okay so we're halfway through the chord
progression now we just have to go to
the chorus
well we'll hold up guys if you haven't
seen part 1 of this series you have to
go watch that first this is part 2 if
you haven't seen part 1 part 2 is not
gonna make a whole lot of sense so I'm
linking it up top go watch part 1 then
come back and for everybody that seen
part 1 here we go with the rest of part
2 so instead of going from b7 to the e
minor instead of going to the 2 chord
we're going to go to the 4 chord which
is actually very similar to the 2 chord
in a way especially if we look at a G
major 7 look at the look at the right
hand voicing here G major 7 but put a G
underneath it it becomes a G major 7
right but if I put an e underneath now
we've a mine or not so those two chords
are pretty similar and the thing is this
is kind of a good lesson to know if
you're doing reharmonization or writing
music a lot of the time you can find a
pretty good substitute chord if you look
for other chords that share common tones
with the original chord so like I said
originally you know we might expect to
go to E minor because that's what we did
before and that's also what naturally
would follow a b7 5 going to 1 but we're
going to do this this substitute and go
to the 4 chord G major 7 which similar
to the 2 chord so it's not too
outlandish of an idea here but yeah
that's what's happening we're going to G
major 7 ok from there we're going to go
to F sharp minor 7 we're going to go
down here from the 4 chord to the 3
chord all diatonic continuing down from
there to the 2 chord E minor 7 but
instead of going down to D major which
is where you might expect we're gonna do
a very similar substitute we're gonna go
to B minor 7 now B minor and D major are
actually interchangeable in a lot of
ways again one of the reasons it works
so well is because if you look at a D
major triad which is the 1 chord and a B
minor triad which is the 6th chord the D
and the F sharp are are common between
both of those chords so they they do
have a little bit of that similarity
there which allows them to substitute
from for one another
doesn't always work but a lot of the
times it does so let's continue we have
where the heck was I we have
or going down and then instead of going
to D major we're gonna go to B minor so
[Music]
okay for the second half of the course
we're going to do something very similar
but we're gonna change course here so
check this out so what happened there
instead of going to E minor I went to c7
now we're using that same technique the
tritone substitution going to the six
but whereas in the verse if you remember
we went to a B seven now we're going to
a b minor like that so I'll just play
the courts this is the the whole chorus
one two three and four and one two three
four one two three four one two three
four one two three four
from there we're gonna finish it out
with a jam on an e7 which is the two
dominant chord another non diatonic
chord but it sounds really funky and
real good eise evan is actually the
chord that they start on on the Voodoo
record so listen to the very beginning
you'll hear they do this whole jam just
on e7 this kind of thing
[Music]
Jazze anyway that's how the chorus
finishes out and then it launches right
back into the to chord so the two
dominant chord it's a super funky chord
it does have a real jazzy feel to it
that's why you don't hear it too much in
pop music these days but it does show up
occasionally like if you guys remember
that song everything by Michael Buble
this one it's also in D major actually I
think something like that it's got that
2 chord as the second chord eesti 9
where else of course it's in take the
a-train this time it's got the the flat
5 in it well that's an extra extra
crunch but come on we got to finish this
out so I'm gonna sing it one more time
follow along with the chords and when
you guys are writing your own songs you
know feel free to take these chord
progressions and even just like bits and
pieces and work them into your own music
that's a great way to expand your
harmonic vocabulary you can't copyright
a chord progression so you can always
now you know be careful you don't want
to take the exact voicings because
voicings can convey a melody so you
really do need to watch out for actually
you know taking a composition but if you
just look if you're just looking at the
chord symbols and you're coming up with
your own rhythms your own voicings your
own melodies you know that's fair game
alright let's do this
[Music]
Bojan winter turn to
[Music]
door
what you love
[Music]
big
oh one other thing I thought about you
can do a really cool transition to that
4 chord if you want I'm talking about
this part right here before the chorus
so actually it's sort of halfway in the
chorus if you start with the G major 7
that's the time being like me to you and
then you could do some sort of a 2 5 1
to the G major 7 that's the time or you
could do a tritone substitution of D 7
which would be a flat that would be
really nice this is what I'm talking
about here
[Music]
that's the time you hear it that a flat
seven this is with the nine in the sharp
eleven pretty cool right one at the T
major seven works really really well
anyway that's the breakdown if the
Angelo's I feel like making love it's
just actually feel like making love
there's no I at the beginning but I'm
not gonna cut that out because I'm tired
of editing so let's continue on to the
end of this video which is right here if
you guys want me to do a breakdown of
other songs feel free to leave
suggestions in the comments and
hopefully this was helpful and
interesting to some people if so let me
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for watching and I'll see you in the
next video bye bye