Piano Passing Chords. Dominant Substitutes and Relative Chords.

a good with many close substitutes is likely to have relatively This is a topic that many people are looking for. star-trek-voyager.net is a channel providing useful information about learning, life, digital marketing and online courses …. it will help you have an overview and solid multi-faceted knowledge . Today, star-trek-voyager.net would like to introduce to you Piano Passing Chords. Dominant Substitutes and Relative Chords.. Following along are instructions in the video below:

“And welcome to inside piano last week. I was asked by a subscriber to make make na video about playing passing chords passing chords are related chords to the tonality. We use in order to create variety and continuity. The major mode scale.

Has 12 related dominant nchords each of these chords nalong with their relative minors are used as passing chords in music composition to understand this concept. We need to learn nwhat is the relationship of these chords to the tonality on today s video. We are gonna learn the nrelationship of all the 12 dominant chords of the tonality we can play a dominant chord on each of the n7 notes of the scale. Let s say we are on the scale of c.

Major. We can play a dominant chord for each note of the diatonic scale. And we can play dominant chords for all of nthe. 5.

Chromatic black notes as well so basically we have the whole chromatic scale nof dominant chords. Which we can use as passing chords each of these dominant chords have a specific function nrelative to the tonality we have the main dominant chord nwe have the dominant relatives. Chords and we have dominant substitute chords the main dominant chord nand the dominant relative chords resolve to a 5th below their root for example the dominant chord of the key nof c. Which is g7 resolves to c.

The we have the dominant relatives that also nresolve to a 5th below a7 resolves to dm b7 resolves to em c7 resolves to f d7 resolves to g and e7 resolves to a and then we have the dominant substitutes nthat resolve half step down let me explain what the dominant substitutes are each dominant chord can be replaced by its nsubstitute. Which is a tritone away from its root ntherefore..

The dominant substitutes resolve half step down. Let s say g7 the tritone of g is db. Ntherefore. We can substitute g7 with db7.

The dominant substitutes of the c major key nare db7 that resolves to c. Eb7 that resolves to d f. 7. That resolves to f ab7.

That resolves to g. And bb7 that resolves to a now that we know all the 12 dominant chords nand their function let s see them one by one the i7 is the tonic of the blues and works nalong with the iv7 from c7 to f7 nto c7 to f7 and back to c. But the i7 is nalso the dominant relative of the iv degree it resolves to f. And as a passing chord it creates great continuity from cmaj7 to c7 to f.

Let s hear it in a musical sentence. The bii7 is the dominant substitute of the nv7. I in this case db7 db7 is the dominant substitute of g7. So it can be used nas a stepping stone to c.

G7 db7 cmaj7. But it can be used it more directly from cmaj7 straight to db7 half steps..

Let s hear it within a musical sentence. This is from lush life passing substitute chord to i again passing substitute passing substitute to f. We are going to see this one. The ii7 is the dominant relative of the 5th degree.

The d7 leads to g7 then it can be used as a stepping stone to get to g7 passing chord to g. Passing chord to c. The ii7 can be interchanged with the relative nminor iim7 like on girl from ipanema from cmaj7 to ii7 dominant relative to the iim7 to the db7 substitute of g back to c. Playing with the bii7.

The biii7 is the dominant substitute of a7. Which is the dominant relative nthat leads to dm. We can use both dominant substitutes and we get a nice chromatic turnaround. We start on c.

The passing chord to dm and the passing chord back to c. Gershwin uses this passing chord non substitute to dm substitute to c. Major. The iii7 is the dominant relative nof.

The vi degree e7 leads to am. So we can use as a passing chord ngoing from em to am or we can skip the em..

All together and go straight forward from c passing from e7 to am. Now we can go to dm and then passing through d7 to g. And the passing through db7 back to c. The bv7 is the dominant substitute nof c7 that leads to f gb7 to fmaj7 let me use it in a musical sentence.

Nso you can hear what it sounds like we start on c npassing chord. C7 passing chord gb7 ndown to fmaj7 the bvi7 is the dominant substitute to d7. Which is the relative of g7. So we can using as a passing chord going from d7 to g7 and back to c.

This chord is actually great to use nat the end of a musical sentence. Let s play it and see how it sounds like cmaj7 nd7 as a passing chord to am. Dm d7. Again.

But now to the substitute ndown to g and back to c let s do it again nbut. Know using the bvi7 on the weak part of the measure c. Major npassing dominant to am. Dm npassing dominant to g bv7.

Passing back to g nand. Passing dominant back to c..

The bvi7 is the dominant relative the iim nminor dm. So we can use it as a passing chord nfrom am to dm am a7 dm let me give you the disney version nof the vi7 or the beegees version of the vi7 cmaj to em to am a7 passing dominant to dm d7 passing dominant to g7 db7 passing dominant to c the bvii7 is the minor subdominant nbut. It can also be used as the dominant substitute of the vi on this case. E7 nthat resolves to vi am for example.

We can go from bb7 to c7 and back bb7 c7. Bb7 c7. Just like c7 bb7 c7 bb7 c7 bb7 c7 bb7 and so on. But we can also use it as a passing chord nto am.

Cmaj7 dominant passing chord am the vii7 nis the dominant relative of the iiim em. It would be from b7 to em. So we can go from c to b7 passing to em d. Major g7 and db7 passing to c.

Thank. You ni was this information was helpful i ll see you on the next video ndon t forget to subscribe. ” ..


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