This is a good clear introduction to basic music. You can be using this without knowing it for years, but when you do know it it "connects many of the dots", so to speak, in making music. a good place to start for anyone who does not already know it. A good review for anyone who might be rusty.
unfortunately I only discovered this channel yesterday but fortunately it's never too late ... one of the best channels on youtube, thanks for the great work behind these videos. Greetings from Italy 🇮🇹
Amazing! Seriously, THE BEST guitar tutorials out there. So well done, what a pity more people aren't hanging out here - hopefully the word will get around :)
This is one of the best guitar and music theory on the web... People, you gotta comment and like so youtube know its "engaging content" thus worthy content...
BLESS you guys for this video. I already knew about 90% of the information in this video, but it was all piecemeal and scattered around and not very useful. Having things concisely laid out like this with a strong visual aid REALLY helped to unify and clear up a lot of concepts for me.
All very useful and well explained. One little thing On the complete circle also with minor, opposite F# should be Ebmin or D#min. Otherwise you have 2 F#min.
this is a great video, i really enjoyed it! You are not only clear with your explanations, but you also progress with grace. I loved the little details here and there and i felt you answered all the questions that came up in my head as i watched. For anyone else that is also new to music theory like me reading this comment, i would HIGHLY reccomned Andrew Huangs music theory in 30 minutes video. Adding on with videos from different sources (i would also reccomend a person called Pierce Porterfield here on youtube), you will get a clearer image on all of this information. I know it feels overwhelming at first, and that there is so much, but with time and multiple sources i got the feeling that pieces where comming to getter and you see a bigger picture that can ACTUALLY help with your real playing. This is also important i have found, to play around with this on a real instrument so you can get a feel of what this information is trying to help you with. Good luck my peeps!
Great explanation man. Honestly thanks for taking the time of day to make this video and answer my questions as a mostly self taught guitar picka. This helps. Thank you plenty
Hey man. I've often thought your channel is criminally underrated/'underviewed', and this video really sealed that thought. This is such a dense topic to cover in under 30 minutes but I think you've nailed this. It's a goodie-bag-sized package of valuable must-knows, which is brilliantly narrated as it guides you principle by principle through each fundamental. Thank you for your time putting this together! My very best to you.
@@QJamTracks my pleasure. Many thanks to all the content you put out, along with the effort that goes in to making very clear. A Merry Christmas to you!
Sir I can see your channel getting better and better ! You are certainly putting a lot of time and work into your passion for sharing music with others. In my opinion you should have millions of subscribers ! I highly recommend your channel to everyone else that plays and writes music. Music is a gift from God and you are going to be so greatly rewarded for doing such awesome work. I can see your passion in music and sharing with others is to be highly commended, Thank you so much my brother ! I appreciate you ! ~ Michael @ Michaels Music
Thank you so much for sharing your hard work, I'm learning so much from your channel ! May I ask one question ? What did you use to make your graphics ? My students could use a visual aid when I'm explaining something and this would be perfect. Thank you so very much !!!
MInute .. 8,41..--- My god... After three years studing music theory... finally I understand why there are b ( flats) in the circle of fifths and not all the notes are called by it´s sharp.#. Because you have to lower the note.. The note A is taken by A.. You lower the B.. Not rise the A.. Is like you only have one note for each A zone.. .. you can not have A, and A#..
Good question.On the major scale, take C Major for example it has within this scale a relative minor scale that shares the same amount of sharps or flats in the key signature.This relationship ONLY happens on the 6th note of the Major scale which would mean Am has the same amount of sharp/ flat as C major ( You will be aware there are no sharp/ flat for this specific key signature) Hope that makes sense.
Nice clear presentation. I got a doubt though about the minor harmonisation. Shouldn't the natural minor scale be harmonised as: im iiº bIII iv v bVI bVII. (Unaltered notation still is accepted as an alternative notation). This would make more sense since the 3rd, 6th and 7th are minor (or diminished for the 7th). In Cm the 3rd degree chord is Eb, not E as the video notation suggest it. In her fantastic book (in French) Clé pour l'harmonie, Jo Anger Weller suggest always use roman number relative to the Major scale. This help to target the correct chord name when using roman numbers.
Hi Sébastien, That's true, but I wanted to make a clear and simple explanation for the beginner musician. Those flats and sharps in the scale degree roman numbering could have clouded the concept, when it's not really needed. That's why I did it like this. In tutorials pointed at advanced musicians I do use the system you mentioned.
Hey, great video, I do have a few questions if you could answer them that'd be great. I was curious to why you explained the flat keys in the circle of fifths by saying they went around in 4ths? I know this is true but, I thought it was an odd way to explain the circle of fifths. Meaning why not point out that it's essentially going down 5ths rather than up in 4ths? F to Bb is both up a 4th and down a 5th. Bb to Eb is up a 4th but down a fifth, and so on....Also, I always just considered it as going around all the way in fifths or down in fifths. Another thing I was wondering was, why didn't you include (C#/Dbmaj, F#/Gbmaj, and B/Cbmaj) i know they're pairs of the enharmonic keys but they each belong on the circle of fifths and have key signatures. Maybe it would be a cool idea to do a video on why we don't have keys like G#maj. I was talking to someone recently about this who didn't understand. I tried by explaining how you'd have to write double sharps. Such as G#maj. It would be G#, A#,B#,C#,D#,E#,Fdouble sharp,G#. If you went around the circle of fifths this way (past C#major) G# would be next key and it would be considered to have 8 sharps. Hence the double F sharp for making that possible. But this is why we just call it Ab instead. Lastly, I had a question about keys. What defines what a key is? I always obviously considered all major and relative minors to be keys. Such as Cmaj or amin. But what about modal scales? By definition of a key would the modes not be considered keys? They have all the same elements that their relative major and minors do. They even are major and minor them selves depending on the particular mode. For instance, dorians minor and lydian is major. Not to mention, both the major and minor scales are them selves modes. They have a tonal center and chords/triads within them. Certainly if I'm playing an ephrygian progression I wouldn't tell someone to improvise in Cmajor. It would feel out of context. Basically, are modes keys in a technical sense. Thanks! 🤔😜
Hi Gavin. Thanks for your comment. This seems like work to me 😊 To answer your first question: The circle of fifths as it is called is a movement of notes (tonic of the key) in fifths.. There’s no way around that. The way I learned it for getting it into my head was to make a separation of keys that have sharps and keys that have flats. From the centre of the universe - the note C - keys with sharps move away from C in fifths and keys with flats move away from C in fourths. That’s the reason I used this way of explaining. Second question: This is a tutorial pointed at the beginner musician. In this phase there’s no need to make things unnecessary complicated. I wanted to make a clear and easy to understand visual representation. Of course the keys like Gb major and Cb major do exists, but will not be of concern yet for the beginner musician. Third question (modes): Arbitrary indeed. This is what I like to think: Modes is what the word says. It’s a flavor or variation. In this case a flavor/variation of a major scale (and some would say a flavour of a major key). It’s best to name things for what they are to keep it systematic and understandable (I think). So a mode is something OF a major key and not a key itself, a variation, or better: a mode. Although, looking purely at the notes and chords, you would say it’s same thing. It’s not. Modal harmony is a complete different thing than functional harmony for instance.
@@QJamTracks All of the notes and chords within any given mode correspond directly to the relative major key. So there's no note or chord variations that can be made in D dorian that don't exist in C major. Atleast not without going against the key. I feel the difference with modes and major and minor keys is the context and how they relate within whatever context that may be. Like functional harmony vs modal harmony. Functional harmony more so deals with the relationships of implied certain tonal movements. Whereas modal harmony seems to be more abstract or neutral from any given chord or note. To me, it's like most modes aren't used frequently enough to have an established pattern for a common feeling of resolution. In other words, I feel like we've heard such cadences in relationship to major and minor keys so much its develpoed to a psychological assumption for the anticipation of tonal movements. I feel like modes could easily be considered keys themselves. Much like natural minor and major are aeolian and ionian. All the other modes technically have the same elements. Just different variations as you put it. No different than major in relation to natural minor if you ask me. The other modes just aren't as commercially popular the way major and minor are. Which gets back to why we don't have prominate established expectations of tonal patterns. Perhaps if humanity last a significant amount of time, such patterns will develop and grant modes the privilege of becoming keys with an entirely new outlook of functional harmony. Difficult to explain over comments but I hope that makes some sense atleast. 🤣
doing it in C is carryover from learning sheet music/piano because key of C has no sharps or flats and means all white keys on piano. for guitar it matters less, learn your root notes and shapes as a basis then build from there😊
Ive been "playing" for a long time. Wow did I need this video a LONG time ago.
This channel is treasure. I'm glad I found it.
This is a good clear introduction to basic music. You can be using this without knowing it for years, but when you do know it it "connects many of the dots", so to speak, in making music. a good place to start for anyone who does not already know it. A good review for anyone who might be rusty.
The best guitar lesson EVER
This is by far the best discussion I've ever seen compared to other explanations. You deserve more views!
unfortunately I only discovered this channel yesterday but fortunately it's never too late ... one of the best channels on youtube, thanks for the great work behind these videos.
Greetings from Italy 🇮🇹
Thanks Ivan
Music is a gift of God ... thank you so much for sharing your hard work !
GRAPHICS IN THE VIDEOS ARE AMAZING ALSO. BEAUTIFUL..
Circle of 5ths was beautifully explained and how it relates to strings and frets on the 🎸 guitar. Thanks.
has to be the best music theory channel ive come across yet
Crystal clear and to the point. Probably the most logical progression through these concepts I've seen. Excellent use of the graphics.
Amazing! Seriously, THE BEST guitar tutorials out there. So well done, what a pity more people aren't hanging out here - hopefully the word will get around :)
So many dots connected!! I have been looking for a video just like this. Thank you so much!!
Finally, I found The Guitar teacher!!!
This is one of the best guitar and music theory on the web... People, you gotta comment and like so youtube know its "engaging content" thus worthy content...
Thank you!
clearly enough, easy to understand! Thank you.
BLESS you guys for this video. I already knew about 90% of the information in this video, but it was all piecemeal and scattered around and not very useful. Having things concisely laid out like this with a strong visual aid REALLY helped to unify and clear up a lot of concepts for me.
My best and clearest musical course!
Thanks!
Really well done, thank you !!
Cool. Thanks for sharing.
All very useful and well explained.
One little thing
On the complete circle also with minor, opposite F# should be Ebmin or D#min.
Otherwise you have 2 F#min.
This video is really well done. I'm impressed.
Excellent presentation. Looking forward to the series. Thank you for posting 👍
What a good explanation
Great video! Thank you for making this.
this is a great video, i really enjoyed it! You are not only clear with your explanations, but you also progress with grace. I loved the little details here and there and i felt you answered all the questions that came up in my head as i watched. For anyone else that is also new to music theory like me reading this comment, i would HIGHLY reccomned Andrew Huangs music theory in 30 minutes video. Adding on with videos from different sources (i would also reccomend a person called Pierce Porterfield here on youtube), you will get a clearer image on all of this information. I know it feels overwhelming at first, and that there is so much, but with time and multiple sources i got the feeling that pieces where comming to getter and you see a bigger picture that can ACTUALLY help with your real playing. This is also important i have found, to play around with this on a real instrument so you can get a feel of what this information is trying to help you with. Good luck my peeps!
I guess I am reaaaally a beginner…I am so lost! Perhaps I need to watch this a few more times. Geeezus!
Great explanation man.
Honestly thanks for taking the time of day to make this video and answer my questions as a mostly self taught guitar picka. This helps. Thank you plenty
Very instructional! the more I see your lessons more clear are the ideas of music concepts. Thanks so much Rob!
Thanks Rafael!
After 10 years I found this video. Thank you
thank you for this i found it very helpful!
Fortunately, I knew all this, but still a great wrap up video!! I am going to check out your other tutorials. Liked and subscribed.
This is very helpful - thank you : )
Hey man. I've often thought your channel is criminally underrated/'underviewed', and this video really sealed that thought.
This is such a dense topic to cover in under 30 minutes but I think you've nailed this. It's a goodie-bag-sized package of valuable must-knows, which is brilliantly narrated as it guides you principle by principle through each fundamental.
Thank you for your time putting this together! My very best to you.
Well thank you for this nice comment JC!
@@QJamTracks my pleasure. Many thanks to all the content you put out, along with the effort that goes in to making very clear. A Merry Christmas to you!
Respect and love
Wow thank you for your work !! Excellent stuff
Sir
I can see your channel getting better and better !
You are certainly putting a lot of time and work into your passion for sharing music with others. In my opinion you should have millions of subscribers ! I highly recommend your channel to everyone else that plays and writes music. Music is a gift from God and you are going to be so greatly rewarded for doing such awesome work. I can see your passion in music and sharing with others is to be highly commended, Thank you so much my brother !
I appreciate you ! ~ Michael @ Michaels Music
wow this is really good!! so glad I found it!! thanks man, great teacher, will explore some more!
what music software you are using?? I want to try it looks interesting
confused before.. bewildered and confused now.. lol
Thank you so much for sharing your hard work, I'm learning so much from your channel !
May I ask one question ? What did you use to make your graphics ?
My students could use a visual aid when I'm explaining something and this would be perfect.
Thank you so very much !!!
MInute .. 8,41..--- My god... After three years studing music theory... finally I understand why there are b ( flats) in the circle of fifths and not all the notes are called by it´s sharp.#. Because you have to lower the note.. The note A is taken by A.. You lower the B.. Not rise the A.. Is like you only have one note for each A zone.. .. you can not have A, and A#..
The one thing I'm not understanding is how was/is it determined the minor scale starts on the 6th note of the major scale?
Good question.On the major scale, take C Major for example it has within this scale a relative minor scale that shares the same amount of sharps or flats in the key signature.This relationship ONLY happens on the 6th note of the Major scale which would mean Am has the same amount of sharp/ flat as C major ( You will be aware there are no sharp/ flat for this specific key signature) Hope that makes sense.
Wow Amazing !!!
Nice clear presentation.
I got a doubt though about the minor harmonisation. Shouldn't the natural minor scale be harmonised as: im iiº bIII iv v bVI bVII. (Unaltered notation still is accepted as an alternative notation). This would make more sense since the 3rd, 6th and 7th are minor (or diminished for the 7th). In Cm the 3rd degree chord is Eb, not E as the video notation suggest it.
In her fantastic book (in French) Clé pour l'harmonie, Jo Anger Weller suggest always use roman number relative to the Major scale. This help to target the correct chord name when using roman numbers.
Hi Sébastien,
That's true, but I wanted to make a clear and simple explanation for the beginner musician. Those flats and sharps in the scale degree roman numbering could have clouded the concept, when it's not really needed. That's why I did it like this. In tutorials pointed at advanced musicians I do use the system you mentioned.
Hey, great video, I do have a few questions if you could answer them that'd be great. I was curious to why you explained the flat keys in the circle of fifths by saying they went around in 4ths? I know this is true but, I thought it was an odd way to explain the circle of fifths. Meaning why not point out that it's essentially going down 5ths rather than up in 4ths? F to Bb is both up a 4th and down a 5th. Bb to Eb is up a 4th but down a fifth, and so on....Also, I always just considered it as going around all the way in fifths or down in fifths. Another thing I was wondering was, why didn't you include (C#/Dbmaj, F#/Gbmaj, and B/Cbmaj) i know they're pairs of the enharmonic keys but they each belong on the circle of fifths and have key signatures. Maybe it would be a cool idea to do a video on why we don't have keys like G#maj. I was talking to someone recently about this who didn't understand. I tried by explaining how you'd have to write double sharps. Such as G#maj. It would be G#, A#,B#,C#,D#,E#,Fdouble sharp,G#. If you went around the circle of fifths this way (past C#major) G# would be next key and it would be considered to have 8 sharps. Hence the double F sharp for making that possible. But this is why we just call it Ab instead. Lastly, I had a question about keys. What defines what a key is? I always obviously considered all major and relative minors to be keys. Such as Cmaj or amin. But what about modal scales? By definition of a key would the modes not be considered keys? They have all the same elements that their relative major and minors do. They even are major and minor them selves depending on the particular mode. For instance, dorians minor and lydian is major. Not to mention, both the major and minor scales are them selves modes. They have a tonal center and chords/triads within them. Certainly if I'm playing an ephrygian progression I wouldn't tell someone to improvise in Cmajor. It would feel out of context. Basically, are modes keys in a technical sense. Thanks! 🤔😜
Hi Gavin. Thanks for your comment. This seems like work to me 😊
To answer your first question: The circle of fifths as it is called is a movement of notes (tonic of the key) in fifths.. There’s no way around that. The way I learned it for getting it into my head was to make a separation of keys that have sharps and keys that have flats. From the centre of the universe - the note C - keys with sharps move away from C in fifths and keys with flats move away from C in fourths. That’s the reason I used this way of explaining.
Second question: This is a tutorial pointed at the beginner musician. In this phase there’s no need to make things unnecessary complicated. I wanted to make a clear and easy to understand visual representation. Of course the keys like Gb major and Cb major do exists, but will not be of concern yet for the beginner musician.
Third question (modes): Arbitrary indeed. This is what I like to think: Modes is what the word says. It’s a flavor or variation. In this case a flavor/variation of a major scale (and some would say a flavour of a major key). It’s best to name things for what they are to keep it systematic and understandable (I think). So a mode is something OF a major key and not a key itself, a variation, or better: a mode. Although, looking purely at the notes and chords, you would say it’s same thing. It’s not. Modal harmony is a complete different thing than functional harmony for instance.
@@QJamTracks All of the notes and chords within any given mode correspond directly to the relative major key. So there's no note or chord variations that can be made in D dorian that don't exist in C major. Atleast not without going against the key. I feel the difference with modes and major and minor keys is the context and how they relate within whatever context that may be. Like functional harmony vs modal harmony. Functional harmony more so deals with the relationships of implied certain tonal movements. Whereas modal harmony seems to be more abstract or neutral from any given chord or note. To me, it's like most modes aren't used frequently enough to have an established pattern for a common feeling of resolution. In other words, I feel like we've heard such cadences in relationship to major and minor keys so much its develpoed to a psychological assumption for the anticipation of tonal movements. I feel like modes could easily be considered keys themselves. Much like natural minor and major are aeolian and ionian. All the other modes technically have the same elements. Just different variations as you put it. No different than major in relation to natural minor if you ask me. The other modes just aren't as commercially popular the way major and minor are. Which gets back to why we don't have prominate established expectations of tonal patterns. Perhaps if humanity last a significant amount of time, such patterns will develop and grant modes the privilege of becoming keys with an entirely new outlook of functional harmony. Difficult to explain over comments but I hope that makes some sense atleast. 🤣
Legenda em português. Estamos inscrito no canal.
Jesus Christ Bro!!!!, Thanks So Much!!!, This Changed My Life!!!!!!😂😍😂😍😂😭😭😭
Tradução para o Português Brasil. Please. Obrigado
But the terms key and scale are not interchangeable to my knowledge. In the video you say that they are the same, which is incorrect.
My head hurts
Why are we governed by the positions following the C major scale. I’m trying to learn but I’m just not getting this at all. It’s my fault … sorry
doing it in C is carryover from learning sheet music/piano because key of C has no sharps or flats and means all white keys on piano.
for guitar it matters less, learn your root notes and shapes as a basis then build from there😊
Ik begrijp er helemaal niks
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