20 years ago I was trying to find literature on this and could t. Here we are 20 years later and I finally I found someone talking about it. There is so much more to talk about on this that he missed but so glad someone at least made a video on the topic.
Abba used it in the song Fernando. On the part where Agnetha sings "I never thought that we could lose" the Gmaj chord goes to a dominant 7th and then to Emaj. It sounds very majestic.
C, E flat, F sharp and A reminds me of a song by this great (and eccentric) band called Gong. I think it's called 'Oily Way' off the album Angel's egg. I'm glad that I came across this video at the right point in my life in terms of learning music theory, as I'm currently dealing with triads and wish to learn chromaticism. Great lesson!
This material should not be referred to as "chromatic thirds". Chromatic 3rds are chromatic melodic lines harmonized in 3rds. The term you should be using is "chromatic mediants" which refers to the harmonic relationships you are describing.
It's just a label. The mediant means the third degree, so really it's saying exactly the same thing. The key thing is not to get caught up in terminology but understand and use the principles.
@@pinecone421it's obvious that going up in minor thirds gets a °7 chord but he meant the notes of C Major, Eb Major, Gb Major and A Major are the notes of the C dominant diminished scale, C, Db, Eb, E, F#, G, A, Bb, and C which wasn't obvious to me
Yes you are correct. And major chords moving in major thirds is the augmented scale. But what if you mix them? Ex c major to eb major to B major to ab major to c major. What scale is that from?
"We're not in Kansas anymore". Sounds easy to understand! We should replace music theory terms with US state names. Play some Hawaiian Texas before heading to New York or Maine.
The spelling was weirding me out also since Eb to F# is not actually a “third” but I am guessing he just wanted to use the most accessible note names. Overall a fine video, thank you for making!
In this type of music, it is not that important to have a rule associated with which enharmonic note to use. This music is not based on scales and the enharmonic system is. So you could choose g b or f sharp interchangeably. The only time you end up making a choice of one over the other would be based on the melody and readability for the player. For example, if over a c major to f sharp major / gb major progression the melody plays c Lydian. C Lydian has f sharp not g b. So in this case f sharp by far makes the most sense.
so does this have anything to do with constant structure progressions? like at 1:50. constant structures are just consistent qualities and distances being played out, right? in this case Cmaj M3-> Emaj. it happens here too at 2:08 where it's going from Emaj M3-> Abmaj. so is this is a kind of constant structure idea?
I usually use five note scales that two chords could share a relationship with each other. An example, C major to Eb major, I start at G which is a common tone to both chords and use the g minor scale up to a fifth which is D so G, A, Bb, C, D. There is your scale. Bartok used a scale that would work with those same two chords; G, A, Bb, C#/Db and D.
Depends on the progression but this is definitely the toughest part. Generally you can find the 7 note scale that has the most common notes between the chords. And then decide if your melody only plays the common notes that result in the appearance of one scale, or add some variation. (Change the scale based on the chord). Ex - c major to f sharp major. 7 note scale with most common notes. C Lydian dominant. The d or d flat is the only note not common. And to handle that, you can either avoid that note or simply play d over the c, and db over the f sharp chord. You can also play octatonic over this progression. Much more to discuss here but hopefully this helps
Yeah, exploring weird harmony is important, but it sounds like shite... if you’re gonna invest your time in new harmonic structures, at least make it sound relatively nice... and the excuse “it’s just a color” is bull.
First of all, this is pure music theory, completely out of the context of written, recorded and produced music, and devoid of any instrumentation, articulation or dynamic variation, so don’t take it at face value. Second of all, music doesn’t have to always sound “nice”. It’s an art form, and one of the purposes of art is that it’s confronting. Good Music explores emotions through sound. For different emotions you need different sounds. The sounds you hear In this video don’t have to please you. They have to evoke emotion, however even then, as previously stated, this is not musical in the sense that It’s just music theory.
It doesn’t sound like shite. Do you like Star Wars music? John Williams uses it? How about Halloween theme? Edward scissor hands ? Lord of the rings? Maybe the way he is playing it is shite but these ideas are not
20 years ago I was trying to find literature on this and could t. Here we are 20 years later and I finally I found someone talking about it. There is so much more to talk about on this that he missed but so glad someone at least made a video on the topic.
Abba used it in the song Fernando. On the part where Agnetha sings "I never thought that we could lose" the Gmaj chord goes to a dominant 7th and then to Emaj. It sounds very majestic.
Oo which part
Is it the "though we never thought that we could lose"
1-3-4-4m is a common progression. Pink floyd Nobodies home in parts and Creep is that entirely.
Loved the minor thirds bit, it’s such a fun and spooky sound
C, E flat, F sharp and A reminds me of a song by this great (and eccentric) band called Gong. I think it's called 'Oily Way' off the album Angel's egg.
I'm glad that I came across this video at the right point in my life in terms of learning music theory, as I'm currently dealing with triads and wish to learn chromaticism. Great lesson!
Radiohead's sail to the moon endinggg
This material should not be referred to as "chromatic thirds". Chromatic 3rds are chromatic melodic lines harmonized in 3rds. The term you should be using is "chromatic mediants" which refers to the harmonic relationships you are describing.
like whatever...
Cool...
It's just a label. The mediant means the third degree, so really it's saying exactly the same thing. The key thing is not to get caught up in terminology but understand and use the principles.
Uh...ok?......
Cry about it
Cool.
A major chord moving in minor 3rds is the diminished scale.
joel rivard sort of and that's obvious how does this relate?
joel rivard o
@@pinecone421it's obvious that going up in minor thirds gets a °7 chord but he meant the notes of C Major, Eb Major, Gb Major and A Major are the notes of the C dominant diminished scale, C, Db, Eb, E, F#, G, A, Bb, and C which wasn't obvious to me
Yes you are correct. And major chords moving in major thirds is the augmented scale. But what if you mix them? Ex c major to eb major to B major to ab major to c major. What scale is that from?
Wow , so many random critiques in the comment section. Thanks for the mini-lesson!
Thank you so much! !!! God Bless You
apparently, for Berklee chromatic THIRDS and chromatic TRIADS are one and the same thing...
"We're not in Kansas anymore". Sounds easy to understand! We should replace music theory terms with US state names. Play some Hawaiian Texas before heading to New York or Maine.
LMAOOO!
Dont forget the 20th century fox reel
It’s a reference to The Wizard of Oz, in which Dorothy, upon arriving to Oz, says, "Toto, I've a feeling we're not in Kansas anymore”.
So much helpful
Why F# and not Gb? Isn't F# the supertonic in E? Or is it relating to C as lydian?
The spelling was weirding me out also since Eb to F# is not actually a “third” but I am guessing he just wanted to use the most accessible note names. Overall a fine video, thank you for making!
In this type of music, it is not that important to have a rule associated with which enharmonic note to use. This music is not based on scales and the enharmonic system is. So you could choose g b or f sharp interchangeably. The only time you end up making a choice of one over the other would be based on the melody and readability for the player. For example, if over a c major to f sharp major / gb major progression the melody plays c Lydian. C Lydian has f sharp not g b. So in this case f sharp by far makes the most sense.
so does this have anything to do with constant structure progressions? like at 1:50. constant structures are just consistent qualities and distances being played out, right? in this case Cmaj M3-> Emaj. it happens here too at 2:08 where it's going from Emaj M3-> Abmaj. so is this is a kind of constant structure idea?
Something to say about the scale to use on it for melody?
I usually use five note scales that two chords could share a relationship with each other. An example, C major to Eb major, I start at G which is a common tone to both chords and use the g minor scale up to a fifth which is D so G, A, Bb, C, D. There is your scale. Bartok used a scale that would work with those same two chords; G, A, Bb, C#/Db and D.
Depends on the progression but this is definitely the toughest part. Generally you can find the 7 note scale that has the most common notes between the chords. And then decide if your melody only plays the common notes that result in the appearance of one scale, or add some variation. (Change the scale based on the chord). Ex - c major to f sharp major. 7 note scale with most common notes. C Lydian dominant. The d or d flat is the only note not common. And to handle that, you can either avoid that note or simply play d over the c, and db over the f sharp chord. You can also play octatonic over this progression. Much more to discuss here but hopefully this helps
maj 3rd Coltarne changes
Is that nate but older from the office?
1000th like
Um, Beethoven died in 1827.
he said after
your stupid
Alex’s vlogs *you’re
Honestly this stuff was used way after Beethoven. The earliest example I am aware of is bruckner.
Yeah, exploring weird harmony is important, but it sounds like shite... if you’re gonna invest your time in new harmonic structures, at least make it sound relatively nice... and the excuse “it’s just a color” is bull.
First of all, this is pure music theory, completely out of the context of written, recorded and produced music, and devoid of any instrumentation, articulation or dynamic variation, so don’t take it at face value. Second of all, music doesn’t have to always sound “nice”. It’s an art form, and one of the purposes of art is that it’s confronting. Good Music explores emotions through sound. For different emotions you need different sounds. The sounds you hear In this video don’t have to please you. They have to evoke emotion, however even then, as previously stated, this is not musical in the sense that It’s just music theory.
It sounds shite according to whom? What even is the point of your comment?
Have you listened to any film music ever? Do you think it all sounds shit?
It doesn’t sound like shite. Do you like Star Wars music? John Williams uses it? How about Halloween theme? Edward scissor hands ? Lord of the rings? Maybe the way he is playing it is shite but these ideas are not
Chromatic mediant?