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#D Key Reel by @huse_piano (verified account) - Intervals have incredible symmetry. Let's take a look at the minor third and the major sixth. (m3) (M6) 1. Intervals are symmetrical. Anytime you pla
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@huse_piano
Intervals have incredible symmetry. Let’s take a look at the minor third and the major sixth. (m3) (M6) 1. Intervals are symmetrical. Anytime you play a minor third, you are compressing 9 Perfect Fifths to the right. 2. Also, anytime you play a minor third, you are compressing 3 Perfect Fifths to the left. Why is this? 3. It is because every single interval when inverted must equal out to 12, because there are 12 pitches on the piano, and 12 1/2 steps in an octave. For example: (moving to the right) [C-Eb] ← This is a minor third, it is a Cm3, and it is equal to 3 1/2 steps. If we take an interval that is minor, and attempt to resolve it by Perfect Fifth to the right, we will find that it takes more Perfect Fifths to the right than to the left. For [C-Eb] to resolve to the right from C to Eb, it takes 9 Perfect Fifths. When we invert C on top of Eb [Eb-C] we are creating a major sixth. Every single major sixth has 9 1/2 steps in it. Every single one. As you move to the right on the piano, you are getting sharper (ⵌ). (ⵌ)→→→ (sharper) -————— (flatter) ←←←(b) As you move to the left on the piano, you are getting flatter (b). Major is more expansive, it is resolving up and out. Minor is more compressed, it is resolving inwards. So, if we take a minor idea and attempt to resolve it by P5th’s to the right, it will take significantly more Perfect Fifths (P5th’s) than if we were to resolve it to the left. This is because we are fighting the minor by moving in a major way. On the other hand, if we move to the left, aligned with minor... For example: (moving to the left) [C-Eb] ← minor third, moving to the left... (read this right to left) ↓ [Eb-Bb]-[Bb-F]-[F-C] ← (start) Notice how we move 3 Perfect Fifths to the left. Every single minor third has 3 1/2 steps in it. As we move to the left we are getting flatter. As we move to the right we are getting sharper. left = harmonic compression right = harmonic expansion You are capable of anything. Don’t let anyone tell you that you can’t do it. Focus, and do it. Don’t listen to negativity, control your inputs and win. #piano #pianolessons #pianotips
#D Key Reel by @charlietranpiano (verified account) - Reharmonization is often presented as a complex topic.. but like anything, it exists on a spectrum of difficulty. At the core of it, reharm simply me
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@charlietranpiano
Reharmonization is often presented as a complex topic.. but like anything, it exists on a spectrum of difficulty. At the core of it, reharm simply means to change the chords to a melody. In other words, reharmonizing the melody. That's it. It doesn't mean by default mean tritone sub, backdoor dominant, planing, etc. So even if you're just using just the diatonic chords, you're reharmonizing. It might not sound like a jazz reharmonization, but who says reharm must be jazz? Have fun with diatonic reharm, and if you do take it as far as jazz reharm, then cool! And if not, then cool!
#D Key Reel by @huse_piano (verified account) - Anytime you play a minor key, start viewing it as the relative minor. 1. Moving from the thought process of "a minor key is a minor key" to more of
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@huse_piano
Anytime you play a minor key, start viewing it as the relative minor. 1. Moving from the thought process of “a minor key is a minor key” to more of an understanding that every minor key can be thought of as a relative minor to another major key and vice versa can really improve your skills. 2. Why does changing your thought process on this work so well? Know this. Every single major key has a relative minor; and every single minor key has a relative major. C minor is C minor sure, but it is also the relative minor of Eb major. C major is C major sure, but is is also the relative major of A minor. 3. This is because every single major key has the same notes as its relative minor, and every single minor key has the same notes as its relative major. Thinking in this way liberates you from being tied down to major or minor. Read this carefully: [C-D-Eb-F-G-Ab-Bb-C ] ← this is C minor [Eb-F-G-Ab-Bb-C-D-Eb] ← this is Eb. major Notice how the notes are identical. This is vitally important. They are identical in terms of notes. The only difference is the fact that the relative minor key starts on the ^6 of the major, and the relative major starts on the ^3 of the minor. Eb maj: [Eb-F-G-Ab-Bb-C-D-Eb] ...........................^6 = start of relative minor of Eb, C minor. C min: [C-D-Eb-F-G-Ab-Bb-C] ........ ^3 = start of relative major of Cmin, Eb major. In the specific comment asking for clarity on D to Bm, the same rules apply. 1. B minor is the relative minor of D major, because B is ^6 in D major. 2. Also, D is the ^3 of B minor, so we know for a fact that this is a relative major/minor situation going on. To triple check, notice how Bm and D have the exact same notes: Bmin: [B-Cⵌ-D-E-Fⵌ-G-A-B] Dmaj: [D-E-Fⵌ-G-A-B-Cⵌ-D] You have the potential to achieve whatever you can see in your mind. Feel this now. Realize it. See something in your mind with your eyes, and make it real. #piano #pianolessons #pianotips
#D Key Reel by @mikegeorge360 - The 4 MOST IMPORTANT Chords in Music. . . . . #songwriter #musiceducation #geometry #engineer #piano
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@mikegeorge360
The 4 MOST IMPORTANT Chords in Music. . . . . #songwriter #musiceducation #geometry #engineer #piano
#D Key Reel by @huse_piano (verified account) - Let's investigate F minor on the piano. 1. When you start a melody in the key of F minor, it can be useful to start it on Ab. 2. The reason for thi
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@huse_piano
Let’s investigate F minor on the piano. 1. When you start a melody in the key of F minor, it can be useful to start it on Ab. 2. The reason for this is when you start a melody in a minor key on the third of that key, you can access the relative major easily. 3. This is because every single ^3 in a minor key is always the relative major. Ab major: [Ab-Bb-C-Db-Eb-F-G-Ab] F minor: [F-G-Ab-Bb-C-Db-Eb-F] As you can see, the notes are identical from key to key, this is how you know that they are relative. The perspective of F minor is just slightly different than that of Ab major, and vice versa. From the angle of Ab, the relative minor (Fm) starts on the 6th, and from the angle of Fm, the relative major starts on the 3rd (Ab). Much of music is this battle of perspectives... Shifting the angle to change how something is perceived across time. Don’t let anybody tell you that you can’t make your dreams come true. You can, I see it all the time. People make it happen all the time. You are magnificent. Anything is possible. #piano #pianolessons #pianotips
#D Key Reel by @midiloopspro - 🎹 This progression centres around 2 chords. A minor and D minor. I've used two different alterations to an E7 chord for a more jazzy sound. Firstly a
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@midiloopspro
🎹 This progression centres around 2 chords. A minor and D minor. I’ve used two different alterations to an E7 chord for a more jazzy sound. Firstly a #9b13 chord. This is an ‘altered dominant’ and is great to use as a V chord in any minor progression. You can also use exactly the same voicing but play a Bb in the bass to get a Bb13 chord which acts as a nice tritone substitution to get you back to A minor. Give it a try! Did you know I’ve got a FREE weekly chord progressions email you can sign up to? Each week I’ll send you a new chord progressions complete with a video and graphics as well as information on how the progression works! Just sign up using the link in my bio. It’s totally free! 🎧 And if if you’re a music producer looking for more chord progressions like this one, check out my 100 Chord Progressions MIDI Pack. Here’s what you get: ✅ 24 Diatonic progressions ✅ 24 Extended progressions ✅ 24 Advanced progressions ✅ 24 Rhythmic progressions ✅ PDF Documentation ✅ Filtered by genre, key and even mood so you can get to work right away! And all 100% ROYALTY-FREE! 🔥 📲 Just tap the link in my bio!
#D Key Reel by @_stevebarry - One of the biggest lessons I've learned over the years is that chords alone aren't necessarily music. Shock! Horror! This is especially a tendency/rev
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@_stevebarry
One of the biggest lessons I’ve learned over the years is that chords alone aren’t necessarily music. Shock! Horror! This is especially a tendency/revelation for us pianists, I find - but just because some harmony is written on a chart, doesn’t mean a) one should play it (phrasing, pacing), or b) that the chord symbol reflects the melody that will most vividly sing through it (context, relinquishing chord-scale responses, etc). “Laces” is proving a good vehicle for re-testing that theory, to try to coax out lyricism from chords consistently moving every two beats. This one and more with @harlsc and @ayoungdrums at @jazzmusicinstitute in Brissy this Friday! 🍀
#D Key Reel by @ad3juw0n - C♯ / B♭ Major Scale - Multiple Octaves Here, You will find the correct fingering for playing the Diatonic (Major) Scale Across Multiple Octaves on th
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@ad3juw0n
C♯ / B♭ Major Scale – Multiple Octaves Here, You will find the correct fingering for playing the Diatonic (Major) Scale Across Multiple Octaves on the key of C# / B Flat #Learn #Piano #Basics Link to all socials in Bio
#D Key Reel by @levimcclainmusic - Microtonal shimmer study! This piece makes use of the diesis (1\31) as the shimmer step of 31. Shimmer chords are chords who have these shimmer steps
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@levimcclainmusic
Microtonal shimmer study! This piece makes use of the diesis (1\31) as the shimmer step of 31. Shimmer chords are chords who have these shimmer steps added to one or more of their chord tones. Here I use * to indicate a rising diesis followed by the degree of the chord which gets the shimmer, and ‘ to indicated a falling diesis, also followed by the degree which receives the shimmer. The piece concludes with an exploration in shimmer depth - the higher the EDO the more granular and fine the audible effect becomes. We can cycle from a 99 note tuning system which sounds like a smooth and subtle chorus pedal, all the way down to a 24 note tuning system whose shimmer is much more pronounced and turbulent. This new compositional tool opens up a lot of possibilities! . . . #musictheory #musictheory101 #musician #microtone #microtonal #microtones #ji #musiceducation #composer #composersofinstagram #musicianofinstagram #jazz #jazzharmony #jazztheory #musiclesson #musiclessons #transcription
#D Key Reel by @dant3luna - Turning a 3rd species counterpoint exercise into a short composition. Using simple tools like oscillating between melodic notes and lower harmonies ca
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@dant3luna
Turning a 3rd species counterpoint exercise into a short composition. Using simple tools like oscillating between melodic notes and lower harmonies can help explore new areas of musical development, especially if you find yourself to be stuck. Happy writing!
#D Key Reel by @charlietranpiano (verified account) - At first, chord scale theory is necessary when you're learning how to improvise solos. There's just way too much to think about, so condensing the fu
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@charlietranpiano
At first, chord scale theory is necessary when you're learning how to improvise solos. There's just way too much to think about, so condensing the full freedom of soloing down into scales gives you a place to start. But, once you get comfortable noodling on the "right" scale over the "right chords", you start to notice the limitations in chord-scale theory. It confines your thinking into "play this scale, now play this scale, now it's time for this scale, etc." But, in reality, great phrases often contain pieces of vocabulary which won't always make sense if you analyze them through the lens of chord-scale theory. If chord-scale theory is like using a manual to build a lego set, then jazz soloing is like sculpting clay. A million of the same lego set is the same. A million clay sculptures of the same thing will all be slightly different. That's why chord-scale doesn't make sense after a certain point in your journey. And if this sounds like you and you're already able to solo over many tunes but are looking for that next step to break out of chord-scale theory kind of thinking, and you're wanting my direct guidance in helping you navigate this next step, then comment "LAUNCH" and let's chat.
#D Key Reel by @makers__academy_ - 🎵 How Many Chords Can You Play From One Single Note? Think one note means one sound? 🤔 Not at all! Let's take just C as an example 👇 From that O
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@makers__academy_
🎵 How Many Chords Can You Play From One Single Note? Think one note means one sound? 🤔 Not at all! Let’s take just C as an example 👇 From that ONE note, you can create: 🎹 C Major 🎹 C Minor 🎹 C7 🎹 Cmaj7 🎹 Cm7 🎹 Csus2 🎹 Csus4 🎹 C diminished 🎹 C augmented And that’s not all! That same note C can also be inside: ➡ F Major ➡ A Minor ➡ D minor 7 🔥 So one single note can belong to MANY different chords! Remember: Single note = Melody 🎵 3 or more notes together = Chord 🎹 Music is not limited… it’s creative! ✨ Follow for more simple music theory tips 🎶

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