Published on Jan 15, 2013

Music theory analysis of student work in 4-part chorale style harmonization in which passing chords are used: V6 and vii6. Also used is a Deceptive Cadence in inversion: V42 to vi64. Good work here. Discussion by David Gomez.

Supercharge Your 2 5 1 Chord Progressions on Piano || Great For Songwriting and Improvisation

Bill Hilton

Published on Mar 29, 2018

Gary Ewer

Published on Sep 25, 2015

o see Gary’s songwriting manuals, visit

There are many ways to categorize chord progressions, but one very useful way is to think of them as being either strong or fragile. Strong progressions clearly point to one chord as being the tonic (key) chord, while fragile ones are a little more ambiguous.

n this video, Gary Ewer describes the basic differences, and then shows how they work in the various sections of a typical pop song.

Unusual Chotd Progressions

December 4, 2018




Published on Dec 19, 2015

To watch the rest of the lessons in this course, download the corresponding eGuide with diagrams and charts, download the jam tracks and much more, click the link below.… This is lesson 4 from our course “Intermediate Guitar Course 1”. Our Intermediate courses are designed to take your playing to the next level. You’ll learn many new and important skills that will prepare you to jump into advanced lessons and courses. In this course you’ll learn more advanced chords, chord progressions, and strumming patterns. You’ll also learn about root notes, slash chords, open string chords, 12 bar blues, how to memorize notes on your fretboard, how to spice up your strumming, and much more. This course will prepare you to jump into more advanced topics such as barre chords, advanced rhythm techniques, power chords, and much more. **Guitar Chords – G7, D7, G5, Cadd9, Em7 In this lesson you’ll learn five new chords. Open G7, open D7, open G5 and new voicing of Cadd9 and Em7. These are all very common and important chords to learn on guitar. The G7, D7, and G5 are chords you don’t know and the Cadd9 and Em7 are what are called different voicings of two chords that you learned in the Beginner Courses. Be sure to subscribe to our channel! Hundreds of free guitar lessons. New lessons added often.… To learn more about Move Forward Guitar check us out at: Connect with us……




Music Matters 

Published on Jan 27, 2016

In this video we take a look at how we can take a simple chord scheme and compose a variety of melodies in different styles to give you an idea of some compositional techniques.

● Download more videos here:

● About this series:
This package aims to help you acquire and develop your compositional technique, from starting with basic ideas and moving into more advanced writing. Area’s covered include melody writing, how to work with chords, setting words to music, dealing with texture, structure, how to write a song, and a host of other issues. This series, presented to you by ABRSM Examiner Gareth Green, will guide you through each area step by step in a clear and informative manor, lesson by lesson.

● If you are interested in downloading the rest of this series then please visit:

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Harmonic Progression

August 16, 2016


This video corresponds with material from chapter 7 in your textbook, which has some very useful diagrams that summarize this information. Please check that out!

0:00 Introduction
1:18 Tonic triads
2:29 Dominant triads
3:52 Supertonic triads
4:50 Root movement by descending fifth
6:11 Submediant triads
7:19 Mediant triads
8:41 Leading tone triads
10:03 Subdominant triads
11:29 Three common exceptions

Bill Hilton

In this video I discuss the use of non-diatonic chords in different chord progressions. Non-diatonic chords are not as confusing as their name suggests, and are more common than you might think in chord progressions in various styles of music.
In any major key there are certain chords which are natural to that key. These ‘diatonic chords’ are based on the triads that have their root on each note of the seven-note major –or diatonic- scale. Chords that aren’t based on any of the notes in the scale are called non-diatonic chords.
In this video I use ‘Georgia On My Mind’ by Hoagy Carmichael to illustrate the use of non-diatonic chords in jazz and blues. This famous song uses two non-diatonic chords in its chord progression.
When it comes to comping or improvising over this chord progression, there’s no need to improvise any differently than you would with a completely diatonic progression. This is because the progression is quite jazzy, so improvising over it with the F blues scale or F pentatonic scale creates a distinctive harmonic sound and fits the style well, despite clashing with the left hand.
When improvising or comping in more contemporary music or pop music, we deal with these chords differently than we would with jazz or blues styles.
Many pop and rock songs feature non-diatonic chords, however they usually treat them as a sort of ‘mini key-change’. ‘Yesterday’ by The Beatles is a useful example that I use as a demonstration in this video.
Whether comping or improvising, the melody can’t be as independent from the progression as it can with jazz or blues – you can’t really mix non-diatonic chords with diatonic melodies. The best way to overcome this is by using scales from the key of the non-diatonic chord when playing the non-diatonic chord.
To be able to do this seamlessly while improvising, practice is essential. Try to find progressions that use non-diatonic chords- most jazz progression include one or two, as well as a lot of Beatles songs. If you like The Rocky Horror Show, virtually every song uses non-diatonic chords.
If harmony confuses you or you’d like to know more about it, check out my book ‘How to Really Play the Piano’, which has plenty of chord charts as well as a whole section on harmony and blues. I also cover a lot of information on chords, harmony and improvising — as well as loads of other interesting stuff — in my earlier videos.


This is a short introduction and review of the function of Secondary Dominants.
Produced for WHS AP Music Theory
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