It's fascinating how it resembles narrative theory, like in Euripides. Chord progressions are narratives or stories because they are transitions where tension or conflict encountered and released. It has something to do with the way our brains make meaning out of time, transformation, or chronologies of events.
Thought i was gonna watch for a couple minutes and get bored. Ended up watching the whole thing and being surprised it was already over. I could listen to an hour of this content. Seriously well delivered. It's got that chill, simple vibe that just invites you to sit back and listen. Liked and subbed, looking forward for more!
Indian music teaches raags which emote different feelings since thousands of years. You could refer to them for more info. Only please give them credit and not rename concepts and market them as your own
brilliant video man. As someone who has delved into music theory in the last few years, everything you said resonated with me, even down to the emotion you prescribed to each degree (when you said nostolgia for 13th my jaw dropped cuz thats what I alwasy think of) Great work! Keep it up! would love to see some videos that tackle more advanced concepts as well. subscribed
Wow, I’ve been studying and creating music professionally for years now and you just connected so many dots for me in 14 minutes. Thank you sir, this was incredibly helpful 🙏🏼
"Social construct" is the foundation against which every musical performance, live or from media, is experienced. So your emotional presumptions are based in part on this common thread. But temperament changes the actual math, so not all Maj7 or m7 chords, for example, are equivalent, the overtone series changes - on a piano or guitar, a string section automatically corrects for it.
At 0:30, there's actually a great book that explains pretty much everything in this video that was published back in 2008, and also features the harmonic circular scale (the actual name for your chord diagram at timestamp 10:40) and why it's better at explaining chord progressions than the circle of fifths. It's called "How Music Really Works" by Wayne Chase. It's in chapter 6 but I recommend reading through the earlier chapters about how intervals within chords interact with each other to make complete sense, based on psychoacoustics and how our brain responds to frequency ratios of intervals. There's also different categories of progression types that produce different emotions such as fifths (downwards as C to G, or upwards C to G), thirds (C to Em, or Am to C), seconds (C to Dm or Am to G, and chromatic ones (escaping the scale, C to Bb for example). Chord intervals such as 6ths or 7ths (distance between the bass notes of different chords) don't exist within the harmonic scale because they are complementary due to the circular nature of the scale and how octaves don't define chord progression qualities (whereas the octave does matter in melody). A lot of the concepts aren't new either, the circular harmonic scale concept at 10:40 was also introduced way back in 1959 in Victor Zuckerkandl’s book "The Sense of Music," which Wayne said was a source in his research. So that shows the solidness of the concept if it can be explained and put to use a half a century later by different people!
Wow, 2, fuckin', weeks old, 3k views, 3k, fuckin', likes, WOW; and this is your, fuckin', content. Congratulations 🎊 👏 💐. I'm writing your channel down, & coming back at Spring. For now, I am forgetting about you. Consider it a short grace.
this guy looks so much like a teen girl magazine cover that is almost embarassing to watch this 😅. maybe that would explain why such a good quality content has so few subscribers. perhaps that could explain why content of such high quality has so few subscribers.I mean, RUclips is predominantly male.
Thank you sir. That was quite great knowledge. I will have to watch this vid thrice more to fully grasp the knowledge. May be I ll watch it after 6 months. That works wonders for me.
I'd rather not have Neurolink and go without knowing more about music, ain't know way I'm hooking my brain/consciousness up to a computer, let alone AI.
Nice descriptions. I think the inversion of the chord also makes a huge difference. A ii chord sounds very different with the third in the bass for example than the root, more like a IV chord. Also, chromatic modulations have their own flavor. Once you start to understand all the chords intimately, they really do operate like a language.
'coming home to something bigger and older than you', 'emotional archetypes'. this guy sounds like some German romantic, and I don't mean that in a kind way
Hey man, fantastic video, delivery, information, and giving just enough personality to keep it extremely pleasant to watch. I subbed, lookin’ forward to more content from you for sure!
i have been looking for someone to explain this exact thing for YEARS. like, i knew that what you’re saying was true, but fkn NOBODY WANTS TO TEACH THIS
You might appreciate the “Noodle Crutch” tool, found in the musical composition game called “Infinite Songbook”. The video instructions are found here on RUclips. Also I like the cop stash.
You dont need Musk or a neurolink to study the brain (in fact, you probsbly can't ;) Functional MRI however, is a widely available technique that safely measure changes in brain activty. It has been around since 1992, and there have also been many studies showing how the brain reacts to music (so musicology has already been a science for many years ;)). Unfortunately, this explosion of new knowledge about the brain somehow mostly still fails to reach the general public.
True, but the temporal resolution of an MRI is still quite low, unless i have not kept up with the technology. The only way you can get high temporal resolution is to follow individual neurons using implants, which doesn't give you much info either. But my info might be outdated
I absolutely love the narrative you chose to use to explain it. Though I am a beginner in learning the theory, I always LOVED listening to music, and it was soooo hard to find material related to music and emotions but you really hit home on this one, so thank you so much!! Looking forward to more content!!
Backwards.... emotion is in the person... person used their emotion into how they play the music.... My radio changes my emotions don’t.. tones alone don’t emote. People do
I agree that the emotion comes from the person, but for me the composer carves a channel through which this emotion flows, and this channel has characteristics that can amplify specific emotions
3:01 saying there’s no Eb in the harmonics of C is not true- the 19th partial is a minor third above the fundamental, within 2 cents of equal temperament. You could say the major third shows up before the minor third, but saying it doesn’t exist sounds like an off the cuff ad lib
Ditto. I’ve been trying to unlock the “emotions” behind intervals and chords. All those _feelings_ you have when you hear a melody over chords, and how you can spice up something simple giving it impact without it sounding too contrived or predictable. It’s such a rabbit hole you can disappear down
Well... If you see notes as letters, chords as words, keys as alphabets and phrases as sentences, lo and behold the language analogy works again. The argument that notes dont have individual meaning does nothing against it. Letters don't have individual mening either.
You need to make Logo for yourself, for merch. Make it your face with the moustache as a set of music notes. Something like the shirt you have on in this video😊
The iii chord, secondary functions aside, is more of a tonic sound in my book, literally 🤣 The perception can obviously shift depending on the context, shading the chord differently but for tonal navigation in a key it's more practical to assign the tonic function, mentally. Unless one really hears it differently - assigning meaning, as arbitrary as it can be, should have a practical reason that resonates with the perceived
I think in jazz contexts it is often conflated with I because if you comp a Cmaj7 chord you might just play an Em7 chord in the right hand, but i would argue that they are not as close in a classical or pop context
@@purpasteur Thank you for this overview, should've already mentioned that! I'm not sure if conflated is the right word - I understand what you're getting at and it makes sense regarding jazz, or rather jazz education practices. For the role of the iii chord in other styles though, ok, more of 'tonic in passing' ;) especially because of the included 7th degree of the key, also the second degree, if it's a seventh chord, but it's structurally still closer to the tonic. For its function anyhow, since the overall context drives the perception primarily, not the intervallic structure of an individual chord. All that being said, if one does hear it a certain way, can access the sound and apply it freely, works fine. Just trying for a tidy baseline of definitions that allows to give some, here and there - since we're still working towards ... a more scientific approach
Yeah, in Berklee jazz theory, I, III-7 and VI-7 are all in the Tonic Group. II-7 and IVMaj7 are in the Subdominant Group, and V7 and V7sus are in the Dominant Group. VII-7b5 is orphaned except as a “related II-7” chord. On the surface that seems like a blurring of functions which we may have come to think of as scientifically established. If you allow 7ths into all diatonic chords but retain the core of traditional functional harmony, new creatures emerge. It’s notable that VI-7 and III-7 aren’t called substitutions for I. They’re forms of I. But, when you go below the surface and see how jazz harmony plays out in harmonic progressions, III-7 and VI-7 are navigated in very particular ways which mostly conform to classical functionality. For example, a V7 to VI-7 cadence is still a deceptive cadence. So, is VI-7 a fake I? That snarky response points out an apparent contradiction in jazz theory. The orphaning of VII-7b5 is stated this way in the Berklee Book of Jazz Harmony: “It would seem that the VII-7b5 would fit the definition of dominant function, but in the last hundred years it has so rarely been used this way that it can be excluded from the dominant category.” So, in both worlds, theory follows practice. Classical theory maintains a clear distinction between authentic and deceptive cadences because composers have. And, therefore, it doesn’t have much to say about VI- / I dual identities. Jazz allows the duality and celebrates it. All of this mucking about in the music theory weeds contributes to the nature vs. nurture discussion about meaning in harmony. It suggests that a lot of it is, indeed, cultural. I don’t think science will prove that V7 specifically means ‘joyful anticipation,’ even though it can prove how resolution of dissonance effects our nervous systems, and it can probably measure the difference in responses to authentic and deceptive cadences. But, as subjects of such testing, how would anyone be able to let go of acculturated associations? There are no unbiased subjects. On the other hand, the V7 to I cadence in the finale of Beethoven’s 5th (when it lands triumphantly in the brass in the victory of C major over C minor) will prove, emphatically, that V7 can mean joyful anticipation.
@@garygimmestad4272 Thank you for this angle, it does indeed show a common role of culture practices in perception. I'd first throw out the term "Berklee" jazz theory, that's just a brand name, with influence on current practices, yes, but using it might be misleading. Like you stated, every person is culturally biased, relying on learned information and 'appropriate' (in context) culture patterns to arrive at specific definitions which can be helpful at a point in time. Yet, music is a shifting design. Knowing this, it's helpful to briefly put the culture aspect aside, just for a moment, - this whole complex is more helpful for a music critique, some use it to 'fence off' their field for interpretation etc. - to rather look at the difference between knowledge and knowing. Contextualized data sets vs. internalizing a sound; meaning to translate a physical thing into an abstraction which then can be reproduced by a person. Our three part brain (the minimum number of parts ;)) needs to assign arbitrary terms first, to arrive at concepts that can be translated to muscle memory, eventually. Most of this happens subconsciously, obviously. We actually don't know nearly enough about perception, language faculty and knowing to even have this discussion ... goes to show. Which terms these are or which tradition isn't necessary helpful for the specific task at hand - saying there are no 'correct' terms for this internal learning process. Correct terms are important to re-contextualize once one is able to reproduce learned sounds in the first place and wanting to communicate within a specific culture and practice. Now, for the individual learning of the sounds and subsequent 'internal' classification it seems to be more practical to divide the functions according to their rough yet most perceivable roles, to keep things simple. The intellect still 'knows' that the Vii m7b5 doesn't constitute a 'proper dominant resolving to xyz' according to some book. The listener might say, uh nice tension, where does it go to next? Or even recognize / interpret it as a dominant 9 color. For the iii chord, I'd say most would hear that one more like some tonic sound, specific shading, rather than, "oh, did you hear that iii chord there, what a hip color, let's give it yet another name". To conclude, consider all the people who fall out of childhood, speaking fluently, at times beautifully and poetically, in their chosen lingo, all without professional training while there are scores of people (having) to try to learn in all these high places (looking at myself), often with good outcomes but nowhere near the amazing feat that it is to pick up a language during childhood, effortlessly. Everything else is stuff like, reciting a poem, cool yet different. Learning from understanding language processes is our best chance. Actual language processes, not the advertised generative plagiarism tools.
@@ChordYogaGuitar I should have qualified the use of Berklee. You’re right, it isn’t a universal perspective. It would read better if I’d said, “An example of current jazz theory . . . “ The use of chord spellings which could be analyzed as III-7 or VI-7 as I chords (to use the the most convenient example) is extremely common in jazz, so much so that it could be called universal (not just the Berklee way). There are many examples of jazz artists and educators who don’t think a la Berklee (Barry Harris is a good example). And, whatever school of jazz theory we might use to represent jazz in a comparison, there will be shared fundamental differences in comparison to classical functional harmony. And, of course, there isn’t just one school of ‘classical’ theory either. We speak in generalizations until we opt to drill down further. Thanks for bringing up a super interesting topic. It crosses into musicology and I’m very interested in how meaning is made in music. I’ll be following you for more on these kinds of topics!
12:50 "the ii evokes some kind of resignation" what a great word to describe it. To me that feeling is even stronger when a chord progression goes from IV to ii. If I had to think of an example, it would be the ending of the Live Aid version of Radio Ga Ga, when it goes from Bb to Gm in the minute 3:30. Also on the chorus of Bruce Springsteen's Dancing in the Dark, when it goes "This gun is for hire..."
Please be careful with the nomenclature. It is not called pre-dominant, it is called sub-dominant. That is because the distance from tonic to dominant is the same as from sub--dominant to tonic (a fifth).
I've seen both. Pre-dominant emphasizes the fact that it comes before the dominant in time. Sub-dominant refers to the note placement like you said. But the sub-dominant is specifically the IVth degree, so to talk about IV and II, i used pre-dominant, because both can lead to V
@@purpasteur Well, I see that, but really, any chord can come before or after any other chord. The nomenclature does not describe harmonic practice, it describes tonal relations and centers. Consider, what do we mean by "dominant harmony" and "sub-dominant" harmony? There is only one dominant for any note (a fifth above), and there is only one subdominant for any note (a fourth above). Put another way, any chord is a dominant of its sub-dominant, modulating to the sub-dominant takes you to the flat side of the circle of fifths. the "sub" really indicates the direction of tonality (going down, decreasing in sharps), not how a chord is used in a particular harmonic sequence.
*"Spanish Dancer"* by Steve Winwood (Master Winwood actually) is my go to for creating "color" using "percussive sound plus progression." It has one major flaw namely devolution into "Carnival" which is absolutely verboten in neary every way (Bruce Springstein after his breakout Born in the USA follow up effort is worth a listen to "Carnival music exception") but yes the opposite of this is far too much effort from Dire Straits early Mark Knopfler "Walk of Life" which is no good/not bad/snores-ville compared to his duet work with i think her name is Emmylou Harris and "This is Us." Just my take anyways.
Too bad this is written from the perspective of major keys. I rarely write in major keys because they aren't cool enough for me 😎😎😎 But on a serious note awesome video and thanks for the info!
fascinating, never even thought about I as the V of IV and how the harmonics play such a big role in setting up subconscious expectations. quick tip, label minors in roman numerals with lower case e.g. III is iii
not across all cultures though. there are cultures where tension and minor chords are not perceived as sad, and cultures where major is seen as melancholic. anyways thanks for mentioning the fact that this is not end-all be-all theory
When you were speaking about the gravity of the two chord, you made me think of the word redemption or turnaround really like turn around as in end of the cycle and signaling the turn back towards the light, and thus sort of the beginning of our redemption arc 😮
LEARNING music is definitely like learning another language. It's a cultural way people agreed to order sounds, and it feels very similar learning both to me
It's fascinating how it resembles narrative theory, like in Euripides. Chord progressions are narratives or stories because they are transitions where tension or conflict encountered and released. It has something to do with the way our brains make meaning out of time, transformation, or chronologies of events.
Absolutely, when i realized this i was 🤯
Fascinating connection
The tonic is best appreciated when mixed with gin.
👌👌👌
It would be really cool if you create a chart/PDF that summarizes these emotional musical concepts.
This video is criminally underrated. Great explanations of something we don’t hear often enough!
this channel is going to explode in 2024 ...mark my words
Hear, hear!
Agree
Awsome
Check Anselm Buchmann for the new way off saxophon playing
ok
Thought i was gonna watch for a couple minutes and get bored. Ended up watching the whole thing and being surprised it was already over. I could listen to an hour of this content. Seriously well delivered. It's got that chill, simple vibe that just invites you to sit back and listen. Liked and subbed, looking forward for more!
Thank you, I appreciate that :)
Indian music teaches raags which emote different feelings since thousands of years. You could refer to them for more info. Only please give them credit and not rename concepts and market them as your own
Indian classical music is fascinating. Do you have suggestions of related resources ?
This was an incredible break down of these concepts! Thank you for sharing!
a skilled musician could make phrygian dominant sound happy, and a major scale sound sad, its about feel
brilliant video man. As someone who has delved into music theory in the last few years, everything you said resonated with me, even down to the emotion you prescribed to each degree (when you said nostolgia for 13th my jaw dropped cuz thats what I alwasy think of) Great work! Keep it up! would love to see some videos that tackle more advanced concepts as well. subscribed
Amazing!! :)
Wow, I’ve been studying and creating music professionally for years now and you just connected so many dots for me in 14 minutes. Thank you sir, this was incredibly helpful 🙏🏼
Thank you so much!!
A c chord makes me feel something that can only be described as, UNYIELDINGLY HORNY
"Social construct" is the foundation against which every musical performance, live or from media, is experienced. So your emotional presumptions are based in part on this common thread. But temperament changes the actual math, so not all Maj7 or m7 chords, for example, are equivalent, the overtone series changes - on a piano or guitar, a string section automatically corrects for it.
At 0:30, there's actually a great book that explains pretty much everything in this video that was published back in 2008, and also features the harmonic circular scale (the actual name for your chord diagram at timestamp 10:40) and why it's better at explaining chord progressions than the circle of fifths. It's called "How Music Really Works" by Wayne Chase. It's in chapter 6 but I recommend reading through the earlier chapters about how intervals within chords interact with each other to make complete sense, based on psychoacoustics and how our brain responds to frequency ratios of intervals. There's also different categories of progression types that produce different emotions such as fifths (downwards as C to G, or upwards C to G), thirds (C to Em, or Am to C), seconds (C to Dm or Am to G, and chromatic ones (escaping the scale, C to Bb for example). Chord intervals such as 6ths or 7ths (distance between the bass notes of different chords) don't exist within the harmonic scale because they are complementary due to the circular nature of the scale and how octaves don't define chord progression qualities (whereas the octave does matter in melody). A lot of the concepts aren't new either, the circular harmonic scale concept at 10:40 was also introduced way back in 1959 in Victor Zuckerkandl’s book "The Sense of Music," which Wayne said was a source in his research. So that shows the solidness of the concept if it can be explained and put to use a half a century later by different people!
what a great comment. very informal.
Super interesting. Will def check those out!
Great
Thank you!
Wtf it’s $250 on Amazon? 😮
This is the best theory and composing video I’ve ever seen and I’ve seen a lot over the years. Thank you 🙏🏼 love your presentation and style. New sub.
Thanks a lot!
Same here! Subbed
god it’s so refreshing to hear someone talking about something actually interesting and not yelling on youtube
You are talking without a break, and breaks are the most important part in expressing music. Just to let you know.
Fair point, i'm trying to balance density of content with legibility, taking into account that people can pause/slow down the video if needed
Wow, 2, fuckin', weeks old, 3k views, 3k, fuckin', likes, WOW; and this is your, fuckin', content. Congratulations 🎊 👏 💐.
I'm writing your channel down, & coming back at Spring. For now, I am forgetting about you. Consider it a short grace.
this guy looks so much like a teen girl magazine cover that is almost embarassing to watch this 😅. maybe that would explain why such a good quality content has so few subscribers. perhaps that could explain why content of such high quality has so few subscribers.I mean, RUclips is predominantly male.
Thank you sir. That was quite great knowledge. I will have to watch this vid thrice more to fully grasp the knowledge. May be I ll watch it after 6 months. That works wonders for me.
I'd rather not have Neurolink and go without knowing more about music, ain't know way I'm hooking my brain/consciousness up to a computer, let alone AI.
Nice descriptions. I think the inversion of the chord also makes a huge difference. A ii chord sounds very different with the third in the bass for example than the root, more like a IV chord. Also, chromatic modulations have their own flavor. Once you start to understand all the chords intimately, they really do operate like a language.
Absolutely good idea for a future video
Tonal colours tints and hues, leaving hints adjective clues, harmonic chintz, yodel blues.
How can you relate emotions of music with horror- neuralink, tested in thausends of terible suffering animals?? This guy is denounced for his crimes
'coming home to something bigger and older than you', 'emotional archetypes'. this guy sounds like some German romantic, and I don't mean that in a kind way
0:07 "many musicians, if not most of them, would answer no to this question" WTF do you MEAN 😂
Today you find so much about technique, but barely nothing about convey emotions. One of the best vid`s 👍
Mauro De Maria. To everyone wanting to explore the secrets of music search that name. Mauro De Maria
I've watched a ton of music theory videos and this one is great. i dig how you present the concepts. thank you very much
Your way of conveying these concepts in existential terms is truly mind blowing. I am very glad I stumbled upon your channel!
Good video dude. Also you are smoking hot. Sorry just felt i had to say that ❤ subbed to your channel to see what else you put out x
I shit you not, this is such a beginner way of understanding theory that it's sad that this many people are listening to it.
How are they going to match music to the emotions when we don't even know where the emotions are in the brain
Crazy how I watch the entire video and it all makes sense to me, and the second the video is over I retain nothin
Good video but the random music in the background needs to be quieter
the first couple of minutes of your video had me seated *subscribed*
Epic video 🙏🏻
Subscribed before this channel blow up😎🍻
I had to turn the playback speed down, so dense of information! (or hitting my dense brain). Great stuff!
yo man, you’re the human being needed on this platform right now! good job with that ❤
Hey man, fantastic video, delivery, information, and giving just enough personality to keep it extremely pleasant to watch. I subbed, lookin’ forward to more content from you for sure!
Hey thanks for the feedback :)
Bro how are u cause you’re like young but wise af in this
Reminds me if jungian archetypes
Man you make me want to dig in theory once again. Thank you
Dude… This is so good. Brilliant.
not sure if its factual or not but I bought it, great video
He explains music theory so well
Thank you brother. Big help.
The latter sequence is called golden sequence
you right on point
The mind is blown! This is #creamybusiness
i have been looking for someone to explain this exact thing for YEARS. like, i knew that what you’re saying was true, but fkn NOBODY WANTS TO TEACH THIS
Happy to help :)
You might appreciate the “Noodle Crutch” tool, found in the musical composition game called “Infinite Songbook”. The video instructions are found here on RUclips. Also I like the cop stash.
Will check that out!
You dont need Musk or a neurolink to study the brain (in fact, you probsbly can't ;) Functional MRI however, is a widely available technique that safely measure changes in brain activty. It has been around since 1992, and there have also been many studies showing how the brain reacts to music (so musicology has already been a science for many years ;)). Unfortunately, this explosion of new knowledge about the brain somehow mostly still fails to reach the general public.
True, but the temporal resolution of an MRI is still quite low, unless i have not kept up with the technology. The only way you can get high temporal resolution is to follow individual neurons using implants, which doesn't give you much info either. But my info might be outdated
I absolutely love the narrative you chose to use to explain it. Though I am a beginner in learning the theory, I always LOVED listening to music, and it was soooo hard to find material related to music and emotions but you really hit home on this one, so thank you so much!! Looking forward to more content!!
Hey thank you!!
Backwards.... emotion is in the person... person used their emotion into how they play the music....
My radio changes my emotions don’t.. tones alone don’t emote. People do
I agree that the emotion comes from the person, but for me the composer carves a channel through which this emotion flows, and this channel has characteristics that can amplify specific emotions
3:01 saying there’s no Eb in the harmonics of C is not true- the 19th partial is a minor third above the fundamental, within 2 cents of equal temperament. You could say the major third shows up before the minor third, but saying it doesn’t exist sounds like an off the cuff ad lib
True, actually
THIS IS EVERYTHING IVE BEEN TRYING TO FIGURE OUT ON MY OWN, THANK YOU
Ditto. I’ve been trying to unlock the “emotions” behind intervals and chords. All those _feelings_ you have when you hear a melody over chords, and how you can spice up something simple giving it impact without it sounding too contrived or predictable.
It’s such a rabbit hole you can disappear down
Very interesting to hear this explained with the chords written out and with musical examples.
Nice work man. Thanks for
very interesting , thank you
Hey buddy. Could you make a video on how to craft emotional chord progressions? I'd appreciate that. Thanks 🙏
Yes, this a vaaaaast subject but i'll chip at it for sure in the future
this is great, also note how the harmonic circular scale sort of maps to the hero's journey
Well... If you see notes as letters, chords as words, keys as alphabets and phrases as sentences, lo and behold the language analogy works again. The argument that notes dont have individual meaning does nothing against it. Letters don't have individual mening either.
Agreed, but the musical phrase never achieves the type of clear meaning that a sentence has. Still, the analogy is not bad one
Great video, thanks.
Thank you for making this
Wow! First 4 minutes..and I never heard anyone explain the nuance note characteristics and relationship that succinctly.
I am going to support this channel! Thanks Pur
Improve video quality
Rudy ayoub second channel?
One of the best music theory discussions I’ve heard. Well done! Subscribe button hit
one of the best videos, thanks bro
reall liked the video and the information you gave, but the random pictures every now and then look very cheap and kinda make it worse.
Thanks for the feedback!
probably the dictionary of the language music is in and around you. for a dog should be pretty olfatory for example
and about the meaning part. is there but is not. we only put names to states in the changing world
You need to make Logo for yourself, for merch.
Make it your face with the moustache as a set of music notes. Something like the shirt you have on in this video😊
Love the idea !!
GOOD JOB
I was here before he got famous
Should be said all of this applies only to western music.
Tradition is the key word.
see 0:46
this video is legendary
The iii chord, secondary functions aside, is more of a tonic sound in my book, literally 🤣 The perception can obviously shift depending on the context, shading the chord differently but for tonal navigation in a key it's more practical to assign the tonic function, mentally. Unless one really hears it differently - assigning meaning, as arbitrary as it can be, should have a practical reason that resonates with the perceived
I think in jazz contexts it is often conflated with I because if you comp a Cmaj7 chord you might just play an Em7 chord in the right hand, but i would argue that they are not as close in a classical or pop context
@@purpasteur Thank you for this overview, should've already mentioned that! I'm not sure if conflated is the right word - I understand what you're getting at and it makes sense regarding jazz, or rather jazz education practices.
For the role of the iii chord in other styles though, ok, more of 'tonic in passing' ;) especially because of the included 7th degree of the key, also the second degree, if it's a seventh chord, but it's structurally still closer to the tonic. For its function anyhow, since the overall context drives the perception primarily, not the intervallic structure of an individual chord.
All that being said, if one does hear it a certain way, can access the sound and apply it freely, works fine.
Just trying for a tidy baseline of definitions that allows to give some, here and there - since we're still working towards ... a more scientific approach
Yeah, in Berklee jazz theory, I, III-7 and VI-7 are all in the Tonic Group. II-7 and IVMaj7 are in the Subdominant Group, and V7 and V7sus are in the Dominant Group. VII-7b5 is orphaned except as a “related II-7” chord. On the surface that seems like a blurring of functions which we may have come to think of as scientifically established. If you allow 7ths into all diatonic chords but retain the core of traditional functional harmony, new creatures emerge. It’s notable that VI-7 and III-7 aren’t called substitutions for I. They’re forms of I. But, when you go below the surface and see how jazz harmony plays out in harmonic progressions, III-7 and VI-7 are navigated in very particular ways which mostly conform to classical functionality. For example, a V7 to VI-7 cadence is still a deceptive cadence. So, is VI-7 a fake I? That snarky response points out an apparent contradiction in jazz theory.
The orphaning of VII-7b5 is stated this way in the Berklee Book of Jazz Harmony: “It would seem that the VII-7b5 would fit the definition of dominant function, but in the last hundred years it has so rarely been used this way that it can be excluded from the dominant category.” So, in both worlds, theory follows practice. Classical theory maintains a clear distinction between authentic and deceptive cadences because composers have. And, therefore, it doesn’t have much to say about VI- / I dual identities. Jazz allows the duality and celebrates it.
All of this mucking about in the music theory weeds contributes to the nature vs. nurture discussion about meaning in harmony. It suggests that a lot of it is, indeed, cultural. I don’t think science will prove that V7 specifically means ‘joyful anticipation,’ even though it can prove how resolution of dissonance effects our nervous systems, and it can probably measure the difference in responses to authentic and deceptive cadences. But, as subjects of such testing, how would anyone be able to let go of acculturated associations? There are no unbiased subjects.
On the other hand, the V7 to I cadence in the finale of Beethoven’s 5th (when it lands triumphantly in the brass in the victory of C major over C minor) will prove, emphatically, that V7 can mean joyful anticipation.
@@garygimmestad4272 Thank you for this angle, it does indeed show a common role of culture practices in perception. I'd first throw out the term "Berklee" jazz theory, that's just a brand name, with influence on current practices, yes, but using it might be misleading. Like you stated, every person is culturally biased, relying on learned information and 'appropriate' (in context) culture patterns to arrive at specific definitions which can be helpful at a point in time. Yet, music is a shifting design. Knowing this, it's helpful to briefly put the culture aspect aside, just for a moment, - this whole complex is more helpful for a music critique, some use it to 'fence off' their field for interpretation etc. - to rather look at the difference between knowledge and knowing.
Contextualized data sets vs. internalizing a sound; meaning to translate a physical thing into an abstraction which then can be reproduced by a person. Our three part brain (the minimum number of parts ;)) needs to assign arbitrary terms first, to arrive at concepts that can be translated to muscle memory, eventually. Most of this happens subconsciously, obviously. We actually don't know nearly enough about perception, language faculty and knowing to even have this discussion ... goes to show. Which terms these are or which tradition isn't necessary helpful for the specific task at hand - saying there are no 'correct' terms for this internal learning process. Correct terms are important to re-contextualize once one is able to reproduce learned sounds in the first place and wanting to communicate within a specific culture and practice.
Now, for the individual learning of the sounds and subsequent 'internal' classification it seems to be more practical to divide the functions according to their rough yet most perceivable roles, to keep things simple. The intellect still 'knows' that the Vii m7b5 doesn't constitute a 'proper dominant resolving to xyz' according to some book. The listener might say, uh nice tension, where does it go to next? Or even recognize / interpret it as a dominant 9 color. For the iii chord, I'd say most would hear that one more like some tonic sound, specific shading, rather than, "oh, did you hear that iii chord there, what a hip color, let's give it yet another name".
To conclude, consider all the people who fall out of childhood, speaking fluently, at times beautifully and poetically, in their chosen lingo, all without professional training while there are scores of people (having) to try to learn in all these high places (looking at myself), often with good outcomes but nowhere near the amazing feat that it is to pick up a language during childhood, effortlessly. Everything else is stuff like, reciting a poem, cool yet different. Learning from understanding language processes is our best chance. Actual language processes, not the advertised generative plagiarism tools.
@@ChordYogaGuitar I should have qualified the use of Berklee. You’re right, it isn’t a universal perspective. It would read better if I’d said, “An example of current jazz theory . . . “ The use of chord spellings which could be analyzed as III-7 or VI-7 as I chords (to use the the most convenient example) is extremely common in jazz, so much so that it could be called universal (not just the Berklee way). There are many examples of jazz artists and educators who don’t think a la Berklee (Barry Harris is a good example). And, whatever school of jazz theory we might use to represent jazz in a comparison, there will be shared fundamental differences in comparison to classical functional harmony. And, of course, there isn’t just one school of ‘classical’ theory either. We speak in generalizations until we opt to drill down further. Thanks for bringing up a super interesting topic. It crosses into musicology and I’m very interested in how meaning is made in music. I’ll be following you for more on these kinds of topics!
This was an incredibly detailed explanation of these chords. As a writer as well as a musician, this makes so much sense to me. Thanks!
Regiones Tonales 👀
12:50 "the ii evokes some kind of resignation" what a great word to describe it. To me that feeling is even stronger when a chord progression goes from IV to ii. If I had to think of an example, it would be the ending of the Live Aid version of Radio Ga Ga, when it goes from Bb to Gm in the minute 3:30. Also on the chorus of Bruce Springsteen's Dancing in the Dark, when it goes "This gun is for hire..."
I totally agree
Ahhh some good ol sadness.
nothing quite like it
I immediately subscribed upon watching this video. Really appreciate your work, keep it up!
Please be careful with the nomenclature. It is not called pre-dominant, it is called sub-dominant. That is because the distance from tonic to dominant is the same as from sub--dominant to tonic (a fifth).
I've seen both. Pre-dominant emphasizes the fact that it comes before the dominant in time. Sub-dominant refers to the note placement like you said. But the sub-dominant is specifically the IVth degree, so to talk about IV and II, i used pre-dominant, because both can lead to V
@@purpasteur Well, I see that, but really, any chord can come before or after any other chord. The nomenclature does not describe harmonic practice, it describes tonal relations and centers. Consider, what do we mean by "dominant harmony" and "sub-dominant" harmony? There is only one dominant for any note (a fifth above), and there is only one subdominant for any note (a fourth above). Put another way, any chord is a dominant of its sub-dominant, modulating to the sub-dominant takes you to the flat side of the circle of fifths. the "sub" really indicates the direction of tonality (going down, decreasing in sharps), not how a chord is used in a particular harmonic sequence.
So glad this was recommended! I've been playing piano and I've been drawn to Fm11. I have a few videos on my RUclips page playing the notes.
Funny you say that, I’m actually composing a sonata in f minor, it’s probably my favourite key at the moment
@@purpasteur amazing! I am not professionally trained, but I played the keys until it sounded "right". Hope ya post it when complete 🎉
*"Spanish Dancer"* by Steve Winwood (Master Winwood actually) is my go to for creating "color" using "percussive sound plus progression." It has one major flaw namely devolution into "Carnival" which is absolutely verboten in neary every way (Bruce Springstein after his breakout Born in the USA follow up effort is worth a listen to "Carnival music exception") but yes the opposite of this is far too much effort from Dire Straits early Mark Knopfler "Walk of Life" which is no good/not bad/snores-ville compared to his duet work with i think her name is Emmylou Harris and "This is Us." Just my take anyways.
Bro need a bump
Too bad this is written from the perspective of major keys. I rarely write in major keys because they aren't cool enough for me 😎😎😎
But on a serious note awesome video and thanks for the info!
Same haha
Though i wonder why music has evolved this way
fascinating, never even thought about I as the V of IV and how the harmonics play such a big role in setting up subconscious expectations. quick tip, label minors in roman numerals with lower case e.g. III is iii
Just 2k subs?!!!
Underrated video
Cool vid. Very interesting & stuff... Eachederra
awesome! subbed
Super super super explanation Augustine violinist from Malaysia
not across all cultures though. there are cultures where tension and minor chords are not perceived as sad, and cultures where major is seen as melancholic.
anyways thanks for mentioning the fact that this is not end-all be-all theory
I like how you put the chord number on screen as the music is playing in tne background. Great video!
When you were speaking about the gravity of the two chord, you made me think of the word redemption or turnaround really like turn around as in end of the cycle and signaling the turn back towards the light, and thus sort of the beginning of our redemption arc 😮
Please - whatever you do - keep Musk out of it.
Hahaha
LEARNING music is definitely like learning another language. It's a cultural way people agreed to order sounds, and it feels very similar learning both to me
THANK YOU 🤘🎵