At 2:03, that arrow was supposed to point to the F, not the F#. Whoops! Also, due to some imprecise wording at 1:36 I may have accidentally implied that the Blues Scale has exactly one half step, when of course it has two. That wasn't my intent with that line, but I could see how one could interpret it that way.
@@fredashay In a composition of great enough length and number of modulations, you can probably find an example. If you mean music that uses them all in short succession, yes, the 12-ton serialists did this, and it sounds terrible. Now on the other hand, if you have a tonal space of more than 12 notes per octave, then you have room to use more than 12 of them and still have some space left for the tonality to breathe. For instance, Ivan Wyschnegradsky, who was one of the pioneers of modern microtonality, often used 13 note scales . . . in a tonal space of 24 notes per octave. (He also had a few compositions for even larger tonal spaces, but that was technically a lot harder to set up in the days before electronic synthesizers with polyphonic microtonal capability, so he mostly stuck with 24 notes per octave.)
Funny! But let me take this as a serious comment for a moment. If you truly "think" in the 12-tone chromatic scale and compose with that mindset, you run into the same issues that 12Tone discusses with the whole-tone scale. All consecutive intervals are identical, which limits what you can do. The symmetry makes it difficult to establish any one pitch class as a reference.
For anyone whom it may help: the Whole-Tone scale is two augmented chords a whole-step apart whereas the Augmented scale is two augmented chord a half-step apart.
How come i've never thought simply mashing two unrelated triads to come up with a brand new hexatonic scale? This seems so obvious to me now! Thank you, dude Now I'm feeling like a child with a brand new toy
Sounds like an amazing concept to break mental barriers, but it seems so hard to actually do it! Think about it, when you learn a new scale it takes so much time to get used to it and create motifs, riffs... Do you think a particularly talented musician would be able to take 2 chords out of the blue and play along? Would this guy have to be like a world class performer or would an advanced student of some sorts be able to do it? I am enticed, but so fucking scared xD
I totally agree! It'll probably take months, perhaps years for me to make anything good while applying this technique, since I'm just the average musician BUT at least, I now have the framework to implement it :D Not saying that I'll -do it-, but damn I wanna try it haha
Yeah, I was pretty excited when I first saw it too! An easy way to approach it is just to try jamming over a two-chord vamp. So, like, if you took the D major hexatonic one, you could make a backing track of D major and E minor and then just mess around with the scale freely on top!
Man you put quality effort into this specific niche I subbed for that reason. I don’t like seeing someone with a whiteboard, or an overhead view of a keyboard, or long boring history lessons with the camera focused on the person talking. So thanks man 🙏🏼
My first known exposure to this concept was Allman Bros. They have a lot of harmonized guitar lines using a six note scale. This causes the harmony to shift from 3rds to 4ths for some notes, and defines what I think of as their signature sound.
I swear, whenever I struggle with something involving music theory you'll upload a video explaining it a couple of days after. Anyways, thank you for this video, it helped quite a bit!
Also, have you ever considered collaborating with someone like Adam Neely? I know you guys make similar content about theory and I think a collab would give you a bit of spotlight in the youtube-music community.
Adam actually knows about and supports our work, I haven't asked him about collaborating 'cause I haven't had any specific ideas yet, but if he was interested I'd definitely be down!
windowsforvista D is probably more "symmetrical" and "centered" in terms of enharmonics and is not immediately preceded/followed by a half step when there are no accidentals. (C, on the other hand, would have a half-step preceding it (B to C is a half step) and any other non-accidental note except for G and A would have the half step before or after it.) As to why he didn't choose G or A, I think it might be that it isn't as "centered" as D. (a note of how "symmetrical" D is is how a Dorian scale based off of D would not only be symmetrical in intervals (WHWWWHW) but also have no sharps or flats(DEFGABCD).)
I tend to not like using C because it makes it easy to jump to false conclusions because things line up in ways they're not actually supposed to. It's important to distinguish between, say, a flat note and the flat third degree of the key, which could be flat, natural, or even sharp. Using keys where those concepts don't always line up makes it easier for people to understand that, say, F major doesn't have a flat 4th, it has a perfect fourth that happens to be the note Bb. If people learn all the rules in C major first, it's very easy to mistranslate those rules. Also, I don't like using ledger lines if I don't have to, so when I'm writing scales I almost always start somewhere between D and G.
Most Touhou Project music melodies are composed in a hexatonic scale, the one at 3:04 (in various keys). Though the harmony often revolves around the VI, VII, i chords, which makes for an interesting contrast since the sixth is missing from the melody. At least one of the songs I've seen throw a Dorian-ish natural sixth in the melody at one point, but it's rare. When I first figured this out it was a bit of an a-ha moment; this is what makes Touhou project music sound distinctive.
This indirectly reminds me of a Guitar Player interview with Pat Martino where he points out that augmented triads can function as major chords by shifting a single pitch down and minor chords by shifting a single pitch up, while fully-diminished quatrads can function as dominant chords by shifting a single pitch down or a half-diminished chords by shifting a single pitch up. Given that the fully-diminished scale is two °7th chords and the whole tone scale is two + chords and each has only two permutations it's almost like those 4 configurations function as the backbone to all the common tonal chords.
Really cool! I came across the use of augmented chords as a sort of go-between from major to minor triads when I was researching Neo-Riemannian analysis: If you're interested in that sort of thing I'd highly recommend looking that up!
I'm definitely a big fan of Neo-riemannian analysis, and I liked your vid on it. I've actually gone so far as to build a helical truncation of the Tonnetz from k'nex that sits on my desk. I think it's particularly beautiful because the Major/minor scales form a double helix on the face of it, almost like it's the DNA of scales.
Hey 12 tone, your videos are super interesting and clear ! thanks a lot ! Can you do a video on scales with quarter tones ? like arabic ones, indian ones ?
Thanks! I'll look into it! We've already done some stuff on quarter tones in general (ruclips.net/video/bWG6CGKMnNA/видео.html ) but I'd love to do some stuff specifically on their scale uses!
Very cool! I have been playing around with hexatonic scales for a while and it's nice to see some theory! One of my favourites is a sort of, "myxo-dorian" hexatonic scale that has no 3rd, for a rather ambiguous sound: D E G A B C
Heh, I made up a tune a while ago that's kinda similar. Except instead of using neither F nor F#, it uses both; that is, sometimes it's in Dorian and sometimes it's in Mixolydian. I could easily modify the tune to make it fit in that hexatonic scale, though (replacing them with a C or an E (depending on context) seems to work. Well, mostly).
What Corey referenced as the "minor hexatonic" (E F# G A B D E) is also ambiguous, like "dorian-aolian" Interestingly, "mixo-dorian" is the 4th mode of "dorian-aeolian"
12tone he's got a column called "String Theory" that runs in each issue; while I'm not nearly a good enough guitarist to play any of the stuff he has tabbed out some of the ideas he presents are fascinating. Love your channel by the way, and thank you for the reply!
Ooh, interesting, I didn't know those existed! I always assumed that once you got below 5 they started just being chord arpeggios, but I'll definitely look into it!
I read that series of articles by Jimmy Brown in Guitar World too. I've been thinking about the idea a lot since, interesting to see your take on it! Also, from my own research, if you craft a scale from D Major and F Minor chords, you can play the main riff to Slither by Velvet Revolver (D E# F# G# A C).
The last thing I was working with (now years ago; marriage sucks) was a 10 note scale much like the Sentimental one - take a major scale and add the diminished notes. At that point, you're almost working with the entire 12-tone row, so this might not impress your purists ;D
The following is the logical implication of what you said but could have explicitly stated that there are only 2 independent triads in a hexatonic scales, with the rest being inversions of them.
Not necessarily! For instance, the D major hexatonic scale (D, E, F#, G, A, B, D) is built from the notes of D major and E minor, but it also has the notes for G major and B minor inside of it.
Amazing content 12tone! I now it's not particular to your format and such, but it would have been nice to see a demonstration of the concept, do you think you could provide that for us? Even if you could just name a music built around this
Fair point! Honestly, for the combining-chords approach, I don't really know of any actual songs written in that way. I'm sure they exist, but the stuff I read was mostly about practicing and exploring the concepts in a rigorous way, rather than applying it to actual music. I'll try to keep that in mind for the future, though!
12tone aaa you need to know! Go search up Santa Clara Vanguard 2017 "ouroborus". DCI is Drum Corps International, to put it simply its marching band on steroids with a few exceptions.
Can anybody point to a comprehensive list or video that has some common ones used in songs? I know of 3 interesting ones other than the popular blues and whole tone… Mclaughlin using EFG#ABD often, Chick Corea using EFG#BC#D, and tritone chords spelled out as CDbEF#GA#. Hear these in music often but never came across any fancy name for those.
12tone SCV is a World Class Drum & Bugle Corp that competes in Drum Corp International competitions, they came in second this year with their show ouroboros being beat out by smith corp called the Blue Devils. Look up SCV 2017 Finals performance to be amazed. Also, this video came out a day or two after finals.
Take me to church by Hozier, maybe you know it. The song is in Em and the major chords should be G,C and D. But in the song appear more major chords like B and sometimes C turns to Cm It confusing me, because I understand that the only major chords must be I, IV, and V, there is also another song by Coldplay call it up and up, and is in G major, but in the chorus appears F major, and F major isn't supposed to appear cause might be f#dim it's the VII. I'm really confused. Anyway, thanks for all 👍.
Yeah, I started out playing guitar left handed, switching the strings around and everything but all my friends were playing right handed. So I relearned the guitar right handed because it was easier to learn and teach stuff....
What's a scale really? Where's the truth in it? Why is the major scale so important? My University Prof at BU told me that a scale is just a reference point, and starts a beginner with a vocabulary yet to be evolved. However, I'm interested in hearing other opinions.
Good question! I'd say the point of a scale is to give you some structure: Knowing the scale (and key) you're writing in gives you clear guidelines for how the different notes and chords will behave. It shouldn't be viewed as a set of limits, telling you what you can and can't do, but as a guideline that tells you what'll happen if you do certain things. Of course, it's also a two-way process: The way things are behaving will help you figure out which key you're in. You can't just say "this is in D major!" and then not use the notes and chords that would make it sound like it's in that key.
I've been thinking of a Hexatonic scale that, going up, is C, C#, E, F, G, A#, C, and then down, which is different, C, A#, G, F#, F, D#, C. Up and down, visualized like this photos.app.goo.gl/GgiuWng6VvKpqi7r7. I remembered this as the Melodic Minor scale (and it's different going up than going down, just like the Melodic scale), but when I looked at an online Melodic Minor scale just today, it wasn't what I remembered. Does the scale above have a name, and if so, what, or was it just me misremembering the Melodic Minor scale, which has seven notes, unlike these six?
I been writing music for decades ,and I got this program that tells scales when highlighting the notes ,and I swear I haven't found a scale yet I don't know if it's because it doesn't work be cause ,I'm not highlighting at the right place (I doubt it) or because there not enough scales that it knows,says thousands .. Like is it because there 3 note scale then a 4 a 5 all mixed?.I don't get it I have not once come across a complete scale ,had come close but off by a note of more .. The more this happens to me I wonder what is the point of scales again?.if I one does not know scales and just experiments with feeling ,do scales matter?.or modes?.I can tell you which intervals I'm using ....but scales? To me it makes music bland ,like when ever I hear someone say ,now I am.going to use this scale on this riff...uh ...yeah ..not impressed..
for me, the minor pentatonics sounds way TOO MUCH stable the hexatonic scales built from triad pairs has the perfect balance, specially for modal playing, no wonder why folk music uses them a lot, specially celtic music the pentatonic feels as if its always resolving like every other note a melody sounds better when it is "unresolved" for a few bars, and thats exactly the feeling of the typical 2 chords modal cadences that loops infinitely
At 2:03, that arrow was supposed to point to the F, not the F#. Whoops!
Also, due to some imprecise wording at 1:36 I may have accidentally implied that the Blues Scale has exactly one half step, when of course it has two. That wasn't my intent with that line, but I could see how one could interpret it that way.
Where are the wholetone memes?
Thank you for this comment, I got so confused when you mentioned the Major Blues scale and pointed to the fourth degree!
I love your videos but I have to ask, is there a reason you hold the marker like that? Or just a childhood habit?
Just curious... Is there any modern music that uses all 12 notes?
@@fredashay In a composition of great enough length and number of modulations, you can probably find an example. If you mean music that uses them all in short succession, yes, the 12-ton serialists did this, and it sounds terrible. Now on the other hand, if you have a tonal space of more than 12 notes per octave, then you have room to use more than 12 of them and still have some space left for the tonality to breathe. For instance, Ivan Wyschnegradsky, who was one of the pioneers of modern microtonality, often used 13 note scales . . . in a tonal space of 24 notes per octave. (He also had a few compositions for even larger tonal spaces, but that was technically a lot harder to set up in the days before electronic synthesizers with polyphonic microtonal capability, so he mostly stuck with 24 notes per octave.)
My favorite scale is the 12 note scale. You have a lot of freedom when writing with it.
I suppose that's true!
Lol
Funny! But let me take this as a serious comment for a moment.
If you truly "think" in the 12-tone chromatic scale and compose with that mindset, you run into the same issues that 12Tone discusses with the whole-tone scale. All consecutive intervals are identical, which limits what you can do. The symmetry makes it difficult to establish any one pitch class as a reference.
@john ladasky but you are not limited to only using half step intervals lol.
In before the 24-note microtonal gang barges in.
For anyone whom it may help: the Whole-Tone scale is two augmented chords a whole-step apart whereas the Augmented scale is two augmented chord a half-step apart.
Yep! I wanted to work that in somewhere but couldn't figure out how to do it in a way that fit with the script.
I love your vids. Keep up the good work!
How come i've never thought simply mashing two unrelated triads to come up with a brand new hexatonic scale?
This seems so obvious to me now! Thank you, dude
Now I'm feeling like a child with a brand new toy
Sounds like an amazing concept to break mental barriers, but it seems so hard to actually do it! Think about it, when you learn a new scale it takes so much time to get used to it and create motifs, riffs... Do you think a particularly talented musician would be able to take 2 chords out of the blue and play along? Would this guy have to be like a world class performer or would an advanced student of some sorts be able to do it? I am enticed, but so fucking scared xD
I totally agree! It'll probably take months, perhaps years for me to make anything good while applying this technique, since I'm just the average musician
BUT at least, I now have the framework to implement it :D
Not saying that I'll -do it-, but damn I wanna try it haha
Yeah, I was pretty excited when I first saw it too! An easy way to approach it is just to try jamming over a two-chord vamp. So, like, if you took the D major hexatonic one, you could make a backing track of D major and E minor and then just mess around with the scale freely on top!
Man you put quality effort into this specific niche I subbed for that reason. I don’t like seeing someone with a whiteboard, or an overhead view of a keyboard, or long boring history lessons with the camera focused on the person talking. So thanks man 🙏🏼
“The most common hexatonic scale is probably the whole-tone scale”
The blues scale: am I a joke to you?
Minor hecatonic scale: Am I a joke to you?
My first known exposure to this concept was Allman Bros. They have a lot of harmonized guitar lines using a six note scale. This causes the harmony to shift from 3rds to 4ths for some notes, and defines what I think of as their signature sound.
*Shout-out to Petrushka!*
C D♭ E G♭ G(♮) B♭
Cool! I've never seen the Petrushka Chord interpreted as a scale, but I wouldn't be surprised if someone had done it!
It fits into the half-whole octatonic scale.
I've also found that listed as the "Tritone Scale" just writing the Gb as an F#
UwU major tritone cadences tho
I swear, whenever I struggle with something involving music theory you'll upload a video explaining it a couple of days after. Anyways, thank you for this video, it helped quite a bit!
Also, have you ever considered collaborating with someone like Adam Neely? I know you guys make similar content about theory and I think a collab would give you a bit of spotlight in the youtube-music community.
Adam actually knows about and supports our work, I haven't asked him about collaborating 'cause I haven't had any specific ideas yet, but if he was interested I'd definitely be down!
Just wondering - why did you start your example scales on D instead of C?
windowsforvista D is probably more "symmetrical" and "centered" in terms of enharmonics and is not immediately preceded/followed by a half step when there are no accidentals. (C, on the other hand, would have a half-step preceding it (B to C is a half step) and any other non-accidental note except for G and A would have the half step before or after it.) As to why he didn't choose G or A, I think it might be that it isn't as "centered" as D. (a note of how "symmetrical" D is is how a Dorian scale based off of D would not only be symmetrical in intervals (WHWWWHW) but also have no sharps or flats(DEFGABCD).)
I tend to not like using C because it makes it easy to jump to false conclusions because things line up in ways they're not actually supposed to. It's important to distinguish between, say, a flat note and the flat third degree of the key, which could be flat, natural, or even sharp. Using keys where those concepts don't always line up makes it easier for people to understand that, say, F major doesn't have a flat 4th, it has a perfect fourth that happens to be the note Bb. If people learn all the rules in C major first, it's very easy to mistranslate those rules.
Also, I don't like using ledger lines if I don't have to, so when I'm writing scales I almost always start somewhere between D and G.
Thanks for the in depth response :)
Most Touhou Project music melodies are composed in a hexatonic scale, the one at 3:04 (in various keys). Though the harmony often revolves around the VI, VII, i chords, which makes for an interesting contrast since the sixth is missing from the melody. At least one of the songs I've seen throw a Dorian-ish natural sixth in the melody at one point, but it's rare.
When I first figured this out it was a bit of an a-ha moment; this is what makes Touhou project music sound distinctive.
Man all your videos are well made and really interesting. It's always a treat
Thanks!
Wow your explanation is amazing thank you for the lesson and for posting this video trying to learn scale my brain hurts
This indirectly reminds me of a Guitar Player interview with Pat Martino where he points out that augmented triads can function as major chords by shifting a single pitch down and minor chords by shifting a single pitch up, while fully-diminished quatrads can function as dominant chords by shifting a single pitch down or a half-diminished chords by shifting a single pitch up. Given that the fully-diminished scale is two °7th chords and the whole tone scale is two + chords and each has only two permutations it's almost like those 4 configurations function as the backbone to all the common tonal chords.
Really cool! I came across the use of augmented chords as a sort of go-between from major to minor triads when I was researching Neo-Riemannian analysis: If you're interested in that sort of thing I'd highly recommend looking that up!
I'm definitely a big fan of Neo-riemannian analysis, and I liked your vid on it. I've actually gone so far as to build a helical truncation of the Tonnetz from k'nex that sits on my desk. I think it's particularly beautiful because the Major/minor scales form a double helix on the face of it, almost like it's the DNA of scales.
Hey 12 tone, your videos are super interesting and clear ! thanks a lot !
Can you do a video on scales with quarter tones ? like arabic ones, indian ones ?
Thanks! I'll look into it! We've already done some stuff on quarter tones in general (ruclips.net/video/bWG6CGKMnNA/видео.html ) but I'd love to do some stuff specifically on their scale uses!
2:52 it’s Guidonian hexachord, it was used in a lot of old folk songs, sung legends, old plainchants (especially with II as a root)
Very cool! I have been playing around with hexatonic scales for a while and it's nice to see some theory! One of my favourites is a sort of, "myxo-dorian" hexatonic scale that has no 3rd, for a rather ambiguous sound: D E G A B C
Interesting! I haven't really tried that one, but I'll give it a shot!
Heh, I made up a tune a while ago that's kinda similar. Except instead of using neither F nor F#, it uses both; that is, sometimes it's in Dorian and sometimes it's in Mixolydian. I could easily modify the tune to make it fit in that hexatonic scale, though (replacing them with a C or an E (depending on context) seems to work. Well, mostly).
What Corey referenced as the "minor hexatonic" (E F# G A B D E) is also ambiguous, like "dorian-aolian" Interestingly, "mixo-dorian" is the 4th mode of "dorian-aeolian"
My fave online music tutor
I love the augmented scale, for some reason it just sounds really cool
Yeah, it's a really nice one. I'm a huge fan of half steps and minor thirds, and the augmented scale is built completely out of those!
12tone Thanks for replying :D
Slow it down 20% and I'd love your videos even more than I already do! :)
Andromeda Agree. It's not an easy subject and rushing it won't help. Though i love his videos..
Then Adjust the speed silly
Ludwig Van Mozart - I can't on mobile and slowing it down creates weird audio artifacts.
Turn Captions on?
This channel is so helpful
Thanks!
12tone No, thank you
3:05 Minor hexatonic scale. It's actually rather common in folk music. Ievan Polkka comes to mind.
THANKS.......NOW EVERY TIME I IMPROVISE A SOLO I'LL BE THINKING OF THE MOVIE PROMETHIUS AND LEPRECHAUNS .
6 note scales work great for triplets. 8 note scales work great for 8th notes. Kinda like bebop scales work great with dotted 8th notes.
I know Jimmy Brown! He's one of the editors of guitar world and he plays all around my area of Pennsylvania.
That's awesome! Yeah, I found his articles in Guitar World and I thought they were a really interesting way to approach the problem.
12tone he's got a column called "String Theory" that runs in each issue; while I'm not nearly a good enough guitarist to play any of the stuff he has tabbed out some of the ideas he presents are fascinating. Love your channel by the way, and thank you for the reply!
This all sounds like something a hip hop producer would use.
Thanks I actually learned and surprisingly the art helped as well. Hahaa
Awesome video as always! May I suggest for a future video "tetratonic scales". :D
Ooh, interesting, I didn't know those existed! I always assumed that once you got below 5 they started just being chord arpeggios, but I'll definitely look into it!
I want to say, but don't quote me, that a 6-note major scale, losing the "ti" (B in Cmaj), seems to be pretty common in folk psalmody (Sacred Harp)?
It’s basically Guido’s hexachord
Great video man
Thanks!
I read that series of articles by Jimmy Brown in Guitar World too. I've been thinking about the idea a lot since, interesting to see your take on it!
Also, from my own research, if you craft a scale from D Major and F Minor chords, you can play the main riff to Slither by Velvet Revolver (D E# F# G# A C).
Cool, thanks for sharing! I haven't heard that song in forever, I'll have to go look it up again!
The last thing I was working with (now years ago; marriage sucks) was a 10 note scale much like the Sentimental one - take a major scale and add the diminished notes. At that point, you're almost working with the entire 12-tone row, so this might not impress your purists ;D
Really cool! I mean, yeah, it's close to 12, but if you're using them carefully I think it's still different enough to be worth exploring!
The following is the logical implication of what you said but could have explicitly stated that there are only 2 independent triads in a hexatonic scales, with the rest being inversions of them.
Not necessarily! For instance, the D major hexatonic scale (D, E, F#, G, A, B, D) is built from the notes of D major and E minor, but it also has the notes for G major and B minor inside of it.
Amazing content 12tone! I now it's not particular to your format and such, but it would have been nice to see a demonstration of the concept, do you think you could provide that for us? Even if you could just name a music built around this
Fair point! Honestly, for the combining-chords approach, I don't really know of any actual songs written in that way. I'm sure they exist, but the stuff I read was mostly about practicing and exploring the concepts in a rigorous way, rather than applying it to actual music. I'll try to keep that in mind for the future, though!
Schism at 1:25
hvkvn Thought the exact same thing, in the key of D Minor and all
This is great
Ouroboros???
Yep! Was supposed to represent the cyclical nature of the Coltrane Changes, and I didn't really have anything else to put in the thumbnail...
12tone On a related a note, do you watch DCI at all?
P i g g l e s. Yeah i was referencing SCVs show this year
I don't, no. What is it?
12tone aaa you need to know! Go search up Santa Clara Vanguard 2017 "ouroborus". DCI is Drum Corps International, to put it simply its marching band on steroids with a few exceptions.
Tritone scale 1 b2 3 #4 5 b7
really cool stuff!
Thanks!
i believe the great erik satie did this as well, was looking forward to seeing his name here lool
Can anybody point to a comprehensive list or video that has some common ones used in songs? I know of 3 interesting ones other than the popular blues and whole tone… Mclaughlin using EFG#ABD often, Chick Corea using EFG#BC#D, and tritone chords spelled out as CDbEF#GA#. Hear these in music often but never came across any fancy name for those.
The whole time scale also has dom/dim 1 3 b5 b7
Do you reuse the Gummi bears everytime or just eat them?
Thank you Sr. You are quite a help on my metaphysical journey. Have a beautiful day :)
Isn’t the D sentimental scale just melodic minor without the C?
Debussy loved those whole tones. You hear it throughout so much of his music.
Was the Ourobouro supposed to be a reference to Santa Clara Vanguards show this year?
I'm not sure what that is, so not intentionally, no. It was supposed to represent the cyclical nature of the Coltrane changes!
12tone SCV is a World Class Drum & Bugle Corp that competes in Drum Corp International competitions, they came in second this year with their show ouroboros being beat out by smith corp called the Blue Devils. Look up SCV 2017 Finals performance to be amazed. Also, this video came out a day or two after finals.
How to play legato Lines With hexatonic scale?
Nice video :^) can you do a video of the perfect scale please?
Thanks! I'm not familiar with that term, and googling doesn't turn anything up. What is it?
Take me to church by Hozier, maybe you know it. The song is in Em and the major chords should be G,C and D. But in the song appear more major chords like B and sometimes C turns to Cm
It confusing me, because I understand that the only major chords must be I, IV, and V, there is also another song by Coldplay call it up and up, and is in G major, but in the chorus appears F major, and F major isn't supposed to appear cause might be f#dim it's the VII. I'm really confused.
Anyway, thanks for all 👍.
The sentimental scale at 3:30 is basically just a G Melodic Minor Scale.......
Well, true, but it's got a different root. I think it's more comparable to D Harmonic Major, but without the 7th degree it's a little hard to say.
Just realized you are a South Paw... Awesome, do you play guitar?
I don't, no! I play a little bass, but I learned to do that right-handed for the sake of convenience.
Yeah, I started out playing guitar left handed, switching the strings around and everything but all my friends were playing right handed. So I relearned the guitar right handed because it was easier to learn and teach stuff....
There's not a whole lot of substance here. That's probably why you speed it up, I guess. At least you drew Homsar a bunch.
Holy fuck one of my best musically inclined friends is named Jimmy Brown wtf O-o
Am I crazy or were the played examples tuned lower than A=440?
Hmm... I just checked and my MIDI program should be playing them right on 440. Not sure why they'd sound off.
12tone I'm sorry, I realized earlier I had been listening to some old Motown albums that were between keys so normal tuning struck me hahahaha
What's a scale really? Where's the truth in it? Why is the major scale so important? My University Prof at BU told me that a scale is just a reference point, and starts a beginner with a vocabulary yet to be evolved. However, I'm interested in hearing other opinions.
Good question! I'd say the point of a scale is to give you some structure: Knowing the scale (and key) you're writing in gives you clear guidelines for how the different notes and chords will behave. It shouldn't be viewed as a set of limits, telling you what you can and can't do, but as a guideline that tells you what'll happen if you do certain things. Of course, it's also a two-way process: The way things are behaving will help you figure out which key you're in. You can't just say "this is in D major!" and then not use the notes and chords that would make it sound like it's in that key.
Why does he draw the ant? 1:25 or so
What is the main animal in your staffs? Is it a pig or an elephant or something else?
It's an elephant! Well, it's supposed to be: I've heard a couple different names for it, and I'm fine with whatever as long as it's cute!
12tone Oh yeah 😊 Hey, by the way, could you name a few musical artists which excited you in the past one year in term of creativity?
李立峰 It could also be Homsar, as one of the commenters pointed out.
A mouse?
I've been thinking of a Hexatonic scale that, going up, is C, C#, E, F, G, A#, C, and then down, which is different, C, A#, G, F#, F, D#, C. Up and down, visualized like this photos.app.goo.gl/GgiuWng6VvKpqi7r7.
I remembered this as the Melodic Minor scale (and it's different going up than going down, just like the Melodic scale), but when I looked at an online Melodic Minor scale just today, it wasn't what I remembered. Does the scale above have a name, and if so, what, or was it just me misremembering the Melodic Minor scale, which has seven notes, unlike these six?
Why is there so many drawings?
Because he is also a good artist.
I hate when people diss folks in the form of questions.
Just so you know, you put "sales" in the description instead of scales.
I've been transcribing this solo. Coltrane uses the augmented scale quite a bit in it. ruclips.net/video/3tBguk3Tqnw/видео.html
Alright, youtube
Lefty Writer lol 😁
ojalá estuviera en españo :,v
I been writing music for decades ,and I got this program that tells scales when highlighting the notes ,and I swear I haven't found a scale yet
I don't know if it's because it doesn't work be cause ,I'm not highlighting at the right place (I doubt it) or because there not enough scales that it knows,says thousands ..
Like is it because there 3 note scale then a 4 a 5 all mixed?.I don't get it
I have not once come across a complete scale ,had come close but off by a note of more ..
The more this happens to me I wonder what is the point of scales again?.if I one does not know scales and just experiments with feeling ,do scales matter?.or modes?.I can tell you which intervals I'm using ....but scales? To me it makes music bland ,like when ever I hear someone say ,now I am.going to use this scale on this riff...uh ...yeah ..not impressed..
for me, the minor pentatonics sounds way TOO MUCH stable
the hexatonic scales built from triad pairs has the perfect balance, specially for modal playing, no wonder why folk music uses them a lot, specially celtic music
the pentatonic feels as if its always resolving like every other note
a melody sounds better when it is "unresolved" for a few bars, and thats exactly the feeling of the typical 2 chords modal cadences that loops infinitely
First!
Waste of a video you should teach science not music
you are knowledgable, try to speak more slowly and annunciation..
Second
Crap
lmao
All of the hexatonic scales sounded bland, boring, and featureless. I can see why they aren't really used.