Very good video - I appreciate the insight on how to use this great VST. One note though - you keep repeating that you're using 'ninths' which you arent. 9 Scale tones isn't the same as a 9th. A 9th is specifically 14 semitones from the root note, which isn't always going to be a note in your scale - based on the scale used and the root note. This may cause confusion among new music theory students. I feel music is confusing enough to learn, it really helps when everyone understands the information they are giving out inherently. Example - A 9th from a C is is a D one ocatave higher - it fits your scale. A 9th from B (in the C major scale) puts you at C#, instead of C (No longer within your current scale). To be clear - you mean your using a tone 9 scale notes higher than the root - not a '9th'.
It’s a interesting observation, and I think what you’re referring to is a difference in terminology. When I talk about music theory (and this is the way I learned it at Universities in the US like the Shepherd School of Music at Rice University, and I mean this say other schools may use different terminology and notation), I refer to intervals in a harmonic way, which does not have a semitone relation until you attach a quality like “major” or “minor.” For instance, to me, a “2nd” is ambiguous, and refers to the 2nd scale degree until I specify major or minor 2nd. Likewise a “3rd” up from C could be E or Eb, depending on the scale. In this case, I am referring to 9th as a compound interval with a octave + a 2nd, which could be of major or minor quality (with the major or minor of the second dictating the quality of the 9th). I prefer this method because it keeps the relationship between scale degrees consistent when building chords regardless of the position in the scale. If for instance a “3rd” specifically meant 4 semitones, than only building triads on the 1st, 4th, and 5th scale degrees would have a “3rd” according to this definition. The second note of the triad on the second scale degree would not be a “3rd,” despite it being three notes in the scale above the second scale degree. Some people may prefer this, as it doesn’t have the confusion of adding qualities to intervals. I tend to start with a scale/key, and then build chord progressions built on scale degrees, and then build a melody on top of this, which is why the added complexity of specifying interval quality is actually helpful: keeping an interval like a 9th ambiguous until specifying the quality means I can talk about the melody in relationship to the underlying harmonic movement/chords rather than in an absolute sense with semitones. In other words, I don’t think one method of notating it is “better” than another; whichever terminology is the most useful for understanding music and writing good songs is the “right” one for you-music theory is there to help understand music and is only useful if the abstraction it provides serves a purpose.
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I know this is going to sound a little crazy but I like to throw in some even higher notes on top which adds a little bit more euphoria
This sounds beautiful the start
Awesome
great sounds good!!!
I really enjoyed watching this video tutorial, ❤ loved the melody 👍🙏 simple but effective technique, thank you
Really enjoyed watching this. A real help too. Thank you.
Thanks mate :)
Very good tutorial!
Thank you
Very good Tutorial with an amazing Sound♥️🔥
Great video!!
Love it loads and had help a handfull
Increíble
Amazing video! I’ve subscribed. 👍
amazing
Amazing mate!
Glad you enjoyed :)
Nice Trance Melody :)
Thanks :)
Это было круто ты красавчик спасибо
Did the sound bank ever come out for this? Great video
Very good video - I appreciate the insight on how to use this great VST. One note though - you keep repeating that you're using 'ninths' which you arent. 9 Scale tones isn't the same as a 9th. A 9th is specifically 14 semitones from the root note, which isn't always going to be a note in your scale - based on the scale used and the root note. This may cause confusion among new music theory students. I feel music is confusing enough to learn, it really helps when everyone understands the information they are giving out inherently.
Example - A 9th from a C is is a D one ocatave higher - it fits your scale. A 9th from B (in the C major scale) puts you at C#, instead of C (No longer within your current scale).
To be clear - you mean your using a tone 9 scale notes higher than the root - not a '9th'.
It’s a interesting observation, and I think what you’re referring to is a difference in terminology. When I talk about music theory (and this is the way I learned it at Universities in the US like the Shepherd School of Music at Rice University, and I mean this say other schools may use different terminology and notation), I refer to intervals in a harmonic way, which does not have a semitone relation until you attach a quality like “major” or “minor.” For instance, to me, a “2nd” is ambiguous, and refers to the 2nd scale degree until I specify major or minor 2nd. Likewise a “3rd” up from C could be E or Eb, depending on the scale. In this case, I am referring to 9th as a compound interval with a octave + a 2nd, which could be of major or minor quality (with the major or
minor of the second dictating the quality of the 9th).
I prefer this method because it keeps the relationship between scale degrees consistent when building chords regardless of the position in the scale.
If for instance a “3rd” specifically meant 4 semitones, than only building triads on the 1st, 4th, and 5th scale degrees would have a “3rd” according to this definition. The second note of the triad on the second scale degree would not be a “3rd,” despite it being three notes in the scale above the second scale degree. Some people may prefer this, as it doesn’t have the confusion of adding qualities to intervals.
I tend to start with a scale/key, and then build chord progressions built on scale degrees, and then build a melody on top of this, which is why the added complexity of specifying interval quality is actually helpful: keeping an interval like a 9th ambiguous until specifying the quality means I can talk about the melody in relationship to the underlying harmonic movement/chords rather than in an absolute sense with semitones.
In other words, I don’t think one method of notating it is “better” than another; whichever terminology is the most useful for understanding music and writing good songs is the “right” one for you-music theory is there to help understand music and is only useful if the abstraction it provides serves a purpose.
Would you say that you moved the top notes by "major seconds and minor seconds perfect fourths and perfect fifths "?
Is this beginner friendly 😅