For those of you that went nuts trying to follow-up (like me), between the weird square pad and the slow-refresh rate keyboard that lacks the C1-octave, here's the summary: 10:47 - #1 Innocent Love - Key: G - Progression: I - V - IIIm - II - I - Ch. w/ extensions: Gadd9 - D5(add9) - Bm7 - A - Gadd9 - Tricks: Make the "III" a "minor 7 chord"; For the "II", borrow the "Lidian chord" (Lidian sharps the IV! So the C note jumps to C#); For the rest, add "9s" for bright. 13:44 - #2 Beautiful Sorrow - Key: Am (eolian) - Progression: Im - Vm - VI - IVm - VI - Im - IVm - IVm - Im - Ch. w/ extensions: Am(add9) - Em7 - FMaj7 - Dm9 - F - Am7 - Dm7 - Dm7(add11) - Am(add9) - Tricks: Make the "VI" always "major", the rest keep all minor. For the "IVm" in the middle, add extra-dissonance with both the "7" and the "9" for climax. 16:36 - #3 Victorious Triumph - Key: Am (eolian) - Progression: Im - Vm - VII - IV - V - III - VII - IV - Ch. w/ extensions: Am7 - Em7 - G - D5 - C/E - CMaj7 - G - D/F# - Tricks: Avoid "9s". Experiment with the chord inversions. Borrow the last "IV" chord from Dorian. 19:31 - #4 The Mysterious Epic - Key: D major (mixture with Frigian) - Progression: I - III - bII - I - Ch. w/ extensions: D - Fadd13 - EbMaj7 - D - Tricks: Start major, but borrow "bII" and "III" major chords from Frigian. 21:37 - #5 Meditative Bliss - Key: B - Progression: I - I - IV - II - I - VIm - VIm - Ch. w/ extensions: Badd2 - B - Eadd9 - C#add9 - F#add2/A# - B - G#m - G#m7/F# - Tricks: Stay in the "I" an extra measure at the beginning, and the same for the "VIm" at the ending. Play with different bass notes. Use the "9s" a lot. 25:17 - #6 Hateful Plot - Key: Cm - Progression: Im - IIIm - Im - IIIm - Im - bIVm - bVIIm - #IV - Im - Ch. w/ extensions: Cm/Eb - Ebm - Cm - Ebm - Cm/E - Em - Bbm - F#m - Cm - Tricks: Make all chords minor. Go back and forth between the "Im" and the "IIIm". At some point create a dissonance with a bass out of scale, after which you to jump out of the scale. (Cm/E > Em). 27:24 - #7 An Amusing Classic - Key: E - Progression: I - V - VIm - I - VIm - I - V7 - I - Ch. w/ extensions: E - B - Am - C#m - E/G# - B7 - E - Tricks: Go back to the "I" frequently. Use the dominant at the end. 29:37 - #8 Existential Dread - Key: - - Progression: - - Ch. w/ extensions: Am/C - Fm/C - Am/C - Cm - Adim - Fdim - Cdim - Fdim/B - Tricks: Use the minor third (C) as a pedal tone in the bass. First half use minor chords, second half use diminished chords. 32:02 - #9 Endless Ascension - Key: - - Progression: - - Ch. w/ extensions: Gm7 - Am7 - Bm7add11 - Dm7add11 - Gm7 - Am7 - Aadd6 - Fadd2/C - Tricks: Keep most chords "minor 7", and add the 11s for extra brightness. 35:21 - #10 World Domination - Key: G (Hungarian minor scale) - Progression: I - bV - b IIIm - V - Ch. w/ extensions: GmMaj7 - EbMaj7 - BbMaj7(b5)- Eb7 - Tricks: Keep most chords "Major 7"
Thank you this is the information that I lacked. What mode and showind the chords number as an overview. There was to much fokus in the video of showing futuristic matrix keyboard with colors.
In my opinion it might be easier to first identify the emotion of the intervals that chord is built from. In chemistry we first identify the charcter of the ELEMENTS and this then helps us predict the charter of the COMPOUNDS. In music the intervals are the ELEMENTS and the chords are the COMPOUNDS My anlaysis of the INTERVALS which come in pairs, (the inversions) is as follows in series of fifths order covering 16 basic emotions: 1. FIRST = ESTEME / NOISE = PRIDE 2. FIFTH = HOPE / FORTH = GRATIFICATION 3. MAJOR SECOND = CURIOSITY/ MINOR SEVENTH = AMUSMENT 4. MAJOR SIXTH = EMPAYHY/ MINOR THIRD = SYMPATHY 5. MAJOR THIRD = FAITH, MINOR SIXTH = REVERENCE 6. MAJOR SEVENTH = FEAR / MINOR SECOND = ANGER 7. AUGMENTED FOURTH = FRUSTRATION/ DIMINISHED FIFTH = DESPONDENCE (sharp and flat tritone) 8. REST = SHAME / MINOR TWENTY THIRD = GUILT ( the minor 23rd is special for reasons beyond the scope of this discussion) The major chord consistes of a major third then a minor third which add to a fifith, so faith sympathy and hope. The highest note represents conciousness so the major chord makes us conciouse of sympathy and hope, with subconciouse faith The inversions effect the emotional outcome so the first inversion of the major chord makes us conciouse of hope and reverence, with subconciouse sympathy, while the second inversion makes us conciouse of faith and sympathy with subconouse hope. The minor chord consistes of a minor third then a major third which add to a fifith, so sympathy faith and hope. the highest note represents conciousness so the minor chord makes us conciouse of faith and hope with subcousniouse sympathy, the inversions effect the emotional outcome so the first inversion of the minor chord makes us conciouse of sympathy and gratification with an undercurrent of faith, while the second inversion makes us concious of sympathy and reverence with an undercurrent of gratification. So although the two chords and thier inversions evoke the same 6 emotions, its not with the same mix.
I started playing guitar at 10 yrs old then went on to piano been writing music songs since my teen arranged chord structures by feeling sound your approach will help alot
I've had wished for something like this...logically and emphatically speaking. My mind is blown! For a producer like me coming out the bedroom, the labels, which are important, are confusing. I believe that this will help.
Just as I have been singing the desire for this knowledge you have been crafting this video for us all. Blessed you heard my wishes all this time. Thank you 💙💙😇😇
This is really a phenomenal video. Coming from guitar there are so many piano “cheats” to adding flavour to chords and some of these progressions are so interesting and educational. Loved it
Valence isn't a measurement of the type of emotion, it's specifically refers to how pleasant or unpleasant the physiological response is being interpreted in the context of the environment & situation. Valence and arousal are the closest we get to consistent & measurable variables when it comes to emotions. Although there's a lot of functional value to using labels like "happy, sad, etc.", they take the science back to the pre-Darwinian biological essentialism way of conceptualising emotions that Paul Ekman has been selling (notably to Disney/Pixar) for decades. That is when he's not selling his totally legit "how to detect liars via facial microexpressions" courses to airport security and government agencies, with no adverse outcomes at all, besides all the pseudoscience.
9:00 ---> Context is, as you pointed out, really important. Cos what if you put another BASS underneath the chord, a slash-chord? That really changes the vibe. . And then rhythm, ... I can play a min7 chord [sounds mellow] but if I play that NileRogers-style now we have funk. Now a ' mellow' style becomes a funky dance-feeling; positive, energetic vibe. totally different. . Thumbs up. Interesting video.
Good analysis. Context indeed is important but the key and range has a lot to do with how it feels emotionally. All your chords started on middle C try again down a major 9th and test your listener.
This is very good video especially if you take in account how big this topic is. Would be cool if you make series of videos where you take each "emotion/ sub emotion" and make more examples I think all those people who write that its too complicated or they can't imagine would help them to see it better
I think giving the progression chords 1 beat each is kinda like introducing the color palette. If you were to change the duration of the chords and rhythm, i recon the perception of the progression would also change. I think this is instructive as a way to expand possibilities, but I'd like to see how rhythm and duration helps to accentuate how the progressions hit
I strongly endorse and underwrite this comment. 🙌🙌🙌 And combining this suggestion with those about using a "more dynamic instrument" that allows for better velocity or volume control would elevate everything you're doing here. Keep it up! We need this stuff.
I don know who these studies are for! Like, music is a combination of harmonies not just a stagnant chord vibrating for your brain to react to. I know they supposedly have many benefits in music-therapy and that kinda stuff, but Listening to music is a different experience than just active-listening of the sounds. It's like analyzing the words in a poem to figure out why it makes one feel a certain way when it differs from person to person..When all is said and done, as you mentioned , we are frequency(energetic) beings, therefore different from moment to moment. Take the example mentioned while listening to music: chilling in your backyard , it all varies from moment to moment(we are both the instrument and the music!) If you read all that, kudos to you my friend! 😁
On MPC Live, there's like a player mode. You select the instrument, set note repeat on, then it will kind of arpegiate over the notes. Using the dial, you can move through the keys, the modes, and the notes that are included in the progression. I've took to looping through the combinations until I find the mood that I'm looking for. So same as this video is talking about, but done by ear without needing to think about the theory. Not sure if other tools have that option
I think you mind linked with me while you were making this video. 🧘♂️🧠🧘♂️ A few days ago, I thought of that emotion wheel after seeing it in someone's house a few years ago and thought *"oh man it would be convenient if we had a layout like that for cadences and professions"* I've never seen you channel before and the algo read tf outta me
7:12 I cant mind this "emotion of the chord" but only imagine someting to follow it up, and this always get me kinda satisfy, its never sad happy or wathever, but beutifull or bla bla bla, just flow or not.
I'm thinking of Nature Boy by George Benson. That chord progression has a lot of different emotions in it, in how the chords relate to each other. Thanks for this vid
Great content bro, love your vids...Daniel Levitan mentions that emotional response to music, tones, and intervals are very culturally relevant...as opposed to the pentatonic scale, which is found in every culture and every era
His book is incredible. It’s unreal how deeply rooted music goes in our brains pattern recognition, emotional / motivation centres and all human culture. Truly beautiful
Thank you for this video, the voicing are beutiful. 🥰 I have a question, In progression 1 you are using slash chords with D in the bass, but in your example G is in the bass for all your voicing (/G) and the progression is 1 Major, V major, iii minor and II major (lydian). Doesn't that make the progression in G = G, D, B min and A. The chords listed in the progression 1 one example appear to be, I Major, V major, iii minor, II major or G,D,Bmin,D. It appears as if the II chord replaces the V chord. I can see that II Chord (A) is inbeded in the last chord (D -referenced in your progression as DMajor add 4), is this why you refer to the 'DMajor add 4" Chord as a II chord? Also in reference to the slash chords, it's my understanding that the note on the right side of the slash is the bass note. If this correct then would it make sense to refer to all these chords as "/G" since G is in the bass on all your voicing. It's apparent you know your voicing inside and out, I'm trying to catch up to your, so any help would be appreciated, Curious minds want to Know🙂. Thank you for this wonderful video, I'll be dissecting it with pleasure and incorporating your lesson into my musical life. Your fan...K ,
I find it hard to judge the emotional impact of these progressions because 1. The piano sound is too percussive 2. Many of the chords are in a too low octave. Number one makes everything somewhat aggressive, number two makes it hard to hear the chords clearly. For a subject likes this you should have been aware if this.
Decomposing an emotion to 2 degrees of freedom is going to remove something. I want to see a version of that key pad with an under the arm volume bag something between the hands. Midi bag pipe or accordion, maybe that already exists.
Could you let me know what app you use to display the note and chord info at the top of the screen please? I'd really like to explore the chords with that tool and experiment with voicings.
Good video I didnt know about the Berklee map! the piano sound for the chords is way too brutal tho, kind of gets in the way for feeling the chords by being unuanced, should probably focus more on diving right in the chords and have them played with the right amount of velocity (and probably a better piano vst)
Glad you liked it! Indeed that study was really damn cool. Noted your feedback - I’ll keep that in mind for future videos. Good call on a visual of the whole progression too
12:31 I feel like this progression just sounds like IV I vi V in D Major rather than G Lydian. I don’t think it’s doing much to tonicize G but I guess it’s in the context… I think a few of these are different voicings and colors of common progressions
Some chords ya get a feeling, but a lot of chords have just the same feel. But just playing chords by hitting each chord once and the next chord once an so on and having ten chords is way to much. It’s gotta be in a song or played out in a decent pattern or something to get a better feel of feelings…..😳🤣 Or like what your doin or experiencing at the time you heard the chords in songs that you’ve listened through years of different kinds of music. It all kinda depends. For some reason I love dark music, like Alice n chains, Pink Floyd, Pantera, just a few examples, cuz for some reason dark music can be uplifting for some weird ass reason to me. But maybe I’m a weirdo……🥴🙄😂 The last one was a psycho stabbing someone! … But this is very interesting to me! ✌🏼
Alternative analysis of progression 1 "Innocent Love:" key of D, 4-1-6-5, super basic, same progression as so many bland overproduced tracks form the last decade. I really tried to hear this in lydian, but the four inescapable chords of pop are too deeply embedded in my brain.
Such an interesting theme. Unfortunately I don't master the chord language well enough so it all became double greek to me. Probably need to study more music theory to have any value from it.
The presentation seemed to obscure the subject more than illuminate it. A piano with hands would have worked better, I think. I love the concept, though.
These are the videos that sum up my thought process and explain how I think in terms of music and connection of life and frequency! I’m into all this philosophical and spiritual / frequency vibe stuff.
@@LILMUST yes absolutely you're right, a DIAtonic scale does. But a DIAtonic scale fundamentally is scale that modulates. It's a scale that has tension built in. Fun fact: Diatonic means "two tonics" DIA means 2, and tonic refers to a point of resolution. In an diatonic seven note scale such as C Ionian, we start in one place (C), then move to another (F) and back. Fundamentally there are really only 2 chords in C major. Various version of F, and various version of C. If you want a monotonic scale( a scale where all notes support only one root you have to have a note that's close in fifths that has gravity towards C. sorry for bein a bit facetious. Look up tonal gravity of George Russell's LCC if you want to know more. Have fun. Love xx
@@fresamouse don't really understand the utility of saying there are versions of the C and F chord within the diatonic system. isn't the function of harmony, in its most basic interpretation, a system of tension and release. where we have orchestrated 7 different chords corresponding to the different root notes in a diatonic scale. I understand your point, but when would it be useful to define a diatonic scale with the definition you're using. just curious cuz it for sure sounds interesting!
@@pantheon777 You are correct. I didn't say there were two functional chords, it's just that all of the notes in C ionian are direct overtones OR extensions of: either of a chord that has C as a tonal centre or that has F as the tonal centre. C the lowest fifth is C. Dm's lowest fifth is F. Em is a natural extension of C(the B is already sonically represented when you play a C triad) F is F. G also lives neatly within a C chord. Am's lowest fifth is C. Bdim can be added to F lydian(although it is the darkest of these). Realistically all the notes in the scale support F because all those chord with C as the tonal centre can obviously also be added a fifth down. Good catch on that etymological info. 'Di' means two and DIA is indeed Latin for 'through.' But the concept is still exactly the same. Going from one place to another and back (traveling/modulating), is, i would say, the fundamental basis for all tonal music. We're not just chilling in the same place the whole time, we wanna go on a journey. We wanna move from one thing through another thing that takes us somewhere that gives us new information. This is basically why going from C to F(or G to C) - up a 4th/down a fifth, ( 'perfect' cadence) sounds really natural, because F is nowhere at all in the overtones, or in the higher 7 fifths of the note C. but C leads to F as the 5. F isn't a note that harmonically supports C, rather the other way around, C is the note that has gravity and stability towards F. F provies the tension, that difference in the scale. and then there's what they call modal music which uses lydian and dorian which is what i was referring to. Staying within one harmonic space, by only using notes that support the root. There's not as much tension to release involved in Lydian or Dorian. Hope this helps you to make sense of everything I was tryna articulate. :)
Is it weird that I do not hear emotions when you show these in the intro? How can one find this or hear it? It's been frustrating me lately that none of the chords or progressions harbor any emotion to me. It's all just tones in my mind.
can you show us how Frank ocean makes non tonality ambiguity chord progressions, and how he uses delayed gratification breaking the mechanics of pop music but still staying accessible because of replay value
@@neji7070 all of his songs are built following the same mechanics that's why he gets away with not releasing anything, ofc his sound production and lyrics also plays a huge role in creating that delayed gratification emotion.. but I specifically learn his harmonic approach
@@sarangesque I’m not understanding you here. Tonal ambiguity expresses that the structure of the song doesn’t lead toward any centre or home when it comes to theory. While I can understand your point of delayed gratification, maybe it’s because he structures his songs in a composer style, but for the life of me I don’t understand how his chord progressions are non tonal? If you could name me at least one song where the chord progression is remotely ambiguous, that would help because I’ve also studied a lot of franks music and I can tell u for certain that they have a tonal centre
@@neji7070 I think you are missing the point, he makes it ACCESSIBLE, that's the whole point, he follows the Radiohead mechanics but blurs it enough to makes it sound tonal
@@sarangesque i am not missing the point because you clearly stated 1. He makes non tonal ambiguity chord progressions. I’m not arguing that his music isn’t accessible and yes Radiohead has been a big inspiration for frank, you can literally hear it in his music. I just want to know just 1 song where his progressions define it as non tonal and ambiguous? There’s not much to fight over you on that except just naming 1 song
@@Mallcom7000 You can't see it? The video editing and graphics were done heavily by AI, and so much so that it was both distracting and irritating. It made things worse not better, though it really should not be used at all in this manner, if at all.
@@RememberGodHolyBible thats not AI it’s just low effort editing and stock transition effects. There is no robot attempting to simulate intelligence in this video
@@metamindmusicofficial My right brain doesn't have the words, but I will think about it. Watch Jacob Collier at Power station, emotive listening video.
I agree with the too much AI comment, the background is crazy distracting, it's driving me crazier, and stop saying yo please, that's like what the '80s?
Guess what? The problem isn't a word that the author of the video says that most likely did not bother anyone else if they even noticed it. You should take as much time as it took you to send your negativity through the interwebz to the author to do a lot of self reflecting and ask yourself WHY does this bother me? And WHAT is actually driving you crazy...because if it truly is an animated background and the word YO, then perhaps instead of being rude and disrespectful and spreading negativity...might I suggest you stick to BOOKS instead of RUclips videos? I am completely serious. Also, you might want to survey your friends and family and see how many agree that you might have some control/domination issues that you might want to work on. A polite, well mannered, and well adjusted person would just thank the video creator for all the knowledge they shared instead of focusing on things that YOU do not like. Good luck!
@@derekcarneyi agree people are just complaining to complain at this point its really not that deep im looking at my keys the entire time following the examples he gives to try for myself not getting annoyed by ai
I did not feel like this video was useful at all. There is so much more to creating emotion in music than choice in chord progression. It is only one factor and not even close to the most important.
I mention this in the video - it’s an impossible task to capture all the nuances and variables that contribute to the emotion of a piece of music. Timbre, tempo, arrangement, harmony, melody, sound design, instrumentation, context… the list is endless. That’s not including how we label feelings with concepts - which everyone could be doing slightly differently. I chose chord progressions since I think it’s a single element that can help display what CAN create emotion. If you disagree with my interpretations - that’s totally cool. If it’s not for you, it’s not for you✌️
I'm at 7:54 and those scene transitions, text effects etc. is sooo fuckin' annoying. Please. Please. Stop doing that. I can't even watch the video on focus, because something is popping in and out, weird glitchy effects going on... It ruins the video. Just make it simple, smooth transitions are okay.
Who cares just play or listen to music don’t do an in-depth analysis of it just enjoy. We spend too much time worrying about stupid crap like this, it pathetic
It's important to understand these concepts if you have a job like composing a score for a film or game. While I understand what you're getting at (because it annoys me as well when things are picked apart and compartmentalized or split into subgenre upon subgenre), it's very useful to know why something like this works and how to implement it when needed. ✌️
I don’t think analysis and enjoyment are mutually exclusive. The only reason for the breakdown is so that others can maybe play something they’ve never tried before.
Is analysis paralysis a thing? Yes absolutely but for me personally I learned best from analysis and seeing how something works. It gives you a guide to understand what came before, so you can create what comes after if that makes sense ❤
For those of you that went nuts trying to follow-up (like me), between the weird square pad and the slow-refresh rate keyboard that lacks the C1-octave, here's the summary:
10:47 - #1 Innocent Love
- Key: G
- Progression: I - V - IIIm - II - I
- Ch. w/ extensions: Gadd9 - D5(add9) - Bm7 - A - Gadd9
- Tricks: Make the "III" a "minor 7 chord"; For the "II", borrow the "Lidian chord" (Lidian sharps the IV! So the C note jumps to C#); For the rest, add "9s" for bright.
13:44 - #2 Beautiful Sorrow
- Key: Am (eolian)
- Progression: Im - Vm - VI - IVm - VI - Im - IVm - IVm - Im
- Ch. w/ extensions: Am(add9) - Em7 - FMaj7 - Dm9 - F - Am7 - Dm7 - Dm7(add11) - Am(add9)
- Tricks: Make the "VI" always "major", the rest keep all minor. For the "IVm" in the middle, add extra-dissonance with both the "7" and the "9" for climax.
16:36 - #3 Victorious Triumph
- Key: Am (eolian)
- Progression: Im - Vm - VII - IV - V - III - VII - IV
- Ch. w/ extensions: Am7 - Em7 - G - D5 - C/E - CMaj7 - G - D/F#
- Tricks: Avoid "9s". Experiment with the chord inversions. Borrow the last "IV" chord from Dorian.
19:31 - #4 The Mysterious Epic
- Key: D major (mixture with Frigian)
- Progression: I - III - bII - I
- Ch. w/ extensions: D - Fadd13 - EbMaj7 - D
- Tricks: Start major, but borrow "bII" and "III" major chords from Frigian.
21:37 - #5 Meditative Bliss
- Key: B
- Progression: I - I - IV - II - I - VIm - VIm
- Ch. w/ extensions: Badd2 - B - Eadd9 - C#add9 - F#add2/A# - B - G#m - G#m7/F#
- Tricks: Stay in the "I" an extra measure at the beginning, and the same for the "VIm" at the ending. Play with different bass notes. Use the "9s" a lot.
25:17 - #6 Hateful Plot
- Key: Cm
- Progression: Im - IIIm - Im - IIIm - Im - bIVm - bVIIm - #IV - Im
- Ch. w/ extensions: Cm/Eb - Ebm - Cm - Ebm - Cm/E - Em - Bbm - F#m - Cm
- Tricks: Make all chords minor. Go back and forth between the "Im" and the "IIIm". At some point create a dissonance with a bass out of scale, after which you to jump out of the scale. (Cm/E > Em).
27:24 - #7 An Amusing Classic
- Key: E
- Progression: I - V - VIm - I - VIm - I - V7 - I
- Ch. w/ extensions: E - B - Am - C#m - E/G# - B7 - E
- Tricks: Go back to the "I" frequently. Use the dominant at the end.
29:37 - #8 Existential Dread
- Key: -
- Progression: -
- Ch. w/ extensions: Am/C - Fm/C - Am/C - Cm - Adim - Fdim - Cdim - Fdim/B
- Tricks: Use the minor third (C) as a pedal tone in the bass. First half use minor chords, second half use diminished chords.
32:02 - #9 Endless Ascension
- Key: -
- Progression: -
- Ch. w/ extensions: Gm7 - Am7 - Bm7add11 - Dm7add11 - Gm7 - Am7 - Aadd6 - Fadd2/C
- Tricks: Keep most chords "minor 7", and add the 11s for extra brightness.
35:21 - #10 World Domination
- Key: G (Hungarian minor scale)
- Progression: I - bV - b IIIm - V
- Ch. w/ extensions: GmMaj7 - EbMaj7 - BbMaj7(b5)- Eb7
- Tricks: Keep most chords "Major 7"
Thank you this is the information that I lacked. What mode and showind the chords number as an overview. There was to much fokus in the video of showing futuristic matrix keyboard with colors.
This was so much better than the video!!
You sound nasty
Thanks. 38min saved. 😊
Thanks.
are we gonna ignore how this man played a piano riff on a drum pad like its nothing?
😅 #Fact !!!🎯
Right?! What in the actual F&#@!!?
But like it is nothing??? Just a different looking piano key like
Isn’t that one of those Novation pads? I’d love to learn but it would be like learning to play “piano all over again…
I know right. I couldn't even follow along looking at pad button piano....I was like wtf 😅
I had ripped a huge bowl just before starting this video. Thank you for all of the awesome visualizations and colors in the background.
In my opinion it might be easier to first identify the emotion of the intervals that chord is built from. In chemistry we first identify the charcter of the ELEMENTS and this then helps us predict the charter of the COMPOUNDS.
In music the intervals are the ELEMENTS and the chords are the COMPOUNDS
My anlaysis of the INTERVALS which come in pairs, (the inversions) is as follows in series of fifths order covering 16 basic emotions:
1. FIRST = ESTEME / NOISE = PRIDE
2. FIFTH = HOPE / FORTH = GRATIFICATION
3. MAJOR SECOND = CURIOSITY/ MINOR SEVENTH = AMUSMENT
4. MAJOR SIXTH = EMPAYHY/ MINOR THIRD = SYMPATHY
5. MAJOR THIRD = FAITH, MINOR SIXTH = REVERENCE
6. MAJOR SEVENTH = FEAR / MINOR SECOND = ANGER
7. AUGMENTED FOURTH = FRUSTRATION/ DIMINISHED FIFTH = DESPONDENCE (sharp and flat tritone)
8. REST = SHAME / MINOR TWENTY THIRD = GUILT ( the minor 23rd is special for reasons beyond the scope of this discussion)
The major chord consistes of a major third then a minor third which add to a fifith, so faith sympathy and hope. The highest note represents conciousness so the major chord makes us conciouse of sympathy and hope, with subconciouse faith
The inversions effect the emotional outcome so the first inversion of the major chord makes us conciouse of hope and reverence, with subconciouse sympathy, while the second inversion makes us conciouse of faith and sympathy with subconouse hope.
The minor chord consistes of a minor third then a major third which add to a fifith, so sympathy faith and hope. the highest note represents conciousness so the minor chord makes us conciouse of faith and hope with subcousniouse sympathy, the inversions effect the emotional outcome so the first inversion of the minor chord makes us conciouse of sympathy and gratification with an undercurrent of faith, while the second inversion makes us concious of sympathy and reverence with an undercurrent of gratification.
So although the two chords and thier inversions evoke the same 6 emotions, its not with the same mix.
I started playing guitar at 10 yrs old then went on to piano been writing music songs since my teen arranged chord structures by feeling sound your approach will help alot
I've had wished for something like this...logically and emphatically speaking. My mind is blown! For a producer like me coming out the bedroom, the labels, which are important, are confusing. I believe that this will help.
yes, exactly my thoughts too!
simply boring presenter and presentation!
Unfortunately....
Just as I have been singing the desire for this knowledge you have been crafting this video for us all.
Blessed you heard my wishes all this time. Thank you 💙💙😇😇
Glad I could help!
This is really a phenomenal video. Coming from guitar there are so many piano “cheats” to adding flavour to chords and some of these progressions are so interesting and educational. Loved it
Endless thanks. Glad it was helpful!
Thanks so much! Super inspiring 🙏
This was helpful, thank you!
Happy to help!
Valence isn't a measurement of the type of emotion, it's specifically refers to how pleasant or unpleasant the physiological response is being interpreted in the context of the environment & situation. Valence and arousal are the closest we get to consistent & measurable variables when it comes to emotions. Although there's a lot of functional value to using labels like "happy, sad, etc.", they take the science back to the pre-Darwinian biological essentialism way of conceptualising emotions that Paul Ekman has been selling (notably to Disney/Pixar) for decades. That is when he's not selling his totally legit "how to detect liars via facial microexpressions" courses to airport security and government agencies, with no adverse outcomes at all, besides all the pseudoscience.
Redo the video and replace valence with whatever metric you deem to be better then.
9:00 ---> Context is, as you pointed out, really important.
Cos what if you put another BASS underneath the chord, a slash-chord?
That really changes the vibe.
.
And then rhythm, ... I can play a min7 chord [sounds mellow] but if I play that NileRogers-style
now we have funk. Now a ' mellow' style becomes a funky dance-feeling; positive, energetic vibe.
totally different.
.
Thumbs up. Interesting video.
Impressive post production values!
This is super helpful. Well done
My pleasure - glad it was helpful
Good analysis. Context indeed is important but the key and range has a lot to do with how it feels emotionally. All your chords started on middle C try again down a major 9th and test your listener.
This is very good video especially if you take in account how big this topic is. Would be cool if you make series of videos where you take each "emotion/ sub emotion" and make more examples I think all those people who write that its too complicated or they can't imagine would help them to see it better
Endless thanks for the kind words. Excellent idea on exploring more sub emotions!
I felt the differences between the chords and the progressions.Thanks for the introduction! I am more interested in learning music theory!!!
A very interesting video, excellent stuff! Thanks for making this.
My pleasure! Glad you enjoyed it
I think giving the progression chords 1 beat each is kinda like introducing the color palette. If you were to change the duration of the chords and rhythm, i recon the perception of the progression would also change. I think this is instructive as a way to expand possibilities, but I'd like to see how rhythm and duration helps to accentuate how the progressions hit
I strongly endorse and underwrite this comment. 🙌🙌🙌 And combining this suggestion with those about using a "more dynamic instrument" that allows for better velocity or volume control would elevate everything you're doing here. Keep it up! We need this stuff.
I don know who these studies are for! Like, music is a combination of harmonies not just a stagnant chord vibrating for your brain to react to.
I know they supposedly have many benefits in music-therapy and that kinda stuff, but Listening to music is a different experience than just active-listening of the sounds.
It's like analyzing the words in a poem to figure out why it makes one feel a certain way when it differs from person to person..When all is said and done, as you mentioned , we are frequency(energetic) beings, therefore different from moment to moment. Take the example mentioned while listening to music: chilling in your backyard , it all varies from moment to moment(we are both the instrument and the music!)
If you read all that, kudos to you my friend! 😁
On MPC Live, there's like a player mode. You select the instrument, set note repeat on, then it will kind of arpegiate over the notes. Using the dial, you can move through the keys, the modes, and the notes that are included in the progression. I've took to looping through the combinations until I find the mood that I'm looking for. So same as this video is talking about, but done by ear without needing to think about the theory. Not sure if other tools have that option
I agree. Thanks for this.
I enjoyed this video as is.
Fantastic breakdown, dude
endless thanks!
@@metamindmusicofficialwhere did you find that emotional circle? I need to find a copy of that
I think you mind linked with me while you were making this video. 🧘♂️🧠🧘♂️
A few days ago, I thought of that emotion wheel after seeing it in someone's house a few years ago and thought
*"oh man it would be convenient if we had a layout like that for cadences and professions"*
I've never seen you channel before and the algo read tf outta me
Crazy how things work - gotta love algorithmic synchronicities
extremely helpful the guides are going to help me a lot thank you
Thanks a lot for this video, I subscribed and liked immediately !
7:12 I cant mind this "emotion of the chord" but only imagine someting to follow it up, and this always get me kinda satisfy, its never sad happy or wathever, but beutifull or bla bla bla, just flow or not.
Very interesting!
Thanks.
Crazy way of using pads as a keyboard...
☑☑☑👍
Solid substance in your teaching. Thanks
I'm thinking of Nature Boy by George Benson. That chord progression has a lot of different emotions in it, in how the chords relate to each other.
Thanks for this vid
Amazing, if only Wolfgang Amadeus Mozart had known these facts!
Thanks alot
Instant subscribe !!!
Great content bro, love your vids...Daniel Levitan mentions that emotional response to music, tones, and intervals are very culturally relevant...as opposed to the pentatonic scale, which is found in every culture and every era
His book is incredible. It’s unreal how deeply rooted music goes in our brains pattern recognition, emotional / motivation centres and all human culture. Truly beautiful
Thank you for this video, the voicing are beutiful. 🥰 I have a question, In progression 1 you are using slash chords with D in the bass, but in your example G is in the bass for all your voicing (/G) and the progression is 1 Major, V major, iii minor and II major (lydian). Doesn't that make the progression in G = G, D, B min and A.
The chords listed in the progression 1 one example appear to be, I Major, V major, iii minor, II major or G,D,Bmin,D.
It appears as if the II chord replaces the V chord. I can see that II Chord (A) is inbeded in the last chord (D -referenced in your progression as DMajor add 4), is this why you refer to the 'DMajor add 4" Chord as a II chord?
Also in reference to the slash chords, it's my understanding that the note on the right side of the slash is the bass note. If this correct then would it make sense to refer to all these chords as "/G" since G is in the bass on all your voicing. It's apparent you know your voicing inside and out, I'm trying to catch up to your, so any help would be appreciated, Curious minds want to Know🙂. Thank you for this wonderful video, I'll be dissecting it with pleasure and incorporating your lesson into my musical life. Your fan...K
,
❤❤❤❤
This is great
Just tryna boost the algorithm for u theres this deserves way more views
Appreciate it! Glad you enjoyed it
I was stuck working on a composition and this video helped me out...nice take. Thanks🤘
I find it hard to judge the emotional impact of these progressions because 1. The piano sound is too percussive 2. Many of the chords are in a too low octave. Number one makes everything somewhat aggressive, number two makes it hard to hear the chords clearly. For a subject likes this you should have been aware if this.
Decomposing an emotion to 2 degrees of freedom is going to remove something. I want to see a version of that key pad with an under the arm volume bag something between the hands. Midi bag pipe or accordion, maybe that already exists.
Could you let me know what app you use to display the note and chord info at the top of the screen please? I'd really like to explore the chords with that tool and experiment with voicings.
100% it’s called ChordieApp
@@metamindmusicofficial Many thanks 🤟
Good video I didnt know about the Berklee map! the piano sound for the chords is way too brutal tho, kind of gets in the way for feeling the chords by being unuanced, should probably focus more on diving right in the chords and have them played with the right amount of velocity (and probably a better piano vst)
Also would be great to add permanent text with the entire chord progressions for each part, keep it up man, love your use for generated animations ;)
Glad you liked it! Indeed that study was really damn cool. Noted your feedback - I’ll keep that in mind for future videos. Good call on a visual of the whole progression too
Yooo... Great explanation, for ease of referencing, can you name the progressions by their emotional theme?
100% will do.
12:31 I feel like this progression just sounds like IV I vi V in D Major rather than G Lydian. I don’t think it’s doing much to tonicize G but I guess it’s in the context…
I think a few of these are different voicings and colors of common progressions
Some chords ya get a feeling, but a lot of chords have just the same feel. But just playing chords by hitting each chord once and the next chord once an so on and having ten chords is way to much. It’s gotta be in a song or played out in a decent pattern or something to get a better feel of feelings…..😳🤣 Or like what your doin or experiencing at the time you heard the chords in songs that you’ve listened through years of different kinds of music. It all kinda depends. For some reason I love dark music, like Alice n chains, Pink Floyd, Pantera, just a few examples, cuz for some reason dark music can be uplifting for some weird ass reason to me. But maybe I’m a weirdo……🥴🙄😂 The last one was a psycho stabbing someone! … But this is very interesting to me! ✌🏼
Alternative analysis of progression 1 "Innocent Love:" key of D, 4-1-6-5, super basic, same progression as so many bland overproduced tracks form the last decade. I really tried to hear this in lydian, but the four inescapable chords of pop are too deeply embedded in my brain.
Such an interesting theme. Unfortunately I don't master the chord language well enough so it all became double greek to me. Probably need to study more music theory to have any value from it.
Thanks! Here's a link to a video that covers all the foundations: ruclips.net/video/2LA6EfD-TXs/видео.html
The presentation seemed to obscure the subject more than illuminate it. A piano with hands would have worked better, I think. I love the concept, though.
Why does happiness always sound melancholic to me?
for music theory dumbos like me:
10:47 - #1 Innocent Love------------- 4-1-6-5//4add9-1sus4-6m7-5sus4
13:44 - #2 Beautiful Sorrow---------6-3-4-2-4-6-2//6add2-3m7-4Maj7-2m9-4-6m7-2m7add4
16:36 - #3 Victorious Triumph-----6-3-5-2M//6m7-3m7-5-2(no 3rd)
19:31 - #4 The Mysterious Epic---
21:37 - #5 Meditative Bliss----------
25:17 - #6 Hateful Plot----------------
27:24 - #7 An Amusing Classic---
29:37 - #8 Existential Dread--------
32:02 - #9 Endless Ascension ----
35:21 - #10 World Domination----
These are the videos that sum up my thought process and explain how I think in terms of music and connection of life and frequency!
I’m into all this philosophical and spiritual / frequency vibe stuff.
Glad it resonated! Gotta love the philosophical & spiritual vibes along with music 🌀
18:39 No it's absolutely not a "borrowed chord." F# does live inside the harmony of C/Am. F natural doesn't.
C/Am diatonic scales have F natural
@@LILMUST yes absolutely you're right, a DIAtonic scale does. But a DIAtonic scale fundamentally is scale that modulates. It's a scale that has tension built in. Fun fact: Diatonic means "two tonics" DIA means 2, and tonic refers to a point of resolution. In an diatonic seven note scale such as C Ionian, we start in one place (C), then move to another (F) and back. Fundamentally there are really only 2 chords in C major. Various version of F, and various version of C. If you want a monotonic scale( a scale where all notes support only one root you have to have a note that's close in fifths that has gravity towards C. sorry for bein a bit facetious. Look up tonal gravity of George Russell's LCC if you want to know more. Have fun. Love xx
@@fresamouse don't really understand the utility of saying there are versions of the C and F chord within the diatonic system. isn't the function of harmony, in its most basic interpretation, a system of tension and release. where we have orchestrated 7 different chords corresponding to the different root notes in a diatonic scale.
I understand your point, but when would it be useful to define a diatonic scale with the definition you're using. just curious cuz it for sure sounds interesting!
Dia means through; it does not mean two. It doesn't make any sense that there are only two functional chords.
@@pantheon777 You are correct. I didn't say there were two functional chords, it's just that all of the notes in C ionian are direct overtones OR extensions of: either of a chord that has C as a tonal centre or that has F as the tonal centre.
C the lowest fifth is C.
Dm's lowest fifth is F.
Em is a natural extension of C(the B is already sonically represented when you play a C triad)
F is F.
G also lives neatly within a C chord.
Am's lowest fifth is C.
Bdim can be added to F lydian(although it is the darkest of these).
Realistically all the notes in the scale support F because all those chord with C as the tonal centre can obviously also be added a fifth down.
Good catch on that etymological info.
'Di' means two and DIA is indeed Latin for 'through.'
But the concept is still exactly the same.
Going from one place to another and back (traveling/modulating), is, i would say, the fundamental basis for all tonal music.
We're not just chilling in the same place the whole time, we wanna go on a journey.
We wanna move from one thing through another thing that takes us somewhere that gives us new information.
This is basically why going from C to F(or G to C) - up a 4th/down a fifth, ( 'perfect' cadence) sounds really natural, because F is nowhere at all in the overtones, or in the higher 7 fifths of the note C. but C leads to F as the 5.
F isn't a note that harmonically supports C, rather the other way around, C is the note that has gravity and stability towards F.
F provies the tension, that difference in the scale. and then there's what they call modal music which uses lydian and dorian which is what i was referring to. Staying within one harmonic space, by only using notes that support the root. There's not as much tension to release involved in Lydian or Dorian.
Hope this helps you to make sense of everything I was tryna articulate.
:)
Nice audio setup, but you need more cowbell.
One always needs more cowbell
Commenting for the algo, biggups
Endless thanks 🙏
Eight words minimum to trigger that algorithmic response.
@@M2Mil7er thank you sir knight - you are the best
#5: Palace Wedding Processional
100%
Why is it Locked ?
Is it weird that I do not hear emotions when you show these in the intro? How can one find this or hear it? It's been frustrating me lately that none of the chords or progressions harbor any emotion to me. It's all just tones in my mind.
can you show us how Frank ocean makes non tonality ambiguity chord progressions, and how he uses delayed gratification breaking the mechanics of pop music but still staying accessible because of replay value
I’m also interested in this, but do you have any examples of songs where is ambiguous in tonality?
@@neji7070 all of his songs are built following the same mechanics that's why he gets away with not releasing anything, ofc his sound production and lyrics also plays a huge role in creating that delayed gratification emotion.. but I specifically learn his harmonic approach
@@sarangesque I’m not understanding you here. Tonal ambiguity expresses that the structure of the song doesn’t lead toward any centre or home when it comes to theory. While I can understand your point of delayed gratification, maybe it’s because he structures his songs in a composer style, but for the life of me I don’t understand how his chord progressions are non tonal? If you could name me at least one song where the chord progression is remotely ambiguous, that would help because I’ve also studied a lot of franks music and I can tell u for certain that they have a tonal centre
@@neji7070 I think you are missing the point, he makes it ACCESSIBLE, that's the whole point, he follows the Radiohead mechanics but blurs it enough to makes it sound tonal
@@sarangesque i am not missing the point because you clearly stated 1. He makes non tonal ambiguity chord progressions.
I’m not arguing that his music isn’t accessible and yes Radiohead has been a big inspiration for frank, you can literally hear it in his music. I just want to know just 1 song where his progressions define it as non tonal and ambiguous? There’s not much to fight over you on that except just naming 1 song
27:27 odio cuando aparecen todas las notas ya tocadas, desconozco que tocas ahora después de ver el piano así :c
Brother I’m getting push 3 and also shure sm7db can I record good vocals or is there a need for an audio interface please help
You can't pretend to unlock "every emotion" of vast amounts, with only 10 chord progressions out of the hundreds available
Stay human. Express yourself, not "everything".
Maybe yourself and everything isn’t so different
too much AI
What?
@@Mallcom7000 You can't see it? The video editing and graphics were done heavily by AI, and so much so that it was both distracting and irritating. It made things worse not better, though it really should not be used at all in this manner, if at all.
@@RememberGodHolyBible thats not AI it’s just low effort editing and stock transition effects. There is no robot attempting to simulate intelligence in this video
@@Mallcom7000no there are AI generated images.
@@RememberGodHolyBible
Yeah, I'm also really annoyed by that.
Ai background is just doing wayyy too much 😭
The first happy and sad examples were not "happy" and "sad".
what did you feel they were?
@@metamindmusicofficial
My right brain doesn't have the words, but I will think about it.
Watch Jacob Collier at Power station, emotive listening video.
“Thats just like, your opinion, man.”
@@Turtlpwr Man?
Melancholy and mysterious
Coudn't watch this, I get too emotional!
Jumped in for the concept, left because the harsh piano sounds didn't make me feel anything
Noted for next time
I agree with the too much AI comment, the background is crazy distracting, it's driving me crazier, and stop saying yo please, that's like what the '80s?
Guess what? The problem isn't a word that the author of the video says that most likely did not bother anyone else if they even noticed it. You should take as much time as it took you to send your negativity through the interwebz to the author to do a lot of self reflecting and ask yourself WHY does this bother me? And WHAT is actually driving you crazy...because if it truly is an animated background and the word YO, then perhaps instead of being rude and disrespectful and spreading negativity...might I suggest you stick to BOOKS instead of RUclips videos? I am completely serious. Also, you might want to survey your friends and family and see how many agree that you might have some control/domination issues that you might want to work on. A polite, well mannered, and well adjusted person would just thank the video creator for all the knowledge they shared instead of focusing on things that YOU do not like. Good luck!
@@derekcarney You went in for what? 😂
@@camronross because they need to do some self evaluating, obviously.
I mean, this video is jam packed with music knowledge and all they got out of it was annoyed that he said YO? The fuck???
@@derekcarneyi agree people are just complaining to complain at this point its really not that deep im looking at my keys the entire time following the examples he gives to try for myself not getting annoyed by ai
I did not feel like this video was useful at all. There is so much more to creating emotion in music than choice in chord progression. It is only one factor and not even close to the most important.
I mention this in the video - it’s an impossible task to capture all the nuances and variables that contribute to the emotion of a piece of music.
Timbre, tempo, arrangement, harmony, melody, sound design, instrumentation, context… the list is endless.
That’s not including how we label feelings with concepts - which everyone could be doing slightly differently.
I chose chord progressions since I think it’s a single element that can help display what CAN create emotion. If you disagree with my interpretations - that’s totally cool.
If it’s not for you, it’s not for you✌️
Sus2 lost !
I'm at 7:54 and those scene transitions, text effects etc. is sooo fuckin' annoying. Please. Please. Stop doing that. I can't even watch the video on focus, because something is popping in and out, weird glitchy effects going on... It ruins the video. Just make it simple, smooth transitions are okay.
Love the examples but your examples you make when breaking the chord progression down is unclear to a noob like me
I meant to say your explanation is unclear and complicated to me. Can you please simplify this more please?
Too much AI editing it's distracting
You missed the mark man.
Yo yo……really?
Emotion?
Hahaha.....
I only see and hear an emotionless presentation and an emotionless presenter in an boring demonstration.
what a pity!
Who cares just play or listen to music don’t do an in-depth analysis of it just enjoy. We spend too much time worrying about stupid crap like this, it pathetic
It's important to understand these concepts if you have a job like composing a score for a film or game. While I understand what you're getting at (because it annoys me as well when things are picked apart and compartmentalized or split into subgenre upon subgenre), it's very useful to know why something like this works and how to implement it when needed. ✌️
I don’t think analysis and enjoyment are mutually exclusive. The only reason for the breakdown is so that others can maybe play something they’ve never tried before.
Is analysis paralysis a thing? Yes absolutely but for me personally I learned best from analysis and seeing how something works. It gives you a guide to understand what came before, so you can create what comes after if that makes sense ❤
This video is for people that want to make music. Why are you watching videos explaining how to do things that you have no desire to do?
@@NaanFungibullexactakally