression.

    So, the chords are related both harmonically (by sharing notes and functional relationships within keys) and through chromatic borrowing, which adds color and complexity to the progression.

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  • Best Part- Daniel Ceasar anyone?!

    This is an excellent tute to explain how to fill out a complete neo soul song. Thank you so much, legend.

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  • It doesn't stop here either! With this framework, you've got a chance to insert transitional chords for expressive variety.

    For any chord, look to its fifth or fourth as a possible fill. Also you can often substitute the relative major and minor for each other. So, not that you would want to make things this busy, but just to give a sense of what's readily available to play with:

    (Bm7) – Dmaj7
    Am7 – (Cmaj7)
    Gmaj7 – (Em7)
    Bbmaj7 – (Fmaj7)

    This is an easy intuitive way to build up a mental map of the harmonic intervals, strong points for improvisation. Every time you name a chord in your mind, think what its fifth and fourth degree would be, and what its relative major or minor would be.

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  • What a glorious lesson. Thank you so much!! I always hope to find something thats exactly right to excite me, relearning guitar at 66. And here it is!! Perfect!!

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  • Superb video, anyone have any idea as to what's going on with respect to the music theory here? As in what scale this is in?

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  • This deserves a full lesson. Because I can't see what you're doing with your hands when the camera angle changes but also I'm not the greatest at learning but I know I could play this with more detail

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  • You're the coffee that I need in the morning
    You're my sunshine in the rain when it's pouring

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  • wow, but tell me, What Key is it, or what Substitution did you use for the Progression?

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