Thank you for introducing me to the term "modal exchange" - this is a really smart way of describing SR's music, particularly the stuff written in the last 20 years. Pan-diatonicism is of course a key harmonic feature of much of SR's music, but of minimalist and electronic music in general. This chord cycle you created is very reminiscent of Reich/Richter as you say (or also recent works like Music for Ensemble and Orchestra), but also weirdly has the some of the spice of The Desert Music, which uses altered dominant chords as its harmonic baseline. Thanks for the video!
thanks. your highly informed opinion and feedback is much appreciated. no doubt theorists will be scrambling to describe Reich's approach for many more decades. he's a perennial source of inspiration for me.
Thank youu Chris. I find your way of understanding and making music muito inspiring. Im a percussionist, but I’ve been learning to play the keyboard for two years. Thanks to your videos the proceso is so much fun. Can u recomend some books for intermedium level¿ I want to improve my habilities as a composer and as interpreter. Hugsss 🎉
Put a Drum and Bass beat behind that and you've got a hit mate.:) Sublime.Also very much in the vein of electronic music anyway. Have thought of using this idiom for that genre and have been working on a few pieces that mix contemporary orchestral styles with D&B. Will be experimenting with blending this stylistic approach with what what I'm doing at some point pretty soon. Good stuff. Thanks for the tutorial.
TBH I found this really hard to follow - partly because I am just not quick enough on the keyboard! But I get the general concept, and your tune is really enjoyable.
thanks for the feedback. this definitely 2nd or 3rd level stuff. as i say in this video, ease with multiple modes and scales are the foundation for the concept.
Dude. I'm gong to have to watch that one a couple more times. Sheesh. But there is no note soup I'd rather be floating around in. I think you would have hit it off with Debussy.
absolutely. in this example, the second scale, the C lydian flat 7, is basically the 4th mode of the G ascending melodic minor. and the last scale is B melodic minor straight out.
Also, I was jamming with a new friend, I found myself playing a major 7 over a minor chord and it fit. As a passing tone of course. I love music theory, and then sometimes, theory loves me lol
@@xmateosx Oh. it's more than just a passing tone. The minor major seven is one of my favourite sonarities. It get's used a lot in the work of Bernard Hermann, and consequently you'll hear it a lot in thriller and horror sound tracks, because of it's ambigous slightly unsettled nature. A great sound.
What a cool composition idea. I’m gonna have fun with this! Interesting piece, too! Thank you, Chris.
Thank you for introducing me to the term "modal exchange" - this is a really smart way of describing SR's music, particularly the stuff written in the last 20 years. Pan-diatonicism is of course a key harmonic feature of much of SR's music, but of minimalist and electronic music in general.
This chord cycle you created is very reminiscent of Reich/Richter as you say (or also recent works like Music for Ensemble and Orchestra), but also weirdly has the some of the spice of The Desert Music, which uses altered dominant chords as its harmonic baseline.
Thanks for the video!
thanks. your highly informed opinion and feedback is much appreciated. no doubt theorists will be scrambling to describe Reich's approach for many more decades. he's a perennial source of inspiration for me.
Really amazing ……..thanks for turning the lights on ……I love steve Reich
Incredibly helpful. And a cool composition too. Thanks!
Thank youu Chris. I find your way of understanding and making music muito inspiring. Im a percussionist, but I’ve been learning to play the keyboard for two years. Thanks to your videos the proceso is so much fun. Can u recomend some books for intermedium level¿ I want to improve my habilities as a composer and as interpreter. Hugsss 🎉
Put a Drum and Bass beat behind that and you've got a hit mate.:) Sublime.Also very much in the vein of electronic music anyway. Have thought of using this idiom for that genre and have been working on a few pieces that mix contemporary orchestral styles with D&B. Will be experimenting with blending this stylistic approach with what what I'm doing at some point pretty soon. Good stuff. Thanks for the tutorial.
what you're working on sounds interesting!
TBH I found this really hard to follow - partly because I am just not quick enough on the keyboard! But I get the general concept, and your tune is really enjoyable.
thanks for the feedback. this definitely 2nd or 3rd level stuff. as i say in this video, ease with multiple modes and scales are the foundation for the concept.
Dude. I'm gong to have to watch that one a couple more times. Sheesh. But there is no note soup I'd rather be floating around in. I think you would have hit it off with Debussy.
That was awesome! Is it possible to use a melodic/harmonic scale instead?
absolutely. in this example, the second scale, the C lydian flat 7, is basically the 4th mode of the G ascending melodic minor. and the last scale is B melodic minor straight out.
@@ImpliedMusic Ouch! It burns! C Lydian Flat 7. That sounds like I might find a dominant 7 in a key where it doesn't belong!
Thanks man!
Also, I was jamming with a new friend, I found myself playing a major 7 over a minor chord and it fit. As a passing tone of course. I love music theory, and then sometimes, theory loves me lol
@@xmateosx Oh. it's more than just a passing tone. The minor major seven is one of my favourite sonarities. It get's used a lot in the work of Bernard Hermann, and consequently you'll hear it a lot in thriller and horror sound tracks, because of it's ambigous slightly unsettled nature. A great sound.
This hurts my brain Chris, but in a good way
😆