What chords sound good together? | Music theory ep. 7 | you will be found chords | Website providing Australia’s #1 song chords

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What chords sound good together? | Music theory ep. 7

What chords sound good together? | Music theory ep. 7


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Episode 1: The most ESSENTIAL thing when you’re learning music theory –

Episode 2: What you need to know: The most important SCALE –

Episode 3: Understanding CHORDS (Ep. 3 Music Theory) –

Episode 4: The beauty of Sus2/Sus4 and Barre Chords! –

Episode 5: INTERVALS | Music Theory Ep. 5 –

Episode 6: It makes you sound better: SEVENTH CHORDS!

In this series we’re exploring how you can make chords on the guitar yourselves. From a complete beginner to a player who can freely make, alter, break down and analyze chords. I’ll take you through the steps you need to learn to master these techniques and make them your own. This will greatly benefit your playing and overall knowledge of the instrument and music theory in general.

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What chords sound good together? | Music theory ep. 7.

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46 thoughts on “What chords sound good together? | Music theory ep. 7 | you will be found chords | Website providing Australia’s #1 song chords”

  1. While many of your videos are too advanced for me, I love to watch them anyway. Your abilities as an engaging teacher–and an entertainer at same time–are spectacular. Your videos are the best on the UTube. So are your production values. Can't imagine how much time you spend on these videos, unless you now have a production team.

  2. where is Episode 8? Love your tutorials on Music Theory easy to understand but difficult to master….hence PRACTICE… 🙂

  3. This is eleven minutes of musical super wisdom for those of us searching for such wisdom. Concise and information packed. I love it! I was practicing my scales yesterday and I realized that I was more interested in the 7 chords of the key since I am an acoustic singer songwriter. Exactly what I needed. Great stuff Paul!

  4. Wait at a minute…. I've been doing it wrong all this time. I thought the #s in the chords were only for the note. I didn't realise it was the whole chord in the progression?
    Loved the guide for finding the chords on the fretboard

  5. Paul, please continue the series, it was awesome! Some videos on modes would be amazing! Thank you for the theory course (and the other great content on your channel)!

  6. For the minor "trick": Do I re-arrange the chords? You say I start from the vi in the major scale and then go from there. I would expect that the "formula" for any minor scale is therefore i, ii°, III, iv, v, VI, VII. I can't follow how you come up with C# minor, A, E, B, though? This is supposed to be a i-v-VI-iv progression? If my assumption is correct, a i-v-VI-iv progression in C# minor would be C# minor, G# minor, A, F# minor. What am I missing here? I know that I can find the relative minor of any key by going down 3 half steps from the root. Does this help me somehow? It seems that this should be very easy since you just know in an instant what to do.

  7. My all time favorite progression is a variation of the C#m, A, E, B progression.
    C#m7 – 446600
    Asus2- X02200
    E – 022100
    Bsus4 224400

    I add the 5th in the bass for extra richness, but it isnt required.

  8. Listen to the opening toTchaikovsky's Pas De Deux from Nut Cracker Sweet. Apparently he invented the Doo Wop 1st 6th minor , 4th 5th progression. Except it is in G instead of C Major.

  9. You almost lost me there at the end…, was trying to figure the chord shapes used, starting with #1 chord (C) at 8th fret low E string, then onto #5 chord on A string two frets up…etc. Wasn't sure of the chord forms used, so I reverted to power chords and was able to get the pattern going. Oh well my old brain will eventually catch up with you young whipper snappers ! Again thanks for an informative lesson in music and neuro plasticity ! Mike from Boston

  10. Although I-V-vi-IV is a common chord progression, many jazz standards use a vi – ii – V – I chord progression. When played as 7th chord extensions, to my ear, this chord progression sounds much more pleasing because of the tension and resolution of the V7 to the I Maj7. if you notice, this chord progression is moving in 4th's – a logical movement, whereas the I-V-vi-IV is not. If you complete the chord/scale relationship you come up with vi min7, ii min7, V7, I Maj7, VI Maj7, vii min7b5, iii min7. Of course on those 7th chords you can use other extensions such as 9th's and 13's, Which to me, is MUCH more pleasing than a simple I-V-vi-IV with no extensions. Just my opinion.

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