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@laflower9: #nsyolo #lumbarbelt #lumbarsupport #lumbarpillow #viral

La Flower
La Flower
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Region: US
Wednesday 23 April 2025 21:14:41 GMT
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belll256
Bel :
wow nice 🤗
2025-04-23 22:50:57
0
uncle99jay
Uncle99Jay :
It really works!!!
2025-04-23 21:20:18
0
gabriroma15
GabriRoma :
buenisiiiimo👏
2025-04-24 02:32:51
0
tefydidomenico
Tefy DiDomenico :
Esta buena!!!!!
2025-04-23 21:42:33
0
laflower9
La Flower :
Copia y pega este enlace en tu browser . https://www.amazon.com/promocode/A2P9QM8USI8859
2025-04-23 21:17:33
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can’t get enough of these new LIMITED EDITION summer collection from @strokesbeautylab !! ☀️💋 #strokes #strokesbeautylab #summercollection #makeuptok #makeupph #fyp
can’t get enough of these new LIMITED EDITION summer collection from @strokesbeautylab !! ☀️💋 #strokes #strokesbeautylab #summercollection #makeuptok #makeupph #fyp
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In this video, I share another one of my experiments with minimal chord progressions, using only three notes per chord. After the positive feedback on my previous video about this topic, I decided to further strip down the harmony by mostly removing the fifth from each chord. Here, I play the bass note with my left hand, and the third and either the seventh or sixth (as in the Bb6 chord) with my right hand, reducing each chord to its essential color. The result is a lighter sound - maybe a bit thin, but you can always add the fifth back in if you want, and it might feel fuller. This progression is based in C major, but I use modal interchange to borrow two chords - Abmaj7 and Bb6 - from the parallel key of C minor. Modal interchange, also known as
In this video, I share another one of my experiments with minimal chord progressions, using only three notes per chord. After the positive feedback on my previous video about this topic, I decided to further strip down the harmony by mostly removing the fifth from each chord. Here, I play the bass note with my left hand, and the third and either the seventh or sixth (as in the Bb6 chord) with my right hand, reducing each chord to its essential color. The result is a lighter sound - maybe a bit thin, but you can always add the fifth back in if you want, and it might feel fuller. This progression is based in C major, but I use modal interchange to borrow two chords - Abmaj7 and Bb6 - from the parallel key of C minor. Modal interchange, also known as "modal mixture", is a technique where you borrow chords from parallel modes or keys to add new harmonic flavors and emotional depth, all while keeping the same tonal center. The final cadence - Abmaj7, Bb6, resolving to Cmaj7 - can be seen as a type of backdoor cadence. Traditionally, a backdoor cadence involves the iv minor chord (Fm7) moving to a Bb7, which then resolves to C major. In this progression, Abmaj7 can be interpreted as a substitute for the iv minor chord (Fm7), borrowed from the parallel minor key. Although the Bb6 here does not contain the minor seventh that typically gives the Bb7 its dominant tension, it still functions as the bVII chord, creating an interesting color and an alternative pathway back to the tonic C major. So, while it’s not a classic backdoor cadence in the strict sense, this bVII - I movement offers a fresh and less conventional resolution, fitting the minimal and airy style of this progression. Naturally, the Bb6 can also be seen as a Gm/Bb chord, but this does not alter the perception of the bVII - I movement from the bass. #pianotutorial #pianoplayer #jazzchords #chordprogression #modalinterchange #jazzharmony

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