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Relative pitch is a skill that any artist can learn and it permits you to determine the chord development of a tune just by ear! Today we'll take a look at every chord you could come across in the major key and discover what it seems like.
The outro music to this video is my track "Mothers Day" which you can hear in full on Spotify:.
And, an extra special thanks goes to Douglas Lind, Vidad Flowers, Ivan Pang, Waylon Fairbanks, Jon Dye, Austin Russell, Christopher Ryan, Toot & Paul Peijzel, the channel's Patreon saints!.
0:00 what is Relative pitch?
1:25 I.
2:14 V.
3:19 IV.
4:43 vi.
5:46 ii.
7:01 iii.
8:42 Chord Crush.
9:30 bVII.
11:18 bIII.
12:39 bVI.
13:51 bII.
15:23 bV.
16:45 iv.
18:24 III.
20:14 II.
21:34 VI.
22:56 VII.
24:07 v.
25:42 QUIZ TIME.
30:50 Patreon.
ASSISTANCE ME ON PATREON:.
Click Here To Learn Piano or Keyboard
This video looks like a drop everything I’m doing situation
Literally
fr 😭
24:30 I like Jack Johnson’s “As I Was Saying” for I –> v.
Especially if you have an instrument in hand. Maybe don’t drop everything, literally at least.
Couldn’t have said it better 😂
Love it as always. If you ever get a chance, and its totally cool if not, but I’d love to see a video of songs that dont “resolve” in a traditional sense. One of my favorites its Flowers Never Bend by Simon & Garfunkel and even when I’ve heard it a billion times, that last chord is always so unsettling and I love it. I dont know of any more songs that do that. Further more I’d love to hear your take on why a song would end like that. I’m sure at that point its more artistic stylistic choice than anything. But yeah, I dont believe ive ever seen a video that covers something like that.
Nice idea! I’ll keep it in mind 😊
0:18 to
@@DavidBennettPiano “For No One” as well
@evenglare : most iconic one I got in mind : “We are the champions” by queen, studio version : Remains on a suspended chord like a v7add11 or something.
Opening by Philip Glass, it just keeps going forever at that point even tonic chords don’t feel like resolutions
Only progressions that seemed to get me were the final two but I still really liked how they sounded, I’m definitely going to use those in my own music because they sounded really cool
Other songs that use the VII chord like Karma Police are:
“Sexy Sadie” by The Beatles
“Mr Sandman” by The Chordettes”
“Dream A Little Dream Of Me” by the Mamas and the Papas
And minor version of the vii is found in the Beatles’ “Yesterday”, the second chord right after the tonic!
Any Beatles song that help with learning the sound of the descending Minor Seventh melodic interval?
For asscending Minor Seventh interval, I am using Star Trek them. That works great.
I’m So Tired – Beatles
Tbh, Radiohead lifted the bridge section in Karma Police from Sexy Sadie
This is a very, very common thing in rock music in general.
@@badgasaurus4211is that confirmed or just sounds a lot like it?
Strangely did a lot better on the harder levels of the quiz haha! Stuff like the IV iv I or bVI bVII I have such distinctive sounds it’s hard to confuse them for anything else. I always have issues with distinguishing IV I, because it feels like a strong resolution to me so I always think it must be V
Yeah I had the same, the last question was the only one I got completely correct. Often mix up iii and vi, and IV and V. It’s pretty hard to mis a bII, it’s the easiest one to hear IMO, since it’s just chromatic.
I have the same trouble, I can more easily recognize alterations than diatonic chords. They just pop to me, while diatonics all sound somewhat the same.
me too! after hearing some dissonance, IV just sounds so “right”, I think it must be V. I’ve gotten a little better by thinking that while V is total confidence in the journey, IV is a little calmer, wiser, less strident or something
A great deal depends on the chord voicing. It is possible to balance different chords to get different effects in chord progressions. It also makes a lot of difference if one moves away from “simply” piano plus a few other instruments. If there’s a separate bass, then that can give a different effect too. Voice leading effects make a difference also.
Same here, I feel everything’s that’s been said in this thread. One thing that might help with identifying VI is that it shares one note with the I chord, namely the tonic, while V shares the dominant of the scale. It’s a bit of a stretch but can be useful every so often if you can hear and identify the common note. Another thing that might work is imagining the chord one step up, since IV-V-I is a very common progression and every so often I can ‘hear’ the V that might follow, whereas imagining the chord one tone above V feels more difficult and has much less pull towards I.
They only work sometimes, as they failed me just now during the quiz, but they do work when the conditions are right. Also in our defense, ii-V-I is way more common than ii-IV-I so after identifying ii, V is already expected.
This is awesome! Working out chords by ear is a skill I’ve been trying to develop lately and this will help a lot. Think you could do a similar video focused on minor keys?
That’s the plan! It will be coming out soon 😊
I love the whole “and the world lives as 1” thing, that was too perfect!
Wow that joke is authentic, i’ve never heard it before!
Any opportunity to promote that song/it’s ideals, take it …
@@kierenmoore3236 I just thought his example of Imagine worked well for explaining chord progressions, as the song ended with the word “one”
@@RavenclawNimbus I thought you made a joke about perfect cadences by saying it was pefect, so I made a joke about authentic cadences. Maybe I dug too deep on this one..
@@Meuh-dn8zz Oh sorry I was talking to the other person, sorry
I’m currently teaching on of my students how to recognize chord progressions by ear so this video couldn’t have come out at a better time! Very well put together. I will have to send this to them as another thing to learn from!
More of these quizzes please! I’m improving a lot but it’s hard to find good practice
One of my favourite examples of the VIb is in I Saw Her Standing There by The Beatles. The song is in E major, and after they sing the line “So how could I dance with another” there’s a C major chord, which is the major chord built on the flat 6th degree of E major.
Happy to say I got 5/5 😀 Playing piano for a couple years definitely helps haha. Another brilliant video! absolutely essential for those of us who wish to be able to learn songs by ear. I still learn songs with Sheet Music but there’s something about being able to hear a tune and pick it out that just feels incredibly satisfying, not to mention its great practice for the ear.
Hello David. As a musician who never really properly learned about music in the formal sense, I’ve been following many YouTube teachers, and you’re way out in front and my absolute favourite. I have to compliment you on your relaxed style of presenting music theory in a way that keeps me engaged. I’ve learned so much already and will continue to follow you, so please keep it going, keep it relaxed and thank you for taking the time to assist oldies like myself who never had the music education we should have had. Although I was theoretically a professional musician, I really only played at a very basic level and watching your videos has made me realise how much better I would have been had I taken the music classes at school that were available. But now through your easy-to-understand and step-by-step approach, I’m gradually catching up. Thank you and I’ll see you in the next one!!!
Thank you! That means a lot 😊😊
David there is something incredibly soothing about the way your videos make so many abstract concepts concrete enough to where I feel I can finally make good use of them in my songwriting!! Many thanks!
I earned a music degree in college. This video reminded me of my music theory classes. I graduated 50 years ago! You are a great teacher!
Playing the chords on the piano as they came up in the songs was such a nice touch! As a piano player, identifying the chords where there is no piano or keyboard accompaniment is always an added challenge, so it was nice not having to worry about them in this instance. It gets even more difficult when the song does not start on tonic (it usually doesn’t I think) and chords are never explicitly played but implied or just played in an unusual or complex way.
One thing I’d add is that for most genres, identifying the bass helps immensely, as it’s almost always the root if there is a bass player. Even for inversions and slash chords it helps to figure out the rest, I’d say. Otherwise I guess it mostly comes down to familiarity or if that doesn’t work, fiddling on your main instrument. Either way, this video is a very good play to start.👍
I actually find the non-diatonic chords to be way easier to recognize because they have such distinct sounds. Versus, I can confuse the ii iii and vi b/c it just sounds like a minor diatonic chord to me and I have a harder time hearing its unique properties.
It would be great if you could make a video on each major progression and illustrate each with 10 songs. Ex: C-Am-Dm-G used in so many songs
I loved that quiz at the end to allow us to test if we really absorbed what you’d taught us in the video! This is the first video I’ve seen from you, so I hope this do something you do in all your vids ~~
Excellent tutorials David, thank you. I remember having a light bulb moment with music theory when I went to a particular tutor in my 30’s when suddenly everything just made sense. He taught in a similar way to you and I’d imagine many people out there are now having this light bulb moment too. Good work!
Hey David. I got a question. If I dumb it down a bit for me haha, am I basically associating these chords to songs? Also, do I try to recognize tension and resolution? It just seems SO much to memorize, even with the fact that you have create tension and resolution with SO many chord examples you’ve shown. Thanks for the content as always. Has been major help in a music journey!