Your content is underrated man, please don’t stop doing it. Really learning a lot. If possible can you do some videos of approaching a whole composition from start to finish. Rhythms harmonies Melody. All the different instruments. That would be absolute gold
I really appreciate your comment, I'm happy to know my viewers are learning new things!! I've only started two months ago, so pretty happy with the reception, and slowly but surely growing! Yes Indeed, I know many of my followers want a full video on composing something new. I think for now I have separated everything in different videos (because there's so many things to consider), but soon I think I could to just a long video where I go through the whole process.
@@adavidcompo all I can say is keep it up. Don’t worry about views your content is awesome. But yes a video series of the composition process would be awesome. A small piece of advice is keep in all the frustration moments and mistakes. It helps so much to see other pro guys going through the same things. Thanks for the work.
Very interestng idea! I was thinking, for part 1, that it could be somewhat interpreted through a lens of G dorian, but it was fascinating to see your thinking about the 4th March. Id love to see a full video on this idea on modulating to the fourth, any particular rules, setups etc.. My favourite ws part 3 without a doubt, and another topic i think is excellent are those chromatic lines - i would really enjoy some more insight into the theory behind that concept..
Thanks a lot Ryan! Actually, the first version starts on a G natural minor scale (or æolian), since we have the E flat on the second chord. It's really when there's the first jump from the G minor7 to the C maj that we could consider the G dorian, but the question to ask is : do you really feel like the Gmin7 is a first degree, and the C maj a fourth degree? If you did than we could see we are in æolian here, but I don't hear it like so myself, I hear it more like a transition, and maybe we could say F major since we have C (v) and F (i), but then we introduce the A minor, D minor and finally the E minor, and it's only on that last chord that we understand we were going to a E phrygian, with the progression C (vi) - F (ii) - A minor (iv) - D minor (vii) - E minor (i), which is an appropriate chord progression in that mode. Yes the modulation with fourths is a really interesting tool to use, you need to understand the circle of fifths and then try and use it in your chord progression without it being too obvious. Otherwise the chromatic modulation is always super powerful, and really create a lot of tension, and it's useful to understand how to dose it. It's good to know what my viewers are interested in, I'll definitely consider your ideas when I'll be doing my future videos!
Merci pour la vidéo ! Ça aurait été cool de connaître tes "musical intentions" pour l'orchestration derrière, car on sent que tu composes au piano avec déjà des idées derrière la tête ^^ Y'aura une Part2 où tu convertis tout ça ?
Toujours des idées derrière la tête! Mais oui c'est une bonne idée. J'essaie de recycler un peu mon matériel alors oui c'est possible que ça se retrouve dans une vidéo future sur l'orchestration. As-tu eu l'occasion de regarder ma (super longue) vidéo sur comment orchestrer une pièce du piano vers l'orchestre? Ca s'appelle 'THE COMPLETE PROCESS'
I have a question. I noticed your motif is 1 and a half bars long. I always thought we should make each phrase of the melody fit nearly into 1 bar. Am I wrong? I always felt limited by this.
You should never feel limited by music theory. There is no right or wrong answer, if you hear a motif that's 5 bars and you want to repeat it afterwards, do it! I have a very flexible conception of time in my music, and this melody is just a simple an clear exemple. I see the first G minor as a pick up bar, but we do feel like it's in ternary. Then we keep going in three beats, or bars, or 1 and half bars like you say, but we do feel a sense of 4 + 2 in the second half.
Your content is underrated man, please don’t stop doing it. Really learning a lot.
If possible can you do some videos of approaching a whole composition from start to finish. Rhythms harmonies Melody. All the different instruments. That would be absolute gold
I really appreciate your comment, I'm happy to know my viewers are learning new things!! I've only started two months ago, so pretty happy with the reception, and slowly but surely growing!
Yes Indeed, I know many of my followers want a full video on composing something new. I think for now I have separated everything in different videos (because there's so many things to consider), but soon I think I could to just a long video where I go through the whole process.
@@adavidcompo all I can say is keep it up. Don’t worry about views your content is awesome. But yes a video series of the composition process would be awesome. A small piece of advice is keep in all the frustration moments and mistakes. It helps so much to see other pro guys going through the same things. Thanks for the work.
I appreciate it! Thanks a lot !
Very interestng idea! I was thinking, for part 1, that it could be somewhat interpreted through a lens of G dorian, but it was fascinating to see your thinking about the 4th March. Id love to see a full video on this idea on modulating to the fourth, any particular rules, setups etc.. My favourite ws part 3 without a doubt, and another topic i think is excellent are those chromatic lines - i would really enjoy some more insight into the theory behind that concept..
Thanks a lot Ryan!
Actually, the first version starts on a G natural minor scale (or æolian), since we have the E flat on the second chord. It's really when there's the first jump from the G minor7 to the C maj that we could consider the G dorian, but the question to ask is : do you really feel like the Gmin7 is a first degree, and the C maj a fourth degree? If you did than we could see we are in æolian here, but I don't hear it like so myself, I hear it more like a transition, and maybe we could say F major since we have C (v) and F (i), but then we introduce the A minor, D minor and finally the E minor, and it's only on that last chord that we understand we were going to a E phrygian, with the progression C (vi) - F (ii) - A minor (iv) - D minor (vii) - E minor (i), which is an appropriate chord progression in that mode.
Yes the modulation with fourths is a really interesting tool to use, you need to understand the circle of fifths and then try and use it in your chord progression without it being too obvious. Otherwise the chromatic modulation is always super powerful, and really create a lot of tension, and it's useful to understand how to dose it. It's good to know what my viewers are interested in, I'll definitely consider your ideas when I'll be doing my future videos!
very interesting approaches in the three versions! awesome video :)
Thank you so much!
Lovely work on this Alex !
Thanks a lot! Had fun doing it!
Very good explanation , liked and subscribed 🎉
Thanks a lot! Welcome to the channel !
Merci pour la vidéo ! Ça aurait été cool de connaître tes "musical intentions" pour l'orchestration derrière, car on sent que tu composes au piano avec déjà des idées derrière la tête ^^ Y'aura une Part2 où tu convertis tout ça ?
Toujours des idées derrière la tête! Mais oui c'est une bonne idée. J'essaie de recycler un peu mon matériel alors oui c'est possible que ça se retrouve dans une vidéo future sur l'orchestration. As-tu eu l'occasion de regarder ma (super longue) vidéo sur comment orchestrer une pièce du piano vers l'orchestre? Ca s'appelle 'THE COMPLETE PROCESS'
I don't understand a word. Please speak German!
;)
Ich keine sprecht Deutsches? Ahah sorry lots of my viewers are francophone
I have a question. I noticed your motif is 1 and a half bars long. I always thought we should make each phrase of the melody fit nearly into 1 bar. Am I wrong? I always felt limited by this.
You should never feel limited by music theory. There is no right or wrong answer, if you hear a motif that's 5 bars and you want to repeat it afterwards, do it!
I have a very flexible conception of time in my music, and this melody is just a simple an clear exemple. I see the first G minor as a pick up bar, but we do feel like it's in ternary. Then we keep going in three beats, or bars, or 1 and half bars like you say, but we do feel a sense of 4 + 2 in the second half.