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🙏 Thank you!

Thanks Bridget! That's really nice to hear, glad you're enjoying the content! 🎹🎵

Thanks Prash! Really great to hear your finding some value in the video, thanks for leaving a comment 🙏

Ah, cheers. Thanks for the comment, glad you enjoyed it!

@@michaelkeithson YES! = ''M.'' ., ''K.'' --- -- The Harmonics! ( Combined AUDIO SCIENCE! ) HEARING~! Audio! It counts! THANKS AGAIN!

Awesome! Glad you found it useful! Good luck on your piano journey 👍🎹

Ha! Welcome! Thanks for watching man, appreciate the comment 🙏

Hey Alex, thanks for the comment, glad there was still something in there for you. 👍

😂🤣

Hey Rasmus, thanks for the comment. I guess I would probably just write it as ‘iiiø’ which I reckon would be clear to most but I don’t know if there would be a more correct theoretical way like vii/iv (which might be more confusing!). Sorry I can’t give you a more definitive answer, maybe someone else will help!

Ah, thanks for the kind comment Trevor, much appreciated. 🙏

Thanks Jim! 🙏

Great to hear Bill, glad it was helpful! Thanks for the comment

❤️ And your comment has made my day! Really appreciate your kind comment, glad you enjoyed the video. 👍🏼

🙏 Thanks Stu!

You’re very welcome Josh!!

🙏 Thanks for the kind comment, it’s really nice to see comments like yours, definitely motivates me to keep going! Thanks! ❤️

Thanks for the comment man! Glad you enjoyed it👍🏼

Thanks Richard!! Appreciate the feedback, that’s good to know. Glad you stuck it out though! 👍🏼

Always seem to miss something! Appreciate your comment Jake, glad you’re enjoying the videos 🙏

@@michaelkeithson you see - I was closely following every detail 😄 and luckily this concepts are adaptable and also kind of experiential - it’s a great way to get creative or built up own structure combinations :)

Awesome! Thanks for the comment Barry, glad you’re getting some value from the video 👍🏼

Keep em coming…i want to write really interesting songs and knowing my choices of what chords i can use in special places …like the, ii -v-i (& using the ii dim) within a progression put me on a hook!

@@barrycoulter6951 👍

Ah thanks Ashraf! Glad you’re enjoying the content, appreciate you taking the initiative to comment 🙏

Ah, thanks Carl. I appreciate your kind words 🙏

Hey! Thanks for the comment. So far you're the fourth person who's asked this question, here's the response I gave to the others, hopefully it makes sense and helps a little: Sooooo.......I'm not sure I have an enlightening answer for you on the F# but here's my take. The 1-6-2-5-1 is a common progression and the F# is the 6th of an A - an F natural would be a b6. One of the defining characteristics of these movements 2-5-1, 6-2-5-1, 3-6-2-5-1 that are so ubiquitous throughout jazz (and other styles to some degree) is that they're moving in perfect 5ths and the strength of that works whether they're major chords or minor chords. In jazz you'll commonly come across a 3-6-2-5 where all the chords are dominant 7 chords and it sounds great and as pleasing to the ear, in my opinion, as when the chords are all diatonic. Hoping that might have been useful?! 😬

🙏 Cheers!

Thanks man, glad you enjoyed it 👍🏼🎸🎹

Welcome! Thanks Francesca 🙏

Thanks man, really appreciate your comment. Glad your enjoying the vibes 👍🏼

🙏 Thank you!

Hey Mike, thanks for your question, someone else had the same question, incidentally also called Michael, here's what I said to him, hopefully it helps. He said, 'shouldn't we use an Em as the V chord?' : Hey Michael, thanks for the comment. Not really. I guess the word isn't 'shouldn't' but 'couldn't' - Typically V chords are always some sort of dominant chord and they don't always have to be diatonic, have a look at secondary dominants. You 'could' play a Em7 there if you wanted (you can play whatever chord you want wherever you want) but it wouldn't be a typical 2-5-1 and it wouldn't have as much of a pull to the 1 chord that an E7 does. Hope that helps. Cheers.

Awesome, great to hear! Thanks for watching!

Yeah, I've heard that Dizzy Gillespie famously said that once. I don't necessarily think it's right or wrong although I don't think it's a popular opinion. Yes, they contain the same notes and maybe for improvisation techniques it could be more useful to think of it like that but I prefer to think of chords from how they're built out from scales and it's built from the root note and creates a diminished triad of which we then add a seventh to, makes perfect sense to think of this in the same we think of any other chord. I guess could then equally argue that minor 7 chords don't really exist, they're just a Major 6 chord with the 6th in the bass?! To be honest, I'm all for people thinking about this stuff in whatever way works best for them personal that best helps that assimilate that information to help their playing. I'm not a fan of people who tell other people they're wrong for thinking about it from a different perspective. If it helps you to think about these chords that way, then go for it!

Hey, thanks for the comment. Glad you're enjoying the videos. Not a stupid question at all, actually you're the third person to ask the same thing, here's what I responded to them: Sooooo.......I'm not sure I have an enlightening answer for you on the F# but here's my take. The 1-6-2-5-1 is a common progression and the F# is the 6th of an A - an F natural would be a b6. One of the defining characteristics of these movements 2-5-1, 6-2-5-1, 3-6-2-5-1 that are so ubiquitous throughout jazz (and other styles to some degree) is that they're moving in perfect 5ths and the strength of that works whether they're major chords or minor chords. In jazz you'll commonly come across a 3-6-2-5 where all the chords are dominant 7 chords and it sounds great and as pleasing to the ear, in my opinion, as when the chords are all diatonic. Hoping that might have been useful?! 😬

Thank you Pavel! I really appreciate your kind comment and you recommending it to your viewers, very much appreciated. Yes, I've noticed a number of guitarist commenting on my videos appreciating the simple linear layout of the piano to better understand some theory elements - definitely an advantage for these types of vids. Cheers. MK

Thank you!

Thanks Luca. I think it really comes down to the bass note and context within a piece. Yes, they both contain the same notes but it's pretty unlikely that you'll see Fm6/D on a chord chart but pretty common to see a Dm7b5. And if I, and probably most musicians, was reading a chord sheet and saw Fm6/D it would take me a little longer to find the chord than a simple Dm7b5. Hope that makes sense and helps a little.

Glad you liked it and thanks for the sub!! Much appreciated.