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ABBA, “The Winner Takes It All” (Dr. B Music Theory) — Transcript

by Christopher Brellochs · 18,149 words · 3,157 segments · language en · Watch on YouTube

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0:00all right welcome to dr b
0:03music theory i'm going to go check and
0:05make sure everything's working with this
0:07stream so give me
0:08one moment while i make sure we are
0:11up and running appropriate it looks like
0:14we're in good shape
0:16so i'm glad to
0:19welcome you all back for those of you
0:22watching live
0:23i would like this to be a little bit
0:25more interactive than we've
0:27we've done in the past so you can see
0:30that i have
0:31some stuff up here on the on the board
0:33behind me
0:34i'm going to be asking you to type in
0:37the chat
0:38roman numeral analysis so this is a good
0:41test uh see if you can get that all
0:43right so
0:44welcome again welcome again and this
0:48this is gonna be archived so you can
0:50watch it later you can watch it again
0:52you can pause it and go listen to the
0:54things i'm
0:55referencing so what i wanted to do is
0:59two weeks ago someone was
1:03asking why don't you talk more about
1:06melodic development
1:08and why don't you talk more about melody
1:10in general
1:11and was an excellent question and it
1:14really had me thinking
1:15and so today i really wanted to start
1:17about
1:18talking about melody and there was a
1:22group back in the
1:231970s 1980s called abba
1:27and they were from sweden and but they
1:30they had their songs in english and they
1:32were international
1:34sensations they kind of won a year of
1:37the eurovision song contest
1:39and if any of you haven't seen the will
1:41ferrell movie that's came out recently
1:44about the eurovisions contest it made me
1:47laugh a bunch of times so
1:49i would recommend it but anyway so abba
1:52wrote some wonderful melodies any
1:55any group that gets kind of like
1:59super super popular has at least
2:02decent two awesome melodies and that's
2:05because
2:06although when we're talking about music
2:08theory we spend so much time talking
2:10about harmony and certainly harmony is
2:12important
2:13it sets a mood it gives a certain
2:16feeling an interpretation but it's
2:18really the melody that people that
2:20listeners
2:21lock into it's they they don't leave
2:24the concert arpeggiating the harmonies
2:27they leave a concert
2:29singing the melody that's what we latch
2:31on to and
2:34i don't want to diminish the importance
2:35of melody let me i do i give this
2:37example to about my students all the
2:39time so imagine if you will
2:42you're watching a movie and there's a
2:45small child playing by
2:49by the ocean and you hear
2:52this again beach sunshine
2:56ocean and and you hear this
3:08that music is telling you how to
3:10emotionally interpret that scene right
3:13those are just two chords going back and
3:14forth
3:16but the emotions you should be feeling
3:19are probably like relaxation
3:23maybe nostalgia
3:26sense of peace now imagine if you will
3:29the exact same
3:31scene small child playing by the by the
3:33ocean sun is shining and instead the
3:35music you hear is
3:36[Music]
3:41just one chord repeated in a very unique
3:44rhythmic
3:45fashion obviously there's a completely
3:48different emotional interpretation
3:50now you know something's gonna happen
3:52you're like on high alert you know like
3:53that kid's gonna get eaten by a shark at
3:55any minute now in the movie right
3:57that's the power of just harmony
4:01but what i really want we're going to
4:03talk about harmony today don't get me
4:04wrong and that's why i said you can do a
4:05roman numeral analysis
4:07but we're going to really focus on the
4:09melody and the melodic development
4:11so this is a song by abba a group that
4:15was
4:16popular in the 1970s 1980s
4:19they they were so popular that their
4:21music has kind of withstood the test of
4:23time and not all popular music does
4:25but in i believe it was 1999 it was
4:29turned into a musical called mamma mia
4:31that was a big hit on broadway new york
4:33city and then it toured
4:34and then it was turned into a major
4:37major motion picture movie
4:39starring like meryl streep and pierce
4:42bros and like
4:42top a-list actors and all this
4:48was the soundtrack was the music of abba
4:50and
4:51in the movie as well as one of their
4:53songs there's a piece called the winner
4:55takes it all
4:56and that's the song i want to talk to
4:58you talk about with you today
5:01so i put it up here put it up here and
5:03there's a couple things that are
5:05interesting this is not the complete
5:06song right
5:06but this is all the essential material
5:09this is
5:10all this is everything and it's just a
5:13matter of repeating it
5:15and restructuring it in terms of how you
5:17get an entire like five minute song
5:19out of just this and if we look at it
5:22we're really talking about 16
5:24measures of harmony just 16 measures
5:28and using a total of only eight chords
5:32and i'm counting as different chords
5:34when you have let's say
5:35a flat minor right here and a flat minor
5:39with e flat in the bass i'm counting
5:41that as the same
5:43i'm calling rather i'm counting that as
5:45different chords because it's
5:46the inversions count right that's
5:48important so
5:49with only eight chords and only 16
5:53measures of real material
5:56they created a song that was an
5:59international hit that was you know that
6:02you know and their music as a whole
6:04spawned a musical spawned a movie it's
6:06in the movie this song specifically
6:09so let's take a look at this melody
6:12right
6:14and if we just take a look
6:18at right here starting with these these
6:21[Music]
6:32pickups
6:36that then repeats itself but it's so
6:38it's the same it's the same material but
6:39so i'm not going to repeat it right now
6:41and then the next melodic part
6:48[Music]
6:59and there you go you got yourself a hit
7:01song now i know there's many of you out
7:04there
7:04who are composers songwriters
7:08arrangers and one of the things that you
7:12really should focus on is writing an
7:14awesome melody
7:15it's so easy to get caught up in harmony
7:18especially if you're trying to
7:19you're trying to be a little more
7:21sophisticated a little bit more
7:23uh elegant you're trying to you have a
7:26you're a curious musician you're
7:28interested in all different styles
7:30don't forget sight of the melody the
7:33melody's going to be your most important
7:35thing as a songwriter
7:36as a composer think
7:39if you know if you if you love your
7:40classical music think tchaikovsky
7:43a master of melody um
7:46and so we're looking at it in a
7:48different genre here
7:49but the the elements of melody the
7:52kind of building blocks and the tips are
7:55gonna
7:55transfer across different styles for
7:58those of you who are
7:59taking music theory you're musicians
8:02you're you're
8:03getting ready for an exam or perhaps
8:04you're in college and you're
8:06or ap music theory uh you're in high
8:08school taking advanced placement classes
8:10and you need to be able to analyze
8:12melodies because sometimes that's asked
8:14of you
8:15these are this is going to be a great
8:17way for you to kind of apply that
8:19knowledge
8:20in a different style so let's take a
8:23look
8:24we have scale
8:28slightly different rhythm and then big
8:32leap
8:33right so one of the big things that we
8:36talk about with melodies is
8:38the relationship the ratio between
8:42stepwise motion meaning going up or down
8:45a scale
8:45and a leap if you have all
8:48up and down a scale it's going to be
8:51boring
8:52it's not going to be exciting it's not
8:53going to be interesting
8:55if it's all leaps it's going to be
8:58distracting and confusing
9:01so getting the balance right of the the
9:04number of leaps
9:06to the number of steps and so let's just
9:10take a look at what
9:11what abba did here so we have a leap one
9:13leap right here
9:15then we got more this is all scale
9:18all scale then we have a like a little
9:20leap right a little leap between this a
9:22flat
9:23and the c flat just a little bit of a
9:27leap
9:27so sometimes a third is considered a
9:30step
9:32it functions more like a step in terms
9:33of how melody's created and sometimes it
9:35functions as a leap
9:36so if we're going if we're going
9:40like an arpeggio you know arpeggios will
9:43often sound like
9:45stepwise motion they don't feel like
9:47they're creating this
9:48open space this this this kind of vacuum
9:51which is kind of what a leap does
9:53that then wants to be filled so if
9:56you're just going up an arpeggio
9:58that's a leap of a third it doesn't
10:00really sound
10:01like a leap right it's it's kind of that
10:04halfway in between it's kind of more
10:05close to feeling like a step
10:08in this case we have a chord change so
10:11this one actually
10:12feels more like a leap this a flat to to
10:15to c flat so we have this
10:21but it's not it's not a big leap not a
10:24big leap at all
10:25so it doesn't doesn't have quite the
10:26same feel and then we go
10:29and then again this kind of sort of leap
10:31right here so i'm going to put that in
10:32parentheses because it's
10:34it's it's not super obvious as a leap
10:37now here's where it gets interesting
10:43we step up and then we have a giant leap
10:46a leap of a seventh now most of the time
10:50a leap of the seventh is is too big it's
10:53a dissonant leap
10:54and so for certain styles of music so if
10:57you're in your
10:58your your johann sebastian bach chorale
11:01style of writing
11:02the leap of a seventh is gonna stand out
11:04too much and you avoid those dissonant
11:06leaps
11:07usually you'd only have a leap of a six
11:09a major six or a minor six
11:11but different genres have different
11:15permutations there's a lot that's in
11:17common but there are differences
11:19so here one of those differences is this
11:21leap of a seventh
11:23is not only it's very striking and it
11:27sounds great so it's it's allowed
11:29but it's we have so we have this bailey
11:32and then we go down and we do another
11:34leap here so this d flat to c
11:36flat is a leap of a seventh this b flat
11:39to
11:40a flat is another leap of a seventh this
11:43e flat to d-flat is yet another leap of
11:46a seventh
11:49and then finally right here this this
11:51note here the sustained note the c-flat
11:54we do have a leap of a seventh down to
11:57the d-flat though that one that one
12:00right there doesn't
12:01kind of function as a leap because it's
12:03this is a
12:04kind of kind of like the end of a phrase
12:06right here this c-flat
12:08and then we have a rest and then this is
12:10really a pickup
12:11and it's just essentially the same
12:14melody we had
12:14pick up for the beginning so if we look
12:18there's a lot more stepwise motion in
12:20this melody
12:21than there are leaps but the leaps are
12:23placed in
12:24key locations they're sprinkled in there
12:26so we have
12:27one two three four measures then a
12:30little leap
12:31one two three another little leap
12:34big leap one two big leap one
12:37two big leap then one two three
12:41four leap so predominantly by step i'm
12:45saying it again because it's important
12:47but key places where we have a leap
12:50now what's also really important when
12:52you're talking about melodic
12:53construction and we're looking at how
12:56this song in particular utilizes that is
12:59what happens right
13:00after the leap
13:03we have big leap
13:07and then it just stays there
13:10and then as soon as we we repeat that
13:13and then we use a scale
13:15and it fills in that vacuum that was
13:19created
13:20so we have da da da da da
13:24it's like that's a surprise right that
13:26leap it's like we're like
13:29big surprise dumb and we just kind of
13:32stay there and everyone kind of was like
13:33ooh
13:34surprised but we're not nothing's
13:35happening now so it creates a certain
13:37emotion when you do that
13:39we're going to talk about that as well
13:41the emotion of the song
13:42so the big leap is the surprise and then
13:45the fact that it
13:46stays there kind of
13:50gives you this like it it makes it makes
13:53the listener kind of like
13:54perk up their ears and say well what's
13:57going to happen we just had the surprise
13:58what's
13:59what's next after the big surprise then
14:01you get what
14:02you would normally expect which is after
14:04a big leap you then
14:06step back in the opposite direction so
14:08leap down
14:10step up and we kind of fill in that
14:12sonic space between the g flat
14:15and the b flat we don't fill it in all
14:17the way but we get pretty close
14:18so we fill in that sonic space we then
14:21have our scale
14:22and then we kind of keep going on the
14:24scale and the
14:26the last part we have we already talked
14:27about that
14:31that a flat to c-flat but notice here
14:36let me tell you why this is in
14:37parentheses in case you were wondering
14:39uh depending on this is the verse right
14:42here
14:43depending on what verse we're in
14:45sometimes there's a pickup
14:46sometimes it just starts there so we put
14:48we put it in parentheses you'll often
14:50see that in sheet music
14:51so what that means is that sometimes
14:54it's a
14:54quarter rest eighth rest with an eighth
14:56note on the end of two and sometimes
14:58it's just two beats rest so notice we
15:01have
15:02rhythmically as well because we wanna
15:04analyze a melody melody is not just
15:06pitches
15:06melody is also rhythm so rest on one
15:10two pick up
15:13and this dotted 8th 16th note is just a
15:17little bit of variety so it's not
15:19just eighth notes to give it a little
15:21bit of uh
15:24it's almost like a little little almost
15:26like a trip trip and fall right
15:28da da dum trip fall which is kind of a
15:32really neat way to do it
15:35so two beats rest three and four
15:39and then e1 and then we do the same
15:42rhythm
15:44and then we change change what happens
15:46but notice that this cell
15:48is the exact same as this two beats rest
15:51there and if we depending on which verse
15:54we are
15:54on we have another two beats rest and
15:57then dot three
15:58and four and which is here we just keep
16:01they keep it
16:02straight right instead of doing da da da
16:04da da
16:05which kind of you know again we're
16:07looking for variety we've established
16:16[Music]
16:17so it keeps it a little straighter now i
16:19to be fair
16:20when you listen to the recordings this
16:23is this is kind of like the
16:25the the very notated version that's very
16:29kind of
16:29rigid when it's sung there are
16:32performance
16:34liberties taken with the exact rhythm
16:37it's not
16:37always metronomic exactly this rhythm
16:41a good performer is going to
16:45they're going to they're going to kind
16:47of anticipate some notes and they might
16:48sing certain note values shorter than
16:50that's written
16:52they might also delay and back phrase
16:54certain things
16:55so they might make certain notes a
16:57little bit longer than their written
16:59and this is one of the things that kind
17:00of creates a unique style
17:02and it has a huge effect on the emotion
17:04of the song
17:05so we're talking about the rhythm in a
17:07more general sense
17:09than an exact specific sense and you can
17:12you know for those of you that are
17:14watching this
17:16after the live video is over you know go
17:18ahead and pause the recording
17:20and go listen to the song there's a
17:22couple different versions worth
17:24listening to there's the
17:25official video version there's a live
17:27version by abba
17:28and then you can also go ahead and
17:30compare it to the meryl streep
17:32version that's from the movie mamma mia
17:34of this song
17:36so you have a couple things you can
17:37listen to so you can kind of hear
17:39exactly what i'm talking about from the
17:42actual recording
17:43but getting back to that rhythm two
17:46beats rest
17:46da da da da two beats rest
17:50two beats rest da da da da dam two beat
17:53rest
17:54da da da da da it's it's very
17:57uh it's very predictable in this sense
18:00the rhythms there's not a lot of variety
18:02so for those of you composing melodies
18:05it's
18:05really easy to make something way more
18:08complicated than it should be
18:10now i'm not saying this is i'm not
18:13saying this is complicated this is
18:14definitely not complicated and i'm not
18:16saying you can't be
18:16more complicated than this but there's
18:19something
18:20worth exploring as a composer in
18:23figuring out how you can make something
18:25that simple
18:27sound good the elegance of simplicity
18:30the beauty of simplicity
18:32there's something to that that is
18:33absolutely worth exploring as a composer
18:36so don't be afraid of repetition
18:39especially when you're composing a
18:41melody notice
18:43that
18:45[Music]
18:46the rhythm is pretty much the same but
18:48the melody's different
18:50um it goes up again but it's at a
18:52different level so the first one is
18:55and the second one is
18:56[Music]
18:58and then we do so these two went up
19:02then this one goes down so
19:06you're taking this here's kind of like
19:09one of the secrets to writing a great
19:10melody
19:11you make at least one aspect
19:14simple and then you make something else
19:17is where you put your complexity
19:19so if we take the music of tchaikovsky
19:22as i mentioned before
19:23classical composer wrote the nutcracker
19:26nutcracker swan lake sleeping beauty
19:28walt disney realized how great his
19:30melodies were and took those and put
19:32them in the
19:32disney movies great melodies so his
19:35melodies were very he'd repeat them
19:38over and over and if you just had the
19:40melodies alone you'd be like gosh
19:41tchaikovsky why are you so famous can
19:42you come up with something different
19:44but if you listen carefully in the
19:46background
19:47every time that melody happens there's
19:49something else happening behind it
19:51there's a counter melody or there's a
19:53different way in which the chords are
19:55being
19:55performed or there's different harmonies
19:58under the same melody
19:59so tchaikovsky takes something that a
20:02listener can latch onto
20:04a reasonably simple melody and then
20:07puts all the complexity in other areas
20:10and even within your melody
20:12what you can do is you can say i'm going
20:13to do something simple
20:15i'm going to take this rhythm of two
20:17beats wrath
20:21little variation right two rates
20:25two beats but once you've done that and
20:29you've
20:29said i'm gonna have this one area that's
20:31simple then you figure out how you how
20:33much variety can
20:34you get within that simplicity so this
20:38first one
20:38starts on a d flat the second one is
20:41exactly the same thing
20:42going up the scale the exact same rhythm
20:44but starting on b flat
20:45this one is kind of like the inversion
20:48so the other one went
20:49went up this one goes down and then it
20:52goes down again
20:54um but with us but here the rhythm gets
20:56varied a little bit so it's this is the
20:58kind of like the same thing but the
20:59rhythm gets varied
21:00so we have an almost exact repetition
21:02then they go back and they do this whole
21:04thing again
21:05and then this is where the art of the
21:07performance comes in because the
21:08performer is going to then
21:10even give other variations to this
21:14and we haven't even started talking
21:15about the lyrics yet right because the
21:17lyrics
21:18are gonna make a huge difference right
21:20now i wanna just focus in on
21:22the um the melody sides the musical side
21:27and i think it's worth just kind of
21:30being
21:31clear when we're talking about a song
21:33we're talking about a
21:34combination of art forms we're talking
21:36about the art of music which deals with
21:39pitch rhythm harmony things like that
21:43and we're talking about the art of
21:45literature
21:46the lyrics the poetry these are two
21:50things that
21:51you know you can look at separately but
21:53in a good song
21:55kind of become inseparable but i do
21:58think
21:59you know when i say music that
22:03that we can pull those two things apart
22:05so i wanted to focus on just the
22:07music side of the song before we start
22:10talking about the lyrics
22:12so this all gets repeated wonderful
22:16then after all this kind of like more
22:19more kind of calm it's got a narrow
22:22range it's not a
22:23not a wide range it goes down to a flat
22:25and up to g flat so it's a minor seventh
22:27in terms of range
22:29and then all of a sudden we have this
22:32huge
22:33dramatic leap up
22:36the only big leap we've had is really
22:38just this one
22:39big leap here that goes down but now we
22:42have a leap and it's
22:43this was a leap down of a six this is a
22:45leap up of a seventh
22:47that tends to have this yearning quality
22:50when you have that leap up
22:51and so they leaps up and then
22:53immediately steps back
22:55so with leap up step back that's
22:57textbook how you write a melody
23:01then here's where uh two weeks ago
23:03someone was asking about melodic
23:05development
23:06well this is melodic development has
23:08many way
23:09many ways you can do it one is kind of
23:11the repetition
23:13aspects the the variation aspects we
23:15talked about within the verse
23:16when we get here when i start notating
23:18things with the red
23:20lead sheet symbols this is the chorus
23:23and so the chorus has the series a
23:25sequence
23:26we have
23:27[Music]
23:34and then it does it again
23:35[Music]
23:37and then we finally have what like kind
23:40of like the wrapping it up
23:45and do not underestimate the power of
23:49three
23:50this has been something that's been a
23:51big thing in music for
23:53for centuries three is like the greatest
23:56number
23:57in terms of how we hear things we hear
23:59it once
24:00okay it kind of has a surprise oh what's
24:03going to happen
24:03then you hear it again but at a
24:05different level starting on the b flat
24:07you're like oh okay i get it third time
24:10you've heard the expression third time's
24:11the charm
24:13this is kind of the same thing with
24:14music when you're composing you get it a
24:16third time
24:17and then finally you say okay after that
24:20it would start to become
24:21predictable but three times just really
24:24works psychologically
24:25uh first it's like question
24:29answer confirmation you can't it's
24:32almost like that kind of
24:33setup in terms of how it how it plays
24:36for the listener
24:37so this wonderful sequence this
24:40development of the melody
24:42as it shifts into different areas
24:45so that's kind of a quick talk about
24:48that now let's see how
24:49the harmonies support it okay
24:53and let me point out a couple things so
24:55it starts off with an introduction which
24:57is
24:59just the chords of the chorus so let's
25:02think about this as in terms of
25:04songwriting and if we can take
25:05principles you can take the chords of
25:07the chorus
25:09use them as an instrumental introduction
25:12that way when you get to the chorus the
25:15listener
25:16is hearing a melody they've never heard
25:18but they have this sense of familiarity
25:20that they get from the harmony
25:23music is like an amazing psychological
25:26tool
25:27and and i wonder to what extent
25:31um you can you know as human knowledge
25:35continues to evolve
25:36that we figure out how music can be
25:39used to help us you know help us
25:43feel better relieve anxiety like we all
25:46kind of implicitly know this
25:48we all know that there's certain songs
25:49that will make us feel better
25:52but to like get get deeper into that
25:54discovery and i remember
25:56i was listening to an interview recently
25:58with like an olympic athlete
26:00and uh he was talking about how you know
26:03at one set of olympics he was listening
26:05to music that was all like very very
26:06energetic
26:07and then like his neck next olympics he
26:10was listening to like all this kind of
26:11like
26:12depressing slow music and he did
26:15terrible
26:16on the second olympics and he in
26:18reflection he's like oh
26:19i didn't know it at the time but looking
26:21back just
26:22my mind wasn't there i was like listen
26:24watch them you know just just look at
26:26the music i was listening to
26:28like i was just kind of in a funk i was
26:30not feeling i was feeling down and my
26:31head wasn't in it
26:32so of course i did not compete at the
26:35level that
26:36i did on my first olympics and so it was
26:39a whole like psychological shift that
26:41happened
26:41so that when it went to the third
26:43olympics he was able to to win lots of
26:45gold medals
26:46so this is also kind of reminds me of
26:49when when you look at music history and
26:51you talk about ancient greece
26:53so 500 bc long time ago and they start
26:56talking about things like
27:00like ethos
27:05this idea that music can affect our
27:08character not only our like our our our
27:11emotions but our like our ethical moral
27:14character
27:15as a human being and you know there's
27:18certainly something to it right it's
27:22what just like people say you are what
27:24you eat
27:26you kind of feel what you listen to as
27:28well you kind of
27:29you kind it it does something when you
27:32when you
27:32when you're listening to a lot of music
27:34that has a certain feeling you know of
27:36course
27:36you're you're in that feeling and
27:38that'll continue so
27:40if you want to change how you feel
27:42listen to different music
27:44think about when people go and you know
27:46typical workout music
27:48typical workout music is not like a
27:50ballad
27:52it's more it has a faster tempo it's a
27:54certain kind of feel to it
27:56because you're looking for a certain
27:58physiological as well as emotional
27:59result from that
28:00so think about the the ethos of a song
28:04and how these melodies will and the
28:07types of melodies will affect that
28:10so our introduction is the the the
28:13harmonies
28:14of the chorus so the genius behind that
28:16is
28:17we hear an instrumental introduction
28:20and then when we get to the chorus with
28:22the melody which we haven't heard before
28:24this
28:24melody for the chorus that's so striking
28:26with this ascending leap of a seventh
28:29we have the familiarity of the chords
28:32then when we go to the verse we have a
28:34different set of chords they're both in
28:36the same key
28:36this this piece does not modulate so
28:39it's one piece
28:40all in the key of g flat major so
28:43there's
28:43there's not a lot of different harmonies
28:45but you know it's it's more
28:47sophisticated than just
28:48one four five so let's take a look at
28:51what we have
28:51and i'm gonna look here in
28:55in in the chat here just to i'm going to
28:57take it normally i wait but since i
28:59wanted a little bit more interaction
29:00i'm going to take a look right now so
29:02i'm going to take a little break and
29:03then we're going to come back to it
29:06all right so good evening from
29:10england is he in california i wonder if
29:12that's referring to my colorful
29:14shirt i am not in california but i
29:18i would be happy to be in california so
29:20anyways
29:21i'm in new york state good evening from
29:24england
29:25thank you very much i love england
29:27visited london
29:28um and my my biggest tip is if
29:31you if you're in london you haven't been
29:33to lord frederick layton's house museum
29:35he was a painter
29:37i loved it go to it it was wonderful i
29:39saw lots of great musicals while i was
29:41in in london
29:42uh but thanks thanks from england uh
29:45good evening hey good evening to you
29:47andrew good evening morning from new
29:49zealand ah
29:50that's a place i haven't visited but
29:52want to visit uh
29:54from sri lanka woo super cool another
29:57place i've never been but
29:58need to go hello so glad to catch this
30:01live again
30:01love from india all right love right
30:04back to you
30:07please don't forget the analysis of the
30:09beethoven seventh symphony second
30:10movement oh
30:11thank you for the reminder i did i did i
30:13may have it written down somewhere but i
30:15had forgotten about it
30:16so i will get to that uh hi is it
30:19necessary that we go
30:20back to the original key once we
30:22modulated can't we begin and end the
30:24piece in the second key piece i'm going
30:26to rep
30:26hey hey pranav i know i saw and i got a
30:29couple messages from you that i'm going
30:30to answer
30:31probably not today but but soon don't
30:33worry it's going to all work out
30:35it'll it'll be great so
30:38so is it necessary we go back to the
30:39original key once we've modulated well
30:42so i'm going to answer that we don't
30:44modulate in this piece i'm analyzing
30:46but in general in music
30:50the idea is that once you modulate you
30:52do have to go back
30:53to where your start to where you started
30:56and
30:57almost you know kind of history shows
30:59that
31:00that's what the masters do and so we
31:03should probably take a page from their
31:04book and do the same
31:06the one big exception is where
31:09sometimes a piece will start in a minor
31:12key
31:12and it will end in either the parallel
31:15major
31:16or the relative major and that the idea
31:19behind that is that
31:20they're you know it's like if it starts
31:21in c minor you might end in e flat major
31:24or even c major
31:25the idea that minor has more tension uh
31:28and is
31:28less at rest less resolved than
31:32a major key so the figure the idea is
31:34like well what major key do you resolve
31:36in do you
31:37do you keep the same tonic note
31:40c c and just make it c minor c major or
31:42do you keep
31:43the same key signature c minor e flat
31:45major so
31:46sometimes you'll have something like
31:48that in terms of how you
31:49then modulate back but modulating back
31:53is something you definitely need to do
31:55well usually to the same key you started
31:57in but sometimes to
31:59something more resolved the relative
32:02major or parallel nature
32:03good question uh gotten got
32:06nolan saying hey nolan i'm doing great
32:08this weekend and he's
32:09nolan is a student of mine taking music
32:11theory one at the college i teach
32:13and he's working on his homework while
32:15he's listening to the stream hey that's
32:16a
32:17that's the great way to do it uh nolan
32:19brennan folks
32:20uh he he's a hard-working passionate
32:23guitarist so who knows
32:24i'm hoping one day he's going to be
32:25super famous and i'll be watching his
32:28his youtube channel all right how to use
32:31wide intervals while using music
32:32yeah exactly this is well this is one
32:35this is certainly one way to do it right
32:39and i think part of the reason that this
32:41this chorus is so effective with the
32:43wide leaps
32:44is that you only had one really wide
32:47leap at the beginning and then lots of
32:48scales lots of scales everyone's feeling
32:50comfortable everyone's feeling
32:51comfortable
32:52and then all of a sudden boom surprise
32:56big leap and then then then it resolves
32:58and then boom surprise again
33:00but it's the same shape it's the same
33:03melodic shape so
33:04it's it's a surprise from the leap side
33:07but
33:07there's some familiarity and then
33:09surprise again
33:10the same shape same leap
33:15each time it's going to become a little
33:16less surprising because we start to hear
33:18that pattern of the sequence
33:20so that's one way you can use wide leaps
33:23set up a sequence
33:25so that you have you know kind of get
33:27everyone comfortable hit them with a big
33:29leap
33:31step back right away then do that same
33:33big leap with the same kind of rhythmic
33:36feel then do it one more time a third
33:39times the charm
33:41that's that's one way you can use wide
33:43leaps so
33:44yeah that's that's a great rule of three
33:47great trip thank g
33:48tip yes thank you thank you all right we
33:50got our analysis
33:52all right so we've got uh
33:55one which is correct and these two
33:57slashes here
33:58mean that that chord stays g flat stays
34:00for two beats
34:02then b flat seven over d and we have
34:05that being
34:06uh five hmm
34:10all right caleb i'm gonna have to i'm
34:12gonna have to say you're
34:13you're it's a good attempt but not a
34:15hundred percent on
34:18um
34:20five six or maybe maybe you're analyzing
34:22this part right here
34:24yeah i think you are yeah yeah yeah
34:27that's what you're doing all right
34:28i got you you're analyzing the verse
34:30that's great okay so one
34:32one i agree and i'm going to go ahead
34:34and put in these roman numerals now so
34:35let's talk about it
34:37because us music theory folks we love
34:38our harmonies and we love our roman
34:40numeral analysis so
34:41one chord and it stays that's what this
34:44line with dots means repeat what it was
34:47in the last measure so i'm just write it
34:49once
34:50this is a five chord and first inversion
34:54this goes to a two chord
34:58in second inversion so two six four
35:03and then five seven so 100 correct
35:07excellent excellent i want to talk a
35:09little bit about about that just since
35:11caleb did a great job analyzing there
35:14one chord then we go to
35:20we not only is it harmonically important
35:23that we
35:23look at what's going on there also the
35:25bass line descending bass line
35:27is like especially in popular music but
35:30in all styles of music is like the power
35:32of the scale is something i talk about
35:34so
35:34for those of you who haven't watched all
35:37of my lesson videos and i've got like
35:40i don't know 40 of them or something
35:44they are in order of complexity so i
35:46start off
35:47lesson one is like pretty basic
35:50lesson two builds upon lesson one three
35:52four five et cetera et cetera et cetera
35:54so some of the things i might be talking
35:56about in this video you might not
35:58understand yet
35:59so there might be a hole in your
36:00learning or you might not have quite
36:02gotten to that
36:03to that level i urge everyone to
36:06watch the visit my lesson videos in
36:09order lessons one two three so
36:10everything that's called
36:11lesson is meant to be heard in specific
36:15order
36:15then all the the the kind of topics i'm
36:18doing now with the live q a
36:20these are more of you know just various
36:23topics that are built upon
36:25that knowledge of all those lessons so
36:27when you have
36:28listened to all those lessons you're
36:30going to really be able to understand
36:31and appreciate everything that's
36:33happening
36:33in these live q and a's when we talk
36:35about different topics
36:36so check out that descending bass line
36:39right we
36:40g flat f e flat
36:43d flat you know so scale degree one
36:46seven six five power of the scale
36:50it's a big thing so we get chord wise to
36:52harmonize that
36:54we get our one chord and then we get our
36:58five six
37:01two six four
37:04five seven
37:07and so this is this is the only thing
37:10that's a little unusual in terms of
37:12traditional classical harmony
37:16is the five six to two six four but even
37:18that's like not a big deal at all it's
37:20really not that unusual
37:22actually i shouldn't even say that it's
37:23not unusual because the real
37:25chord progression is one five
37:29so this goes all the way to this so
37:32five six to five seven this is just a
37:35passing
37:36this is a passing six four chord we we
37:38talk about that in one of the lessons
37:40passing six four textbook classical
37:43passing six four chord so it's one
37:47five six passing chord still staying on
37:50five just adding a seventh and putting
37:51in a root position so
37:52it's really one five but we we we have
37:56some variety of chords there to make it
37:58a little bit more complex and a little
37:59bit more interesting
38:00so that's what we have harmonically so
38:02then caleb then says
38:05uh that we go and this is on our chorus
38:09we got our one chord
38:13now caleb calls it a three
38:16six five and that's not the most
38:20insightful way to look at that chord and
38:23let me tell you why
38:24um
38:27it's it's not functioning as a three
38:29chord
38:30and so caleb uses an uppercase roman
38:33numeral 3
38:33to indicate that it's got a major triad
38:35and then puts a 6 5
38:37with no m to indicate that has a minor
38:397th
38:40so calling it uppercase 365
38:44it's not crazy crazier things have been
38:46done
38:47you're not you know it's it's reasonable
38:49to say that but what
38:50i would really say is that this is a
38:52secondary dominant so i would call it
38:54five six five
38:58of where we're going which is a six
39:00chord
39:02so five six five of six so if you listen
39:04to the secondary dominant
39:06chapter this is textbook secondary
39:09dominant and then
39:09as as expected it goes to that six chord
39:14then here this e flat seven over g is
39:17another chromatic chord so
39:19this is a chromatic harmony right i'm
39:21gonna put a little star next to it this
39:23is not in the key
39:24this is not in the key e flat seven over
39:26g so we get two
39:28chromatic harmonies you know this is you
39:30know
39:31talking about abba which is a pop group
39:34the fact that they're using
39:35secondary dominance you know not every
39:37pop group
39:38uses that and if you were to listen to
39:40the top you know the top 20 of today's
39:42hits
39:44not all of them are going to be this
39:45sophisticated harmonically
39:48using secondary functions using a
39:50passing 6-4 chord
39:51i mean for all of us who've who've done
39:53our music theory homework
39:55you know we can we can identify with a
39:57lot of that stuff so here this e flat
40:00seven over g
40:01this is a five six five
40:04going to a flat which is our two chord
40:09two and then d flat seven is again our
40:12five
40:13seven
40:16so for our chorus
40:29[Music]
40:37we get a little secondary functions in
40:39there which kind of adds a whole
40:41other aspect to it so yeah thank you
40:43thank you i'm gonna go back to the chat
40:45and we're gonna come back for more
40:46things
40:47uh i'm trying to melodic solo on guitar
40:51yeah so that's it so this is from eric
40:56you know improvisation
41:00tends to be less melodic than composed
41:04melodies
41:06it tends to be a little bit more
41:10virtuosic scaler
41:13arpeggios and kind of like faster
41:17rhythmic
41:18note values and so
41:21if we talk about let's say whether it be
41:23blues improvisation or
41:25jazz improvisation or
41:28metal guitar solos if we think of
41:31you know they tend to have a lot of note
41:34and they tend to be
41:35patterns a lot of scale and arpeggio
41:37patterns
41:38not necessarily melodies
41:41and a melody has a certain amount of
41:43rhythmic
41:45variety it has pauses
41:48it has rests and if you were to think
41:52if you were to like let's say transcribe
41:54a bb
41:55king solo and bb king is more melodic
41:57than most or let's say an eddie van
41:59halen solo
42:00or a charlie parker solo
42:04you would find more notes than this
42:07you would not find so many kind of
42:12longer note values in rest more than you
42:16think right
42:17more than you would think they they have
42:18so like young
42:20young people who are getting used to
42:22improvisation or or not young people who
42:24are just learning improvisation
42:26will tend to be like i am going to play
42:34and if you're a guitar player and who
42:35doesn't need to breathe you can just
42:37keep going
42:38right and it tends to not sound melodic
42:40it tends to be too
42:41much so the importance to play
42:43melodically this is why
42:45piano players like keith jarrett talks
42:47about keith jarrett plays soprano
42:49saxophone in part so that he can get the
42:51idea of
42:51breathing when he's playing a piano
42:53melody he doesn't need to breathe when
42:55he plays the piano i mean he does need
42:56to you know what i mean right he needs
42:58to breathe
42:58but his his melody doesn't need to have
43:01a breath he can keep
43:03playing non-stop on the piano without
43:05taking a breath
43:06but he wants his piano melodies to feel
43:08like they're taking a breath
43:10to feel like a singer or a saxophonist
43:14and so this idea of soloing melodically
43:20a lot of the you need to try to figure
43:23out what you're doing where
43:24you need some repetition of melody so
43:27like this
43:30then inversions you need some longer
43:33note values
43:34these are the things you should have in
43:36your improvisation and that's a
43:38wonderful
43:38challenge to put to yourself say i'm
43:40going to improvise
43:42with the kind of rhythmical character
43:45that's from
43:46this abbason like give yourself that
43:48challenge and then
43:49pick another song and be like i'm going
43:51to compose i'm going to
43:52improvise rather with the rhythmic style
43:56of this melody and that's a great
43:59exercise
44:00and so a lot of the cool jazz players
44:03from like 1949 1950s so
44:07miles davis birth of the birth of the
44:09cool jerry mulligan
44:12paul desmond these types of jazz jazz
44:15players
44:16um they didn't they didn't play as as
44:19many
44:20fast notes and they played more
44:22melodically in their improvisations
44:24and so it can be done and it's and it's
44:28you know it's it's really refreshing
44:30like so me
44:31when i like when i play jazz i like i
44:34like everything right so i want the best
44:36of all everything i'll i'll typically
44:38start my solos
44:39very very melodic very much in a cool
44:42jazz
44:42paul desmond style because i love paul
44:44desmond and then i'll end with like
44:46john coltrane sheets of sound because i
44:49love that too
44:50so i'm a big fan of the variety of that
44:53but you need to be able to develop you
44:55know both sides of that so yeah good
44:57luck with that eric
44:58you know go ahead and try to improvise
45:00like here's some chord changes
45:02go ahead and improvise make up your own
45:04melody on these chord changes
45:07but try to use this kind of like this
45:10kind of a
45:11rhythmic feel so instead of going like
45:13say
45:14[Music]
45:16let's say you start
45:18[Music]
45:31i'm doing a terrible job let me let me
45:33try that again so let's say you used to
45:37[Music]
45:44go
45:51right so i have a new little phrase
45:54[Music]
45:57right so you kind of gave me that same
45:58idea but you have a different melodic
46:00shape
46:01and then try to figure out how you can
46:03like sequence it repeat it
46:04make it go up make it go down give that
46:07give that challenge to yourself i think
46:08that would be a ton of fun
46:10carlos greeting from greetings from
46:12greece well i was just talking about
46:14ancient greece so and i've never been
46:16there oh
46:17good good big fan from kansas awesome
46:20thank you grant
46:22here's another question here
46:27let's see here uh oops i i scrolled down
46:30a little bit too quickly
46:32uh would you harmonize the c flat in the
46:34third measure as d
46:35flat seven i know some would just leave
46:37it in a g
46:38flat and use it as a passing tone uh the
46:41c flat in the third measure
46:44one two the
46:47c flat and the third oh okay so you're
46:49counting this has been i kind of this is
46:50a pickup
46:51uh yeah this is just a passing tone
46:56so this is all all all g flat so let me
46:58let me do that that's a
47:00thank you for asking that question
47:02because
47:04we have this is all on a
47:08this is on a d flat seven so chord tone
47:11passing tone chord tone escape tone
47:15step out leap down chord tone
47:18chord passing tone poor tone
47:22and um this is kind of like a
47:25combination of
47:26an anticipation to a
47:30neighbor tone so it's like you could
47:31analyze this e flat as a
47:33neighbor tone but it because of this
47:36dotted eighth
47:37sixteenth that's kind of like a very uh
47:40characteristic rhythmic device for
47:43anticipation so you could say
47:45anticipation neighbor tone or neighbor
47:48you could just say neighbor tone
47:49neighbor tone
47:49but understanding that this feels like
47:52an into this is an
47:53anticipation to this which is a
47:54non-chord tone
47:59neighbor tone accent in neighbor toe to
48:02chord tone
48:03so this is another thing that's when
48:05we're looking at at
48:06pop music and we're saying oh you know
48:08so many people like oh pop music's so
48:10simple and they look down their nose at
48:11it
48:13look at the way the non-chord tones are
48:15being used
48:16you know they're there's some
48:18sophisticated stuff like that's
48:20like you know it's not super i'm not
48:22it's not super
48:23sophisticated but you know it's like
48:25okay we got a note that's not in the
48:27chord
48:28that's anticipating another note that's
48:30not in the chord and then resolves right
48:32back down
48:32and it's all accented that that stuff
48:35gives it
48:36some of the the emotional juice that
48:38this song has and we're going to talk
48:39about that emotional juice in a moment
48:41so
48:41don't think i have forgotten and then we
48:44have
48:45core tone we can call that a passing
48:49tone
48:49passing tone so two passing tones in a
48:52row that's not uncommon when you go from
48:54the root to the fifth
48:56and then chord tone
48:59that's an upper neighbor that's kind of
49:01like a little bit unprepared because
49:03there's the rest but it's essentially
49:04coming from that c flat to the d flat
49:07chord tone passing tone chord tone
49:11chord tone and then here
49:15chord tone chord tone chord tone
49:19anticipation
49:23chord tone chord tone chord tone chord
49:27tone
49:28anticipation again
49:32chord tone chord tone chord tone
49:35chord tone anticipation
49:39chord passing tone chord tone passing
49:41tone
49:42chord tone
49:46so lots of passing tones a couple
49:49accented neighbor tones
49:51uh an escape tone not too bad right
49:54not too bad so when you're composing
49:56your melodies
49:58notice the percentage of chord tones
50:01to the percentage of non-chord tones
50:04this is another
50:04big kind of like melodic how to write
50:07melody how to analyze a melody tip
50:10is you're gonna have just like you're
50:13gonna have predominantly stepwise motion
50:15in your melody with
50:16some leaps i don't know what are we
50:18gonna say maybe
50:2010 leaps 15 leaps something like that
50:24and then for chord tones versus
50:26non-chord tones you're going to have
50:27predominantly chord tones
50:30and then a certain smaller percentage of
50:32neighbor
50:33of a non-chord tones so maybe we're
50:36talking about
50:37[Music]
50:3970 chord tones maybe 65 chord tones
50:43and then 30 non-chord tones
50:47often passing tones being the most
50:48obvious and most kind of like easy on
50:50the ear
50:51so that's another way we can analyze all
50:53that
50:55good good good good um
51:01so well yeah thank you thank you for
51:04flying crow for asking about
51:06about non-chord tones uh sound
51:09sounding major okay good uh i wish dr b
51:11was still in my theory professor
51:13hello from florida hey hey hello david
51:15thank you
51:16good good year you're still tuning in i
51:18appreciate that
51:20uh good evening thanks for this you
51:22always make my day and motivate me to
51:23work
51:24good thank you i appreciate that i i
51:27love
51:27i love i love achievement i love
51:30achieving great things
51:31uh i i try to try to do the same for
51:34mine
51:35myself jeff jackson another one of my
51:38students
51:38has got another vote for the beethoven
51:40oh it's the the people have spoken i'm
51:43going to have to
51:44hopefully in another two weeks i usually
51:45do these videos every two weeks
51:47on a saturday 3 p.m eastern time if the
51:51if everything works out then who knows
51:53next might be beethoven it might be
51:55negative harmony
51:56it a lot of that depends on uh to be
51:59honest a lot of it depends on how much
52:00time i have during the week
52:02and then just where where my my
52:05interests
52:06kind of guide me in that in that for
52:08that week like what am i feeling what am
52:10i thinking about
52:10what do i think is going to be valuable
52:13to you all but yes
52:14beethoven i love it uh
52:18uh david's talking to nolan thank you
52:22thank you giving me
52:23good testimonial winner takes it all has
52:25a beautiful piano intro peter you're
52:27absolutely right and i haven't i haven't
52:29played it and i hesitate to even try
52:32to play it here uh because i'm not a
52:34piano player
52:35but it's it's a great song for piano
52:37players and one of the things that i i'm
52:39good
52:39i'm gonna try to play it and you please
52:41will all forgive me if i don't do a
52:43great job at it
52:44but what's awesome about the intro
52:47is that it starts with a sus4
52:52and then it just kind of has this
52:54descending sus4 so it goes sus4
52:56to the 3 kind of then it goes down the
52:59scale and then it just
53:00does it at each each one of these
53:03chords so on the g flat on the e flat
53:05minor on the a flat minor
53:07and you get this cool so when you listen
53:09to it you'll you'll hear it but
53:10you get this
53:18[Music]
53:26and it's all these dotted quarter notes
53:28starting on beat two
53:29so what you do is you get quarter rest
53:32you get the kind of you kind of get the
53:33the bass note and the the general chord
53:35and then you get this
53:36dotted quarter and i let me write it
53:39with more traditional
53:43so dotted quarter
53:49and then a quarter note so it's it's
53:52one bomb bom bom
53:56so one two and one
53:59and four so you get this cool hemiola
54:03syncopation for those of you not
54:05familiar with that word it's a
54:08this is a great word to add to your
54:10vocabulary dealing with a rhythm that's
54:13repeats but kind of implies a different
54:15it's almost like this
54:16feels like another beat that's different
54:18than the actual beat
54:19so it's a rhythmic syncopated and so
54:22let's
54:22let me let me try to play that for you
54:24again as you know that so one two three
54:27[Music]
54:36four
54:43and the way it's played actually is it
54:45has all these arpeggios and it just
54:46sounds really like
54:48it sounds flowery and elegant it's it's
54:51really
54:52it is a great piano introduction i agree
54:53with you 100 peter
54:56uh what reasoning so this is from
54:58alexander what reasoning stands behind
55:00your
55:01your chord progression chart are the
55:02exceptions what are some
55:04and when might you break them yeah so
55:07so in my lessons i have the chord
55:09progression chart so
55:11uh really the chord progression chart
55:13isn't
55:14let's say my chord progression chart
55:17this is
55:17like what if we look at the music of
55:20mozart
55:21beethoven haydn this is
55:24what they normally do this is really
55:27what we're looking at
55:28and then there's reasons behind what
55:29they normally do and i've
55:31there's there's kind of like acoustic
55:33human perception
55:34universal reasons and why they do that
55:37circle of fifths
55:38things like that and then there's
55:39certain kind of like cultural
55:41reasons why there are certain things
55:42that work a certain way the harmonic
55:44progression chart is
55:46is pretty much dealing with a lot of
55:50um like if you want harmony that makes
55:53it sound like it's moving forward so
55:55like
55:55goal-oriented harmony a moving forward
55:58so you have
55:59a place of resolution let's call it our
56:02one chord
56:03we then go away and if we want to feel
56:05like we're moving forward
56:06back to one this is the way this is kind
56:09of the
56:10harmonic chord progression so it's it's
56:13taken from the
56:13from the the the past great composers
56:17and it's dealing with that as kind of
56:19like a philosophical
56:21musical philosophical goal emotional
56:24goal
56:25that's what we're trying to look look to
56:27to create with those kind of harmonic
56:29progressions
56:30if that's not your goal then that's not
56:32the way you should use harmony if your
56:34goal is to feel
56:35like um you're just kind of floating
56:38in uh you know
56:41a water immersion chamber
56:44then those are not the harmonies you
56:46want you want more
56:48repetitive harmonies harmonies that kind
56:49of feel like they're shifting like this
56:52some of the music of like claude debussy
56:54fits in this category eric satie um
56:58so wc has a piece called nuage is
57:02uh and i might be butchering the
57:03pronunciation but it's like clouds
57:06it feels like clouds floating it doesn't
57:08feel like clouds going to
57:10you know the country dance
57:13or or whatever so again that
57:17chart of harmonic progression is for a
57:19certain feeling
57:20which is was a feeling that was the
57:21predominant feeling going for
57:24with throughout when we talk about
57:26western european art music
57:28mozart beethoven people like that so
57:30that's a really good question
57:33um are the exceptions what are some and
57:35when might you break the rules
57:37so yeah there's there's certainly a lot
57:39of ways you can break the rules
57:41i cover some of those in my lesson so
57:43i'm gonna i'm not gonna go into those
57:45right now i apologize
57:46it's a great question but i'm gonna i
57:48want to get back to talking about winner
57:50takes it all
57:50but yeah there there are rules about how
57:53to how
57:54to break it and it's really an idea the
57:56concept of
57:57um these rules the rules on the chart
58:01are dealing with circle of fifths and
58:03that you can create
58:04other rules like i mentioned in this
58:06power of the scale this descending bass
58:09line g
58:09flat f e flat d flat like you could kind
58:13of keep going and use the scale
58:15to create all sorts of unusual things
58:19i'm thinking about right now and i've
58:21talked about this in some of my other
58:22videos
58:23uh luca luca morenzio is a
58:27italian madrigalist from the 16th
58:29century
58:30who has this super chromatic these are
58:32like super chromatic and he's going up
58:34and down a chromatic scale a solo
58:37a pencil or pencil something like that
58:39is the name of the piece
58:40but it's just like chromatic scale and
58:42that's what
58:44makes the ear follow what's going on
58:46because the chords change
58:48so dramatically that you'd be like this
58:50is crazy what is this
58:52it's insane and kind of like carl
58:54josueldo is another italian
58:56madrigal composer from the 16th century
58:58but they're using certain things to kind
59:00of tie it together
59:01now i should let you know that both of
59:04these two people i just mentioned are
59:06pre-tonal harmony they're they are
59:09before the major minor tonality system
59:11really comes into existence is
59:13discovered
59:14by people people like um
59:18claudio monteverdi starts to get into
59:20that uh and then later on
59:22sebastian bach antonio vivaldi the
59:24baroque composers are really the first
59:26using the major minor tonality system
59:29which is
59:30essentially what we still have today yes
59:33there's some variations we get into some
59:34modal ideas
59:36like neo-modality not old modality
59:39it's like modal ideas within a tonal
59:41context that's kind of what we have now
59:43along with tonality so mixtures of that
59:46but the italian madrigalists were
59:49pre-major minor tonality they were
59:51really thinking more about melodic
59:53lines than harmonies so from a certain
59:56perspective
59:57it's really great to go look at those in
59:59the context of what we started today's
1:00:01discussion with which is
1:00:02how to write melodies and they were just
1:00:05writing melodies and they were they
1:00:06weren't
1:00:06they wanted to make sure that the
1:00:08melodies came together
1:00:11in a way that was pleasing but they the
1:00:13italian medical composers were not
1:00:15necessarily concerned as long as this
1:00:17came together nicely
1:00:18and this came together nicely they
1:00:20weren't concerned how these two
1:00:23related to each other and that's really
1:00:24what tonalities gets about
1:00:26it's like this vertical harmony is
1:00:29related to this vertical harmony
1:00:31is related to this vertical harmony etc
1:00:33that's tonality
1:00:35whereas the italian composers were like
1:00:37we're writing awesome melodies and i
1:00:38want to make sure they line up here
1:00:40great i want a shirt make sure they're
1:00:41lying up there end of story they didn't
1:00:43really necessarily
1:00:44go to like how do these line these these
1:00:48moments where they line up how do those
1:00:49relate to each other so that's part of
1:00:51the
1:00:52evolution of music but you can analyze
1:00:55uh
1:00:55all these italian madrigal composers and
1:00:57they're super complicated
1:00:59type of melodies very chromatic
1:01:01rhythmically challenging they weren't
1:01:03meant for
1:01:04you know like a general audience they
1:01:07were meant for other musicians
1:01:09other people knowledgeable about music
1:01:11so they're really
1:01:12really interesting things all right
1:01:15so i kind of answered that question i
1:01:17know i didn't answer it completely but
1:01:18hopefully i gave you a little bit of a
1:01:19start
1:01:20on that uh all right
1:01:27all right thank you thank you uh
1:01:30david played a piano for production of
1:01:33mamma mia
1:01:34so super familiar with the song that's
1:01:36great uh picker d third can you please
1:01:38explain the comp
1:01:39this compositional device yes uh yeah
1:01:43uh uh print off yeah this is absolutely
1:01:46big
1:01:47let me just put this up because because
1:01:48i didn't mention it and i know
1:01:50we're a little off topic but that's okay
1:01:52right that's how uh
1:01:53that's how an exciting conversation
1:01:56happens right you have a topic
1:01:58and you kind of get all these
1:01:59interesting you start making all these
1:02:01interesting connections to other things
1:02:04so
1:02:07the idea of the picker d third i used to
1:02:10always call it the cardi third i think
1:02:11it's picker d third is the right way to
1:02:13say it
1:02:14so the idea here is that you're in a
1:02:15minor key
1:02:17c minor and you end or you
1:02:20add a cadence you turn it to c major
1:02:24um and this was common uh i forget
1:02:27exactly when this was
1:02:29happening historically i think pretty
1:02:31early on
1:02:3317th century maybe as early as the 17th
1:02:36century sometimes in the 18th century
1:02:38for sure the idea and it's
1:02:41and it's based on on the science a minor
1:02:44triad
1:02:45is objectively scientifically
1:02:49less stable than a major triad with the
1:02:52way the
1:02:52the frequencies interact with each other
1:02:55it's not as stable and i do talk about
1:02:59that in one of my lesson videos but i
1:03:00haven't really gone
1:03:01super in depth into that but for now
1:03:04hopefully you can take my word for it
1:03:06it's less stable the way the frequencies
1:03:07interact with each other
1:03:09and the same major triad is more stable
1:03:14so if you think about uh
1:03:17what composers would do is they would
1:03:19start a piece in a minor
1:03:21but they would realize that they would
1:03:22like the feeling of having everything
1:03:24feel resolved and figured out
1:03:26so you might start with the kind of the
1:03:29the
1:03:30angst or the drama of a minor key
1:03:43and then you might want to say all is
1:03:45right in the world
1:03:47we've resolved to something more
1:03:49resolved than that minor
1:03:51[Music]
1:03:54and when you do that and end with that
1:03:57major triad
1:03:59there's this sense of like ah and it's
1:04:01it's
1:04:02it's it's the acoustics of the nature of
1:04:05sound
1:04:05combining and meshing up with human
1:04:07psychology the way we perceive
1:04:09sound and that we sense that that it's
1:04:12greater
1:04:13it's more resolved so emotionally we
1:04:15feel like oh yes the darkness of the
1:04:17minor
1:04:18we have to work through things uh
1:04:20whether that's
1:04:21work like a fun challenge or oh a sad
1:04:24challenge
1:04:25but then when we have that that pickety
1:04:27third resolution to that major triad
1:04:30the feeling is everything is right with
1:04:32the world
1:04:33it's gonna be okay things are resolved
1:04:36that's that's really how it works and
1:04:38kind of like the function
1:04:40behind it so you can usually this
1:04:42happens um
1:04:43towards the end of a piece you usually
1:04:45don't want to go drama drama
1:04:46then boom and then go back to that right
1:04:49away but you can right you can kind of
1:04:51play
1:04:51back back and forth with it so hopefully
1:04:54that explains a bit of of how that
1:04:56came to be and how you would utilize
1:04:58that in your own compositions
1:05:02uh got another question here from caleb
1:05:06here
1:05:07dr b how do i know if i succeeded in
1:05:09creating a modal chord progression
1:05:11and not a a modal chord progression and
1:05:14not a modal one
1:05:15i'm not quite sure i understand it for
1:05:17example a simple two chord progression
1:05:19like c
1:05:20minor to d minor is is dorian or ionian
1:05:24so let's take that c minor to d minor
1:05:32so and let me do uh let me do um
1:05:35contrary motion
1:05:44so so if you're doing c minor to d minor
1:05:54and this is uh this is like the same
1:05:56relationship for a lot of jazz tunes
1:05:57like so what
1:05:58um which kind of goes from d minor
1:06:02or d minor to e minor or john coltrane's
1:06:05impressions
1:06:06same kind of chord progression it's just
1:06:08up a whole step so that idea
1:06:12so if you look at c minor um
1:06:15i would say you're gonna go c e flat
1:06:19uh let me give myself a i don't want to
1:06:21erase too much of this stuff i'm gonna
1:06:22erase the hemiola part
1:06:24you don't need that anymore i want to
1:06:26give myself a little room here
1:06:28to leave this stuff because when we go
1:06:30back
1:06:31because we haven't talked about the
1:06:32lyrics yet and
1:06:34lyrics are another part of music that i
1:06:37think are
1:06:38absolutely i mean i don't i can't think
1:06:41of any
1:06:42music theory book i've read that really
1:06:44discuss lyrics
1:06:46but certainly songwriting books do
1:06:49so if we have c minor c e flat g
1:06:53and then we have d minor d f
1:06:56a we pretty much have a scale already
1:07:00right the only note letter missing is a
1:07:02b
1:07:03right so chances are if it's going to be
1:07:05it's going to be a b
1:07:06flat and the chord you start with is
1:07:09going to be
1:07:10your tonic it's going to sound like c as
1:07:12your home base if so if you start with c
1:07:16so let's say you're going
1:07:28and then you go to d minor so it all
1:07:30depends how long you spend on this right
1:07:32if you go to d minor and you just shift
1:07:34up so most
1:07:35typically it's all these kind of minor
1:07:38chords are all dorian especially for
1:07:40jazz uh you just use a dorian scale
1:07:44so this would be c minor dorian right
1:07:46and in part because d minor
1:07:48d minor fits in so so easily to it
1:07:52already
1:07:52so you would probably just be doing a
1:07:54dorian
1:08:00and if you spend a long time on the c
1:08:02minor when you shift to d minor you're
1:08:04going to just do
1:08:05you're just going to move everything up
1:08:06a whole step and you're going to do d
1:08:07dorian as well
1:08:08but if you're going back and forth
1:08:10quickly between c minor and d minor
1:08:12let's say
1:08:12[Music]
1:08:19then you kind of like combine them if
1:08:21they're coming close together and you
1:08:23just basically
1:08:24take those two notes those two chords
1:08:26rather and say well how does that
1:08:28all come into one scale so dorian i
1:08:30think is the answer
1:08:31is what you're talking about
1:08:34um so the idea behind um
1:08:40modal progressions the main i the main
1:08:43part of it is that your
1:08:47couple thick things you're changing
1:08:50chords a lot
1:08:51slower so maybe you might have a chord
1:08:53for four measures long or eight measures
1:08:55long
1:08:56that's very typical that's going to
1:08:58sound modal because it's going to be a
1:08:59scale
1:09:00same scale for that amount of time if we
1:09:01look at the music of bach
1:09:03we have chords changing every beat or
1:09:06every two beats
1:09:07if we look at the music of mozart it
1:09:09might be
1:09:10a chord for an entire measure or two
1:09:12measures
1:09:13to get modal we can expand that out have
1:09:16a same chord for four measures or eight
1:09:18measures or 16
1:09:20measures and that gives it that modal
1:09:23character right off the bat the other
1:09:25way to kind of give it the modal flavor
1:09:28is to use a chord progression and
1:09:32not have like not raise the leading tone
1:09:34if you're in minor
1:09:36so if you're in c minor
1:09:41normally you'd be like you go to a four
1:09:43chord and you go to a five chord
1:09:46and you raise the leading tone you can
1:09:48make that modal by just saying
1:09:54don't don't raise the leading tone
1:10:01and you can just shift using all the
1:10:03different kind of permutations within
1:10:05the scale
1:10:07this works particularly easy and minor
1:10:09because
1:10:11tonal music raises the leading tone for
1:10:14five chords and seven diminished
1:10:16chords so when you don't do it it makes
1:10:18it really really clear
1:10:19you're thinking in a modal context to do
1:10:22that
1:10:23in a major key is a little bit more of a
1:10:25challenge but
1:10:26there are there's a lot of musical
1:10:28theater composers and
1:10:30disney composers and they love using the
1:10:32lydian mode
1:10:33so they'll all they'll be you'll be in
1:10:35major and everything will sound kind of
1:10:37like
1:10:39kind of a kind of normal
1:10:48except there right to go one
1:10:52five and instead of a minor two you get
1:10:55a major two
1:11:00so maybe i'll go to a three chord so
1:11:01let's say i'll go one
1:11:02[Music]
1:11:05five then major two
1:11:10to three make it dark or maybe
1:11:16maybe i could go to a six chord so
1:11:24yeah so that would be that would be kind
1:11:25of like a very that would be an example
1:11:27of a modal product
1:11:28progression in major c try a g
1:11:32d a minor and it's this
1:11:36f sharp that gives it a lydian flavor
1:11:42uh so you know when you want to try to
1:11:44compose modal progression
1:11:46you pick a mode try to pick one other
1:11:48than
1:11:49ionian because that's the one that's
1:11:51that's the mode that was
1:11:53ionian is the mode that was picked to
1:11:56represent
1:11:56major so when you we have the transition
1:11:59from the renaissance
1:12:0016th century to the 17th century we get
1:12:02the beginning of the baroque
1:12:04they basically pick aeolian as the mode
1:12:06to represent the minor modes
1:12:08because there was also the option could
1:12:10have been phrygian they could have
1:12:11chosen phrygian
1:12:13um then they and they could have picked
1:12:15dorian but they chose aeolian
1:12:17as the representative minor mode and
1:12:20they chose ionian as the representative
1:12:23for major they could have chosen
1:12:24lydian they could have chosen
1:12:26mixolydians but they didn't
1:12:28they chose ionian so if you were to use
1:12:30any of those other ones
1:12:31for minor dorian and phrygian and then
1:12:34for major
1:12:35lydian or mixolydian and you just start
1:12:37writing chords and
1:12:39and you make diatonic harmonies that are
1:12:42only using the notes within that mode
1:12:45you'll you'll have a modal progression
1:12:47and you can have a lot like this is
1:12:48something that pop music does really
1:12:50well
1:12:52and you can have a lot of fun with that
1:12:54right you can
1:13:07that's my lydian chord for modal chord
1:13:09progression and it sounds it gives it it
1:13:11gives it something fresh
1:13:13so dorian
1:13:16phrygian have fun with those for minor
1:13:19lydian mixolydian have fun with those
1:13:21for for major don't mess with locrian
1:13:26locrian is the seventh mode of the major
1:13:28scale don't mess with it
1:13:29they didn't back in the day they did not
1:13:31even consider that a real mode
1:13:33it was and eventually they're like okay
1:13:35it's a theoretical mode
1:13:36and the reason they didn't really think
1:13:38about that one is because it did not
1:13:39have a perfect
1:13:40fifth that diminished fifth so what
1:13:43happens is when we're using these modal
1:13:44progressions the most important
1:13:46progression
1:13:47can still be there five one and
1:13:50and not necessarily even an uppercase
1:13:53five not even a major five chord but
1:13:54this
1:13:55motion of scale degree five going
1:13:58down to scale degree one that's such a
1:14:00fundamental aspect of harmony
1:14:02and you can do that with all the modes
1:14:05and when you're having your modal
1:14:07progressions so it gives it
1:14:10kind of like the aspects of tonality but
1:14:12with a little unique coloring so i i
1:14:15i could talk a lot more about this and
1:14:16this is kind of like you got me got me
1:14:18started and it's a great topic but i
1:14:19think i gave you enough
1:14:21to work on in terms of exploring that
1:14:23further
1:14:26all right uh d
1:14:29minor c g g is that dorian uh d minor c
1:14:33g yes it is that would be dorian so yeah
1:14:36caleb if you went from a d minor triad
1:14:38to c major triad to g major triad
1:14:40that would be a dorian progression all
1:14:43right
1:14:51all right so you go you guys are going
1:14:53back and forth a little with that that's
1:14:54great
1:14:54good good um i love i love how your
1:14:59you guys are kind of talking amongst
1:15:00each other in the chat i love it i love
1:15:02it i love it i love it
1:15:03um one of the things that you know one
1:15:06of one of my
1:15:07listeners asked me was whether they
1:15:08could start a facebook fan group
1:15:10uh that talks about music theory and i
1:15:12said yeah and i said if you can
1:15:14structure it in a way where people can
1:15:16ask questions and get feedback from one
1:15:18another
1:15:19i would be i would totally love love
1:15:21that
1:15:22so he started one up dr b music theory
1:15:25fan page and so
1:15:27yeah if i would love to see if you guys
1:15:29find that useful
1:15:30great if you want to just chat here
1:15:31while these live videos are going
1:15:33i'm all you know my goal is learning
1:15:36more about music so whatever makes
1:15:38that happen is gonna make me happy
1:15:42okay uh less able more shots to go rich
1:15:45in total gravity
1:15:47of yes shostakovich the other end of the
1:15:50emotional spectrum
1:15:52right i love listen i i i want to
1:15:56make everybody happy so i'm i'll and i
1:15:58love me some shostakovich
1:16:00shostakovich cello concer i i remember
1:16:03when i first discovered his cello
1:16:04concerto and his his fifth symphony and
1:16:07then i started listening to all his
1:16:08other symphonies
1:16:09whoo that's some like yeah total gravity
1:16:13is a great way to
1:16:14phrase that so let's talk about the
1:16:16emotions because i'm i'm
1:16:18i'm not done with abby yet i want to
1:16:20talk about the words
1:16:22uh because and i want to talk about the
1:16:24form so i'm going to
1:16:25i'm going to erase the masterpiece
1:16:29so take a screenshot if you want or
1:16:33go look at the video i want to talk a
1:16:34little bit about the lyrics
1:16:36and then i want to talk actually i want
1:16:37to talk about first about the form
1:16:39and then the lyrics because form is
1:16:41another aspect
1:16:43that people rarely
1:16:46or music theory gets into but
1:16:49certainly doesn't get into early
1:16:52and doesn't examine always in depth
1:16:56as much as it deserves and form is one
1:16:59of the other areas that
1:17:00when you're learning how to compose is
1:17:03often the most
1:17:04overlooked people look at harmonies and
1:17:08you know that's that's usually not a
1:17:09problem but form
1:17:11is not something that is typically
1:17:14considered so
1:17:16we have an introduction and it uses the
1:17:18same chord progressions as the chorus
1:17:21so that's why i'm going to put intro
1:17:23chorus and it's repeated
1:17:25so it's 8 measures length in length but
1:17:28it's repeated
1:17:29so 16 measures in total but it's not 16
1:17:32measures of
1:17:33of all you know unique material it's
1:17:36repeated
1:17:36and at the very end of it when you
1:17:39repeat it they add one measure
1:17:42as like a little bit of like a little it
1:17:44has like a it just floats there
1:17:46for a second and then the voice comes in
1:17:49so that's a great trick
1:17:50every time you analyze something say huh
1:17:53that's a great trick
1:17:54how can i use that so introduction eight
1:17:56measures chugging along repeat it check
1:17:58it along
1:17:59float for a measure that gives you a
1:18:01lead in a little pickup
1:18:02into the first verse so there you get
1:18:06verse one now verse one
1:18:10is
1:18:13eight measures of material repeated kind
1:18:16of just like the same
1:18:17structures we had here for this intro
1:18:19chorus
1:18:20then we have our chorus and the chorus
1:18:23is eight measures of material but
1:18:25unlike the introduction it's not
1:18:26repeated you just have this chorus there
1:18:29then we have verse two
1:18:32again eight measures repeated
1:18:36then we have chorus
1:18:41we then have the chorus again or
1:18:44i could i could put the repeat signs but
1:18:46i'm going to write it separately it's
1:18:48like
1:18:48some people might call that a double
1:18:50chorus or this is maybe a half chorus
1:18:52and this is the chorus of 16. so whether
1:18:54you're looking at it
1:18:56as the chorus is 16 measures and you get
1:18:58a half chorus first
1:18:59and then that's the actual chorus is 16
1:19:02or whether
1:19:02of course is eight measures and this is
1:19:04a double chorus
1:19:06either way you kind of understand this
1:19:07concept that the first time
1:19:09after the first verse you get this
1:19:11abbreviated
1:19:12chorus and then you kind of get it twice
1:19:14now the lyrics change
1:19:16uh so it's it's not necessarily a chorus
1:19:20in that i mean there's like the words
1:19:22there is repetition but there's also
1:19:24some differences so like
1:19:26you could maybe call it chorus a or in
1:19:28chorus b
1:19:29uh where the music stays the same but
1:19:31the lyrics change so
1:19:33this is this is not my specialty so i
1:19:35might be using
1:19:36not the best terminology for all these
1:19:39things that is quite possible
1:19:41so forgive me if that's the case we then
1:19:43get verse three
1:19:45which is our our our eight measures
1:19:48repeated
1:19:51we then get our what i'm going to call
1:19:54our double chorus
1:20:03then we have our verse four running out
1:20:06of room here
1:20:08uh i almost wrote verse with a roman
1:20:11numeral five you know your music theory
1:20:13you know you're into music theory when
1:20:14you write your v's like an uppercase
1:20:16roman numeral five
1:20:19that sounds like a meme verse four uh
1:20:22there and then i'm going to move it over
1:20:23here
1:20:24so i give myself a little room then we
1:20:26have chorus
1:20:31which is kind of like the ending version
1:20:33which is another variation
1:20:35of that chorus and then we basically
1:20:37have the intro
1:20:39again which is our chorus intro course
1:20:42the instrumental and that is
1:20:46eight measures repeated this one is
1:20:49eight measures
1:20:53so there we go that's our form now let
1:20:55me
1:20:56let me just kind of talk about the the
1:21:00lyrics so first verse
1:21:03i don't want to talk about things we've
1:21:06gone through but it's hurting me
1:21:08now it's history i've played all my
1:21:10cards
1:21:11and that's what i've you've done to
1:21:13nothing more to
1:21:15say no more ace to play
1:21:18that's your first verse then the winner
1:21:20takes it all
1:21:21the losers standing small beside the
1:21:24victory
1:21:25[Music]
1:21:26that's her destiny am i in the right
1:21:29keys
1:21:30no i'm not i shifted all right so
1:21:33then the winner takes it all the losers
1:21:35the loser standing small
1:21:37beside the victory that's her destiny
1:21:41so this song is kind of like if you
1:21:44think about
1:21:46what makes these these lyrics
1:21:47interesting is you have this
1:21:50with that leap and this is where i think
1:21:51the lyrics are the most interesting
1:21:53we have the winner takes it all
1:21:58the loser standing small
1:22:02beside the victory
1:22:05that's her destiny
1:22:08that's what happens the first time and
1:22:12you know it's it's this emotional
1:22:15the words and the music with that leap
1:22:19the winner takes it all the loser like
1:22:22it's like winners losers
1:22:24like this is not a what i love in life
1:22:26is win-win situations this is not one of
1:22:28those
1:22:29and i'm sure some of us have been in
1:22:31that place and we felt that
1:22:33uh where where someone wins and because
1:22:36they win you lose
1:22:38it's not a it's not a nice feeling it's
1:22:39not a feeling you uh
1:22:41that's that's particularly enjoyable
1:22:45and so uh what's interesting is as
1:22:49that kind of like the maybe we call this
1:22:52like
1:22:55you know we we are going to hear this
1:22:56when the winner takes it all again
1:22:58in the same spot but there is another
1:23:00version when we get to chorus 2 the
1:23:02lyric wise
1:23:03and it goes like this and this is the
1:23:05this is the one that like i think really
1:23:07brings home some of the emotional flavor
1:23:09of what this melody does
1:23:11and the reason i'm talking about these
1:23:13lyrics is
1:23:14you know when we're talking about music
1:23:16and then emotion because we know music
1:23:19creates emotions it's very abstract
1:23:22and when we look at the lyrics
1:23:26if the lyrics have the same emotion as
1:23:28the music which is what
1:23:29normally happens not always sometimes
1:23:31you have like
1:23:32kind of like irony and music where the
1:23:35music has a certain feeling that's
1:23:36different than the lyrics and that gives
1:23:38a whole other shade of complexity to the
1:23:40overall emotional meaning
1:23:42so just think about like uh a happy song
1:23:46that's uh that's played in a minor key
1:23:49or a
1:23:49sad song that's played in a major key
1:23:52you get these like
1:23:53complexities of motion and right there's
1:23:55like it's like over 6 000 words in the
1:23:58the english dictionary for emotions that
1:24:00human beings feel right six
1:24:02thousand uh most of us have a hard time
1:24:05keeping track of
1:24:06ten different emotions that we feel
1:24:07throughout the course of a day but
1:24:10there's that many different words that
1:24:12talk about the differences
1:24:13that sometimes very subtle so looking at
1:24:17the lyrics can give us an insight into
1:24:19how
1:24:20this leap in the chorus
1:24:23feels so let me give you another one and
1:24:26there's there's a couple different ones
1:24:27so we get a different
1:24:29different take and different flavor of
1:24:30that ascending leap and what it means
1:24:33so the next one is the gods may throw a
1:24:36dice
1:24:38their minds as cold as ice
1:24:43and someone way down here
1:24:47loses someone dear
1:24:51whoo that is heavy stuff right that's
1:24:54that's like
1:24:54you you feel like a victim you know
1:24:57there's
1:24:58gods up up there
1:25:01minds as cold as ice i mean uncaring
1:25:03they don't care about you
1:25:06they they throw a dice random they don't
1:25:08even they're not even
1:25:09singling you out whether you did
1:25:10something good or bad it's just
1:25:13bad luck and the gods decide
1:25:16and and someone down here someone you
1:25:18care about
1:25:21you lose them man that's like that's a
1:25:24heavy emotion right
1:25:26you know abba as a pop group tends to be
1:25:28more
1:25:29upbeat happy music because you know most
1:25:31people want to feel happy
1:25:33i want to feel happy right but every now
1:25:35and then they had a song that was like
1:25:38you know ooh really really gets you and
1:25:41part of
1:25:42to add to the the the poignancy of that
1:25:46is abba was a group that had uh
1:25:49two married couples there's a guy
1:25:51married to a female singer
1:25:53another guy male to another female
1:25:54singer both as they became popular
1:25:58and had more and more success there were
1:26:00strains on both of those relationships
1:26:02they both ended up getting divorced and
1:26:04so one of the couple
1:26:05uh got divorced and was reasonably
1:26:08amicable
1:26:09and they wrote this song about the
1:26:11divorce and at that same time they're
1:26:13writing the song the other couple
1:26:15is like having a not amicable
1:26:18hard time that is going to end in
1:26:19divorce a little bit down the road so
1:26:21this is all about
1:26:22romantic love things not working out
1:26:26feeling helpless uh that's kind of what
1:26:30that
1:26:30that that gets in there and let me let
1:26:32me give you another set of lyrics here
1:26:34to kind of like bring home what i'm
1:26:37talking about about feeling helpless
1:26:39and and think about how this melody the
1:26:42rhythms
1:26:43the harmonies the melodic shape how that
1:26:46reinforces these feelings or
1:26:48or supports those feelings so the
1:26:52judges will decide
1:26:56um the likes of me abide
1:27:00[Music]
1:27:01spectators of the show
1:27:05always staying low
1:27:07[Music]
1:27:08right the judges will decide the likes
1:27:11of me abide meaning like they decide i
1:27:14just have to follow along
1:27:16spectators of the show so you're not in
1:27:18control of your life you're just a
1:27:19spectator
1:27:20you you know like oh man talk about you
1:27:23know
1:27:24you know feeling like you don't have
1:27:26control over your of your own life of
1:27:27what you want what's going to make you
1:27:29happy
1:27:29there's these gods there's these judges
1:27:33you just have to go along with it
1:27:37man talk about capturing an emotional
1:27:39feeling
1:27:40so i think we did some real
1:27:44deep diving here into to analyzing
1:27:47melody
1:27:48uh and and not only analyzing the melody
1:27:51but
1:27:51how the harmonies might support that how
1:27:54lyrics
1:27:54might play in there and that's you know
1:27:56there's a lot more i could talk about
1:27:58um and probably should talk about when
1:28:01terms of how
1:28:02how you how a melody you know it's like
1:28:06music is so hard right because it's so
1:28:09abstract it's like
1:28:10you know and like and from one's
1:28:12perspective you're like how is it that
1:28:14these these frequencies that vibrate at
1:28:17different
1:28:18speeds make me feel stuff
1:28:21right let's not it's not necessarily
1:28:24obvious
1:28:25why that would happen why would certain
1:28:28sounds vibrating at different
1:28:30frequencies coming together with
1:28:31different sounds with different
1:28:33frequencies
1:28:34how that would make people feel stuff
1:28:39and so it's so abstract but when we're
1:28:42looking at music you know one we can
1:28:45kind of just
1:28:46we can listen and absorb lots of music
1:28:48and we can just use our instincts
1:28:50and not really instincts but we can
1:28:52learn use that
1:28:54that knowledge and information that sunk
1:28:56into our like we can listen to the music
1:28:58we can feel it
1:28:59it can sink into our subconscious and
1:29:01then we can use that to become great
1:29:02composers
1:29:04but if we can do that and
1:29:07get an analytical side to it like not
1:29:10analyze and
1:29:11like lose the that that that feel
1:29:14for it whether we're listening and using
1:29:16our emotions and our ears
1:29:18but combine that with a certain
1:29:20analytical thing we can
1:29:21speed up that process of us really
1:29:24understanding it and being able to
1:29:25control those
1:29:26elements and write music for ourselves
1:29:30or analyze music and really say well
1:29:32this look at how that melody that
1:29:34leap how that creates this certain kind
1:29:37of void
1:29:38sonic void and there's like this the
1:29:40lyrics are all about this
1:29:41void inside someone's soul
1:29:44as as they lost someone that they loved
1:29:47and obviously
1:29:48worked with closely in the case of the
1:29:50group abba is we're talking about people
1:29:51who
1:29:52who loved each other and like their
1:29:54whole career
1:29:55ever you know like they were around each
1:29:57other all the time
1:29:58and when that is gone or is over
1:30:01what does that feel like so thank you
1:30:05very much i hope you
1:30:06enjoyed that and you can certainly apply
1:30:08a lot of this
1:30:09uh information to any song even
1:30:12beethoven
1:30:13which is going to be a lot of fun to do
1:30:15so let's take a look i'm going to go
1:30:16back here
1:30:17um i got a request can you think of
1:30:21starting a series or channel on
1:30:22orchestration
1:30:23you're not the first to ask i've
1:30:25absolutely thought about it
1:30:26um i've been joking i just i just need
1:30:29to get fired from my job
1:30:31that's all that needs to happen and then
1:30:33i'll be able to do my music
1:30:35music history series my orchestration
1:30:38like i i have so many ideas uh that i
1:30:41would love to do
1:30:42um and and i'm i plan to do them it's
1:30:46you know it's time is such a precious
1:30:48commodity so that's why i always
1:30:50i always try to prioritize take care of
1:30:53myself
1:30:54so that i'm i'm healthy and have my
1:30:56energy so i can be doing all those
1:30:57things i would love to do a series on
1:30:59orchestration
1:31:00so it's in the works thank you for for
1:31:02and and i appreciate when you make the
1:31:04request if i hear that request over and
1:31:06over and over again
1:31:07it just keeps moving things up up the
1:31:09priority list for me in terms of what
1:31:11i'm going to do next
1:31:12uh in terms of what the next project is
1:31:14so yeah i would love to do
1:31:16that all right
1:31:19um
1:31:20[Music]
1:31:24all right uh what do we have next
1:31:29it's like a waltz number two okay dave
1:31:31asked are we sure this
1:31:32theory isn't racist um
1:31:35yes yes we are sure um so
1:31:39there's there's and i'm not quite sure
1:31:42which exact theory you're talking about
1:31:43but
1:31:44but i know that there's been some uh
1:31:47some
1:31:48some youtube things about like music
1:31:51theory
1:31:52is white supremacy or is music theory
1:31:55racist
1:31:56um the answer is no it's not uh
1:31:59music theory is talking about
1:32:02studying music like i've said before
1:32:05from a
1:32:05from a scientific perspective meaning
1:32:08acoustics and there's a science behind
1:32:10that that's
1:32:10independent of whatever race or culture
1:32:13you're coming from
1:32:14and it's also talking about a specific
1:32:17culture
1:32:18now to talk about a specific culture and
1:32:21in this case western european
1:32:23is not racist we can also you know
1:32:26different countries are going to talk
1:32:27about different cultures
1:32:28so in india they're going to talk a lot
1:32:32more about
1:32:33indian music and it you know we're not
1:32:36we're not going to say oh
1:32:37they shouldn't be talking about music
1:32:39from their culture
1:32:42of course they should they should talk
1:32:43about that and
1:32:45at no point necessarily do you know what
1:32:48i think
1:32:49would be racist would be to simply say
1:32:51that
1:32:52um this is
1:32:55that that only one culture produced
1:32:58music that's of any value and
1:33:00all other cultures have no musical value
1:33:02worth studying
1:33:03that would be racist but that's not what
1:33:05music theory says and that's certainly
1:33:07not
1:33:08what what's being said with any of the
1:33:09theories i've talked about
1:33:11what i'm saying is that every culture
1:33:14both
1:33:14from a musical standpoint and others has
1:33:17things that are awesome about it
1:33:18and things that are not awesome about it
1:33:20every culture right
1:33:22and our our jobs as scholars
1:33:26as lovers of music of music theory is to
1:33:29take
1:33:29everything of value we can find from as
1:33:32many sources as possible
1:33:34and certainly when
1:33:37you know it's the idea of knowing the
1:33:40culture
1:33:41that's surrounding you and understanding
1:33:43it
1:33:44is important i mean i i i've seen some
1:33:46of those late night tv shows where
1:33:48you know whether it's conan o'brien or
1:33:50jay leno or
1:33:52jimmy fallon or whatever they go and
1:33:53they interview like an american in the
1:33:55streets and they ask him some like
1:33:57really basic thing about american
1:33:59history and the person doesn't know
1:34:01anything and everyone
1:34:02at home is going like oh my god this
1:34:04person is so ignorant
1:34:05that's a bad thing and so i think that
1:34:08when we're talking about
1:34:09music theory here we're talking about
1:34:12western european art music music theory
1:34:16this is we should know about this we
1:34:18should know about
1:34:19the music of mozart the music of haydn
1:34:22the music of beethoven
1:34:23these are geniuses from a specific
1:34:26culture
1:34:27that whose music has withstood the test
1:34:29time and
1:34:30has influenced so much of the music
1:34:33that's going on
1:34:34both in this culture and in other
1:34:35cultures by no means does that
1:34:38mean that we're not gonna or we're not
1:34:40gonna talk about
1:34:42other areas i'm not an expert in every
1:34:45area
1:34:46and i haven't studied them all i've i've
1:34:48mentioned in my last video
1:34:49how i was looking at indian music and
1:34:51and investigating that
1:34:54and i found it super interesting i was
1:34:56living in in the east village new york
1:34:58city and so they had all the indian
1:35:00restaurants in the east
1:35:01village and i loved it i was like oh
1:35:03table sitar and then i was like oh
1:35:04that's north indian music and no there's
1:35:06this south indian music
1:35:07and i loved experiencing it and i but i
1:35:09remember at a certain point
1:35:11in my studying and i was doing this on
1:35:13my own i'm going to a concert
1:35:15and i think and i remember thinking
1:35:16myself i think and i said to myself i
1:35:19think i understand
1:35:20everything i can about this music
1:35:22without someone teaching me
1:35:24about the culture right so there's there
1:35:28was a universal aspect
1:35:29for that music that i could understand
1:35:31and i could appreciate
1:35:33and there was also a cultural aspect
1:35:36where i was just not familiar enough
1:35:37with
1:35:38indian culture especially south indian
1:35:40culture to really understand
1:35:42everything that was going on in the
1:35:43music and that makes sense and that's
1:35:45that's totally fine so that's that's how
1:35:48i would quickly respond to that
1:35:50to that to that question um
1:35:53and i think you know obviously there's
1:35:55there's
1:35:56a rich conversation that can be had to
1:35:59kind of
1:36:00understand and really understand well
1:36:02like
1:36:03when you're talking about theories and
1:36:06and racism like racism is a racist is a
1:36:09word that's used
1:36:10so broadly in our on our time right now
1:36:14so it's you know what are we really
1:36:16talking about when we say that and
1:36:18should it be as broad as people are
1:36:20using it today
1:36:21or does it really belong to talking
1:36:24about well what are we specifically
1:36:25talking about
1:36:27what you know it's like words are are
1:36:30meant
1:36:30to help us think and understand concepts
1:36:33so they need to apply to something
1:36:35specific
1:36:36they can't be so broad that you know
1:36:38everything falls into that category
1:36:40or too many things fall into that
1:36:42category so
1:36:43that it's a it's a it's a great
1:36:45conversation and and certainly one that
1:36:47that i imagine i will be having with
1:36:50other music theory people and other
1:36:52scholars and people in academia uh this
1:36:55is certainly a conversation that's
1:36:56that's that is uh underway
1:37:00all right um
1:37:06about seouling here's another one about
1:37:08souling over modal progression what's
1:37:09the best approach to just focus on the
1:37:11mode or try to do arpeggios over the
1:37:13changes
1:37:14i feel like doing arpeggios over the
1:37:16changes so
1:37:17uh so for soloing over
1:37:21for modal changes and let me answer that
1:37:23question
1:37:25uh improvising over modal changes so the
1:37:28real
1:37:29there's a couple little things that you
1:37:30can you can work on
1:37:34there's scale patterns and there's
1:37:37arpeggios
1:37:38so if we were to take our c d
1:37:42e flat f g a
1:37:45b flat as our mode right a dorian mode
1:37:50anything like just running up and down
1:37:52scales as we talked about with our
1:37:54melody is gets boring quick so maybe a
1:37:57pattern right so c
1:37:58d e flat
1:38:04[Music]
1:38:12[Music]
1:38:13so you could do something like that you
1:38:14could do it like a little scale pattern
1:38:17you could do arpeggio patterns where you
1:38:19go
1:38:20[Music]
1:38:24and let's say you uh
1:38:33so here's your your four note pattern
1:38:36right
1:38:37you go
1:38:44oh i moved out of dorian and i didn't do
1:38:46dorian at all
1:38:48because this would be a bad job of being
1:38:56dorian
1:38:59[Music]
1:39:01right you can kind of develop little
1:39:03patterns that deal with arpeggios
1:39:06that's a great way to do it so scales
1:39:09triadic arpeggios and then the other
1:39:11thing
1:39:12is that works really well is doing
1:39:15things in fourths
1:39:17so c f
1:39:20b flat so let's say you go and then you
1:39:23go
1:39:24that's a three note cell then dgc
1:39:27is another three note cell
1:39:30and the fourth will generally be perfect
1:39:34but then every now and then it's going
1:39:35to become a
1:39:37an augmented fourth
1:39:41so you get
1:39:46and that's uh very common for
1:39:49kind of like a jazz
1:39:57see
1:40:07and so sometimes like uh john coltrane
1:40:14uh would would use this kind of kind of
1:40:16like
1:40:18quartal harmony
1:40:22joe henderson is another sax jazz these
1:40:24are jazz saxophonists
1:40:26but it's not unique to jazz it doesn't
1:40:28have to be you can
1:40:30certainly do all of this stuff in
1:40:32different styles as well
1:40:34so that's you know scales scale patterns
1:40:37arpeggio patterns and then quartal
1:40:40kind of like doing things in fourth
1:40:42that's what i would recommend as a place
1:40:44to start in terms of really getting into
1:40:46improvising over modal progressions
1:40:52[Music]
1:41:01oh so caleb says did say he got the
1:41:03feeling the song was about a divorce all
1:41:05right
1:41:05good good good i'm glad glad you agree
1:41:09with me on that one
1:41:10uh someone saved i saved someone's music
1:41:13theory excellent
1:41:14uh here's a question from carlos could
1:41:17you give me some
1:41:18leads to learn some harmonic techniques
1:41:20to sound dark
1:41:22and aggressive well have you seen
1:41:25my my demonic progression video yet
1:41:28i gave you my the my favorite demonic
1:41:31progression
1:41:32uh and so i'll i'll i'll give you the
1:41:36quick version of it and you can look
1:41:37that up if you haven't and i'll give you
1:41:38a few other things
1:41:44dark progressions like you got you
1:41:46certainly got minor
1:41:48as a way to get kind of dark and you get
1:41:51chromaticism
1:41:52but again it's like that's like
1:41:55scratching the surface
1:41:56you know it's certainly more than that
1:41:59so
1:42:03mine my progression my demonic
1:42:05progression is
1:42:06[Music]
1:42:13that's essentially it so let me
1:42:16to
1:42:16[Music]
1:42:22to oh wait a minute i didn't do that
1:42:26right
1:42:36so there's my harmonic progression that
1:42:39i think is super dark
1:42:43[Music]
1:42:48right the sonority of a minor triad with
1:42:50a major 7
1:42:52is dark all by itself so minor triad
1:42:56with a major seven and so
1:42:59when we look at seventh chords when
1:43:01you're first learning seventh chords
1:43:02there's really only
1:43:03five types that are really common major
1:43:06triad with a major seven
1:43:07major triad with a minor seven minor
1:43:10triad with a minor seven
1:43:11diminished triad with a minor let me
1:43:15diminish triad with a minor seven
1:43:17diminished triad with a diminished seven
1:43:19so like c major seven
1:43:22c c7 c minor seven c
1:43:26half diminished seven c diminished seven
1:43:29uh
1:43:31those are the five common seventh chord
1:43:34types
1:43:35but minor triad with a major 7 is
1:43:37possible
1:43:38it's just not as common and so what i do
1:43:40is a sequence
1:43:42all with root movement so so what
1:43:44happens is the upper part of a
1:43:46minor major 7 is an augmented triad so
1:43:52you get augmented triads
1:43:53going down by half step chromatically
1:43:57chromatically down by half step
1:44:01well well you have these chromatic third
1:44:05relate these up
1:44:06up by minor thirds in the base so on top
1:44:09we have
1:44:10[Music]
1:44:14augmented triads descending by half step
1:44:17and the base we have
1:44:21it's kind of like uh where like it's
1:44:24kind of like in tritone substitutions
1:44:26where the third and the seventh
1:44:28flip-flop every other chord
1:44:31so what happens is that
1:44:36the the note it's not like this is the
1:44:40third
1:44:40to the third to the third to the third
1:44:42it's like it goes from
1:44:44third becomes the seventh
1:44:48[Music]
1:44:50comes the fifth goes back to being the
1:44:53third
1:44:54so it's kind of like it it transforms
1:44:57and so if you if you know about tritone
1:45:01substitutions
1:45:02let's say c7 and f-sharp seven
1:45:06the third of a c7 is an e and the
1:45:09seventh is a b-flat
1:45:11in an f-sharp seven the the third
1:45:14is an a-sharp which is n-harmonically
1:45:17the same as a b-flat
1:45:19and the seventh is an e but the roots
1:45:22change by a tritone
1:45:24so c7
1:45:27f-sharp seven right
1:45:31third becomes the seventh
1:45:35seventh becomes the third
1:45:38[Music]
1:45:41so if you want to get dark that tritone
1:45:44is also going to be helpful right we
1:45:47talk
1:45:47so this is that what's called the
1:45:49tritone substitution
1:45:52and this is a progression and you can
1:45:54see how i'm dealing with
1:45:57more dissonant seventh chords than
1:46:00your standard five and i'm using these
1:46:03augmented triads so i'm using
1:46:04chromaticism in there
1:46:06as well that's those are some of the
1:46:09ways and some of the things that you can
1:46:10certainly
1:46:11start experimenting with to get kind of
1:46:13like these more
1:46:14darker and and when we say dark uh we're
1:46:17kind of talking emotionally
1:46:19uh the kind of feelings is like there's
1:46:22a certain like there's a
1:46:23there's a tension there's a muscular uh
1:46:27strength tension to it um
1:46:32there's like maybe there's like anger
1:46:35there's frustration
1:46:37uh what we would call some of these
1:46:40darker emotions
1:46:42now i am looking at the time and i'm
1:46:45getting a little concerned that
1:46:47the uh my my remote batteries are going
1:46:51to be dying soon so i'm going to
1:46:52talk a little bit more about this and
1:46:54then i'm going to glance here at the
1:46:55chat and see if i can get to some more
1:46:56questions
1:46:59um
1:47:02so
1:47:06um so dark aggressive
1:47:10minor chromaticism tritones um
1:47:14think about uh the the group rush
1:47:22i i don't i don't even remember the name
1:47:24of that song it's like yyz
1:47:25or something it's not that but it's
1:47:29the group rush um does great has a great
1:47:33thing using to tritone
1:47:36those are your dissonant intervals so
1:47:38what you're what you're doing when you
1:47:39want to
1:47:39explore more dark aggressive things is
1:47:42you're taking the
1:47:43the balance between consonants and
1:47:44dissonance and you're putting it more on
1:47:46the dissonant side
1:47:47right so we know minor has a little bit
1:47:50more dissonance than
1:47:51major we know chromaticism by its nature
1:47:54is more distance and the tritone is a
1:47:56dissonant interval
1:47:57so looking at your dissonant intervals
1:48:00so you can do it from
1:48:04you can do it from a from an intervallic
1:48:07standpoint
1:48:08have more dissonance you can do it from
1:48:11a chord standpoint
1:48:13more dissonance um
1:48:17the other aspect is going to be
1:48:19certainly be
1:48:20rhythmically right so
1:48:24so uh and to a certain thing dynamically
1:48:28right if you play
1:48:30so if you play loud that'll do a lot
1:48:33right and part of their you know
1:48:36guitarists
1:48:37here's where guitarists can kind of i
1:48:39don't know if
1:48:40the word cheat is quite correct but
1:48:42guitarist
1:48:43can take their amp and go super loud
1:48:46right
1:48:46they don't have to be good at their
1:48:47instrument at all they can turn the
1:48:49volume all the way
1:48:50they can get a certain level of
1:48:52intensity
1:48:53darkness aggressive quality just by
1:48:55sheer volume right
1:48:57the other way is like using distortion
1:48:59on a guitar
1:49:00which which creates a certain that's a
1:49:02like taking away from the pitch side and
1:49:04introducing a more noise
1:49:07kind of aspect to that it's what
1:49:10distortion does it
1:49:11also can make things sound aggressive
1:49:14so there's timbral ways to do it right
1:49:17so timbrel is dealing with the
1:49:21you know if you're playing guitar use
1:49:23some distortion
1:49:25uh if you're like me playing saxophone
1:49:27growl
1:49:28so you can kind of hum hum growl at the
1:49:31same time you play note and it makes it
1:49:33it makes it all kind of like it gets a
1:49:36bit more of a noise
1:49:38aspect into it so it's pitch plus noise
1:49:42loud so the rhythms can tend to be more
1:49:48short
1:49:52and repeated
1:49:57so think about like uh igor stravinsky
1:50:00the rite of spring where you have this
1:50:06so there's all these short notes
1:50:08everything's the whole chord's being
1:50:10repeated and every now and then there's
1:50:11a loud accent that's unexpected
1:50:14so rhythmically that's how you would do
1:50:15that um the
1:50:17your intervals that are going to be most
1:50:19dissonant
1:50:20are going to be your seconds major
1:50:22second
1:50:24minor second uh major seven
1:50:29minor seven and then your your tritone
1:50:32your interval of a tritone
1:50:34so you can play around with those
1:50:36intervals to get certain dark more
1:50:38aggressive
1:50:39things and and then chord wise exploring
1:50:42like so your diminished triad in your
1:50:44augmented triad but
1:50:45seventh chord wise your diminished
1:50:47diminished seven is pretty
1:50:49pretty uh has a little bit more dark
1:50:53though though at this point it's it's
1:50:55you know it's like
1:50:56the old black and white films where you
1:50:58have the the lady tied to the train
1:50:59tracks
1:51:00[Music]
1:51:05it's it's uh that that can actually come
1:51:07a little cliche but
1:51:08if you want to figure out how to use
1:51:09diminished seven chords in a non-cliche
1:51:11way you can listen to
1:51:13ludwig van beethoven he certainly does a
1:51:15great job with
1:51:16with diminished seven chords making them
1:51:18sound kind of aggressive and
1:51:20and uh and a little bit darker
1:51:23but then you can explore things like uh
1:51:26other
1:51:27other other type of chords like a major
1:51:30triad
1:51:31uh no augmented triad with a major seven
1:51:35that's a really cool sonority kind of
1:51:38like the minor
1:51:39tried with a m with a minor triad with a
1:51:42major seven
1:51:43how about an augmented triad with a
1:51:45major seven
1:51:47so
1:51:49[Music]
1:52:02so play around with that minor triad
1:52:05with a major seven augmented triad with
1:52:07a major seven
1:52:08and then the last thing i'm going to
1:52:09give you in terms of harmonic material
1:52:11and this is just a a little taste right
1:52:15a little taste because it is uh
1:52:19polychords so you have a triad on top
1:52:22and then a
1:52:22foreign base note underneath so
1:52:28we've talked about you know c
1:52:32you know if we have a c major triad in
1:52:33first inversion
1:52:35c with e in the bass or c with g in the
1:52:38bass so
1:52:39c major triad in first inversion
1:52:43c major triad and second inversion
1:52:49right so we have a triad and a note
1:52:51that's not the root in the bass so this
1:52:53is like
1:52:55level one super consonant right
1:52:58now let me give you the next level
1:53:02a triad with a note that's not in the
1:53:04chord in the bass but that is in
1:53:06the key so let's say c over d
1:53:10which is really uh it would be would
1:53:13or let's say
1:53:16uh c over f which is really
1:53:20a little bit mistaken because this is
1:53:22just like a major major seven
1:53:24right so that doesn't quite count uh so
1:53:27i would i'm gonna go like that
1:53:28put let's say and
1:53:32c over a doesn't quite count either
1:53:36because that's just really a like this
1:53:38would be that would be
1:53:39a minor seven i'm going to
1:53:43use some different colors so this stands
1:53:45out so
1:53:47again i want to be as clear as possible
1:53:48so c with a in the bass is really going
1:53:50to sound like an a minor seven
1:53:52c with f in the bass is really going to
1:53:53sound oh no that's not this that's not a
1:53:55major major 7. i'm mistaken
1:53:57that's totally legit that totally works
1:54:00so c with f
1:54:04so this one doesn't work so well
1:54:09so let me let me play for you what we're
1:54:11talking about here
1:54:12what i'm talking about here so
1:54:16c major tried
1:54:21[Music]
1:54:27these can sound like uh this is another
1:54:30whole area of harmonic and this is
1:54:32this is done in other styles of music
1:54:34other than what we've been talking about
1:54:35a lot
1:54:36so popular music a lot of guitar music
1:54:39jazz
1:54:39other stuff they'll use this kind of
1:54:41stuff where it's kind of like
1:54:44diatonic in a certain sense
1:54:47modal where you're just taking uh
1:54:52and then set a chord from the key let's
1:54:54say our key c major
1:54:56we're just kind of like
1:55:03[Music]
1:55:06we just keep that d we just move the d
1:55:08up or we're let's say from
1:55:10[Applause]
1:55:14from c to f you know c c major in root
1:55:16position to c
1:55:17over f f is not in the c chord c
1:55:20e g so but it is in the key
1:55:23[Music]
1:55:30you could also be like putting a d in
1:55:31the base
1:55:32[Music]
1:55:32[Applause]
1:55:40so you can mix those in with otherwise
1:55:43tonal harmony or you can kind of just
1:55:45explore
1:55:46those the next kind of level is where
1:55:49it's really really dissonant uh
1:55:52are notes that are definitely outside
1:55:54the key so like c
1:55:55with f sharp in the bass uh would be an
1:55:59example of that so you have
1:56:01[Music]
1:56:08or c with
1:56:12d flat in the bass
1:56:14[Music]
1:56:21here's the f sharp
1:56:25so what what this does
1:56:30is it and again this is triad with a
1:56:33base note
1:56:34what this does this is where you can if
1:56:36you want to get more dark and aggressive
1:56:38get and explore this area and just
1:56:41go ahead and go through the whole
1:56:42chromatic scale right say i'm going to
1:56:43play a c major triad with c in the bass
1:56:46well that's just a c major triad that's
1:56:48very consonant how about with a c
1:56:49sharp or d flat that's pretty dark and
1:56:52aggressive with a d
1:56:55that's more in this kind of middle area
1:56:57not super dark and aggressive
1:57:00but a little bit more distant with an e
1:57:02flat
1:57:03e flat would certainly count see with e
1:57:06flatten the bass because we get the
1:57:07e flat versus the e natural there
1:57:11see with e in the base well that's just
1:57:13an inversion
1:57:16see with f in the bass that's kind of
1:57:17our diatonic modal flavor
1:57:20c with f sharp in the bass that gets
1:57:22into our dark area
1:57:24c with g in the bass that's just an
1:57:26inversion
1:57:29c with a flat
1:57:32this is the same as the a flat
1:57:377 sharp 5 which is one of the other
1:57:40sonorities
1:57:42that i told you to explore
1:57:45but that would all that would count as
1:57:47well c
1:57:50with an a in the bass that's that's kind
1:57:53of in this area
1:57:54but it's also just a a minor seven
1:58:01c with b flat in the bass this sounds
1:58:05like a
1:58:05essentially like a c7
1:58:08same thing as the c7 but with a in first
1:58:10conversion
1:58:13c with b in the bass that's pretty
1:58:15dissonant so we're
1:58:17when we get those dissonances we're look
1:58:19what what's causing that is
1:58:20the half step so here it's the b
1:58:24versus the c that creates that real real
1:58:27dissonance
1:58:28here it's the a flat versus the g
1:58:31there's your distance here it's the e
1:58:33flat versus the e
1:58:38here it's the d flat versus the c
1:58:42here it's the f sharp versus the g
1:58:47now that's not the only dissonance in
1:58:50all the cases but
1:58:51that half step dissonance is certainly a
1:58:52big a big part of what makes it sound
1:58:55kind of more aggressive and darker
1:58:59so right there
1:59:03one two three four five five harmonies
1:59:06for you to explore
1:59:08how's that for you all right
1:59:14uh
1:59:16yeah so caleb gives some opportunities
1:59:19uh
1:59:19good good suggestions as well but i i
1:59:21gave you like a
1:59:23this is a whole other this is like a
1:59:25whole next level
1:59:26harmonic concept thing and i i'm giving
1:59:29i
1:59:30kind of feel bad that i'm just giving
1:59:31you like just throwing at you and not
1:59:33giving you any
1:59:34insight into like how you would use it
1:59:37what kind of scales would you use
1:59:39um but that might be something for
1:59:41another another video
1:59:43but i'm just throwing those at you at
1:59:44things that you can experiment with
1:59:46all right folks i think i'm gonna
1:59:50wrap it up because um because we got
1:59:53we had a we had a good two hours folks
1:59:55and so for those of you who are here for
1:59:57the full time thank you very much
1:59:58for those of you watching um after the
2:00:01fact
2:00:02please please give me a thumbs up if you
2:00:04liked it subscribe
2:00:06and share with anyone who think would
2:00:07enjoy learning more about music theory
2:00:10thanks everyone i hope to see you in two
2:00:12weeks
2:00:13be well

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