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Thank you!

@craig2493, thank you for watching!

@musicalpurpose2566, thank you for watching! I am glad you are finding the videos helpful. Let me know if you have any questions.

Thank you, @palmspringsanitia! Both drummers will be joining us for a concert at College of the Desert on 4/26!

Thank you so much for watching!

@bassomatic6055, you are absolutely right! This video is from a Music Theory III course that I teach. At that point in the course, we are focusing on music of the common practice period (Baroque through Romantic periods). Borrowing from the other modes, which I refer to as modal interchange, is a 20th century concept. I tend to hit modal interchange as a Theory IV concept when we look at modal jazz. When teaching, I try to emphasis the historical context for the development of various trends. The great thing about our current musical landscape is that all of these techniques are open to us. Thank you for your excellent point!

@edmatzenic9858, thank you for sharing your perspective! These chords are really the beginning of non-functional harmony. Not only do the go nowhere in particular, they do tend to create an ambiguous feel where it is easy to lose the sense of the key that you are in. They are basically a way of having control over ambiguity. They can also be used to destabilize the key that you are in and create the opportunity to modulate to any other key.

@patrickomalley1513, thank you for watching! The three common root motions (down a fifth, up a second, and down a third) create the most movement and forward motion in a progression. If you experiment with other motions, you will find that they don't have the same sense of movement. Some will refer to down a fifth as up a fourth. I often hear people say "circle of fifths progression" or "circle of fourths progression" to refer to the same thing. For example, G to C could be created by moving down the interval of a fifth or by moving up the interval of a fourth (this is referred to as interval inversion). Since G is the V chord and C is the I chord, I prefer using down a fifth for a label. Up a second can be the same notes as down a seventh, and down a third is the same notes as up a sixth (the bigger intervals are more cumbersome to think about). I hope that answers your question!

@CarlosMartinez-gr1rp, thank you so much for your kind words! I am glad that it was helpful.

@masterbuilder3166, thank you for watching!

@ryanwilliams7186, thank you!

Thank you, @anitacomeau9510!

Thank you, @anitacomeau9510! This was a lot of fun! We have a couple of concerts coming up this spring: 2/19 at the University of Redlands and 4/26 at College of the Desert. We hope to see you at one or both!

Absolutely, @RockerProf! Using the key of C as an example, the I chord is a C major triad; V/IV as a triad is also C major, so it will be heard as the I chord not a secondary dominant. To make it work as a secondary dominant, the 7th needs to be added to the triad for C7 (C, E, G, Bb). The triad + 7th creates the chord that is necessary to tonicize IV. I hope that makes sense!

Thank you @anitacomeau9510! Dan is certainly missed!

Glad to hear that the video helped, @sapphicgal3245!

@mikeed1148, thank you for checking it out!

Thank you, @anitacomeau9510! I hope you are well!

@Angel-c8d1o, thank you so much for watching!

Thank you for your comment, @Steve-ps4bk! You are correct that there is a G in the A natural minor scale. There are four videos in the following playlist where I breakdown the triad possibilities in natural, harmonic, and melodic minor, and then tie it all together with the common chords used in minor keys in tonal music. Check out the videos, and let me know if you still have any questions. Triads in Minor Playlist: th-cam.com/video/ZFQclFrDP8Y/w-d-xo.html

@ModuSpaSm, thank you so much for watching and "liking"!

@0516bfgb-x9o, great question! In tonal music (common practice classical: Baroque, Classical, and Romantic periods; much of jazz until about 1960; and other western popular music styles) tie melody directly to harmony. This concept cannot be tied to melody by itself, but when melody is tied to harmony, strong and weak beats form an important influence. I hope that makes sense! Let me know if you need any more information.

@ShravanV-e, thank you for watching!

Thank you for the question, @kavoram369! There are four videos in the following playlist where I breakdown the triad possibilities in natural, harmonic, and melodic minor, and then tie it all together with the common chords used in minor keys in tonal music. Check out the videos, and let me know if you still have any questions. Triads in Minor Playlist: th-cam.com/video/ZFQclFrDP8Y/w-d-xo.html

@jimmymontoki743, thank you for watching!

@Oct0367dj, thank you for your questions! There are four videos in the following playlist where I breakdown the triad possibilities in natural, harmonic, and melodic minor, and then tie it all together with the common chords used in minor keys in tonal music. Check out the videos, and let me know if you still have any questions. Triads in Minor Playlist: th-cam.com/video/ZFQclFrDP8Y/w-d-xo.html

@oferholtzman7385, thanks for watching!

@PalTed1, thank you for the questions, and sorry for the delay in answering! Think of down-a-fifth root motion as a way to derive the note, not necessarily the octave. For example, if your bass starts on C3 (an octave below middle C) and moves down a fifth to F, you are still in a good range, but if you continue down by a fifth one or two more times, you will be moving out of a practical range. In that case, those notes can be moved up an octave: C3, F2, B2 (instead of B1), E2 (instead of E1). For preparation chords for secondary dominant and secondary leading tone chords (viio/V, in your example), there are a number of options: standard root motion, I or i, diatonic chord on same scale degree. Here are some examples: V7/V in C (D7): Am (down a fifth root motion), C (up a second root motion), F (down a third root motion), C (I; also up a second), Dm (diatonic chord on same scale degree). viio/V in C (F#o): C (down a fifth), Em (up a second), Am (down a third), C (I; also down a fifth), F (diatonic chord on same scale degree). I hope that helps!

@bankhead9285, thank you for watching!

@greenvelvet, thank you for reaching out! When I teach this concept to my students, it is at the end of our study of the common practice period when tonality is being stretched to the breaking point. We also draw comparisons with the jazz concept of constant structure (th-cam.com/video/nKfwWYFN87w/w-d-xo.html). If you approach this from a jazz chord scale perspective maj7 chords typically get the Lydian scale, m7 chords typically get the Dorian scale, and 7sus chord get the Mixolydian scale. With chord scale theory, the scale always relates to the root of the chord. For example, Bbmaj7=Bb Lydian. Here is my playlist on chord scale theory: th-cam.com/play/PLVOUUHTm6WXNCFoNsIo_5wkyq4WS70sKR.html&si=IntWUTW1x2jjk0C7

Hello @Andrea-xw4xe, thank you for your question and sorry for the delay in replying! It took me a moment to wrap my head around your question, so I can see your confusion! First, this video on harmonic function is related to tonal music (major and relative minor), so the modes like Mixolydian do not apply. With that said, let me address your question about modes. There are two standard ways of looking at modes: parallel and relative. The way that you are describing mixolydian is relative. This means that all of the modes (dorian, phrygian, lydian, mixolydian, aeolian, locrian) a derived from a parent major scale. For example, if a melody (and related chords) focus around the second note of a major scale (as generally determined by the key signature), it is in the dorian mode. The John Coltrane composition, "Impressions" is a great example of this. The key signature for the first section is C major (no sharps or flats) but the melody and chord focus around D as the home note (tonic). Jazz musicians often use the parallel method for determining modes and other scales. With this method, everything is compared to the parallel major scale, so if your melody and chords focus around C, you compare the notes to the C major scale; if your melody focuses around Bb, you compare to the Bb major scale, etc.. For example, the melody to "Impressions" focuses around D, so you can compare the notes to the D major scale. The D major scale has the notes, D, E, F#, G, A, B, C#, D. However, the melody to "Impressions" uses F and C, not F# and C#, so the third note of the scale (F#) is lowered by one half step and the seventh note (C#) is also lowered by one half step. We use flat (b) to indicated lowered and sharp (#) to indicate raised. Here are the formulas for the traditional modes: dorian (b3, b7), phrygian (b2, b3, b6, b7), lydian (#4), mixolydian (b7), aeolian (b3, b6, b7), locrian is not really used as a mode. I hope that this helps. Please let me know if you have any other questions!

@@AnthonyFesmire Thank you for your time and well-detailed explanation. When you say Dorain (b3 and b7th) I am not sure if I understand since I memorized that Dorian is derived from a minor scale and yes would have a b3 since relative minor already has a b3,b6, and b7th but a dorian scale would have a raised 6th. In your example scale of D major DEF#GABC# where there is a lowered third(F)and 7th(C) I still cannot determine the mode and can say that your is mixolydian bc of the lowered 7th but thr lowered 3rd indicates a minor scale so I don't understand how to determine the mode as this seems ambiguous.

@Andrea-xw4xe, thank you again for your questions! The system that you are describing uses natural minor (aeolian) as the starting point for determining the minor modes (aeolian, dorian, phrygian). Can I assume that you use the major scale as the starting point for determining the major modes (ionian, lydian, mixolydian)? The system that I am describing compares all modes to the major scale. For example, I can determine C mixolydian by taking the C major scale (C, D, E, F, G, A, B, C) and lowering the 7th note (C, D, E, F, G, A, Bb, C) or the dorian mode by lowering the 3rd and 7th notes (C, D, Eb, F, G, A, Bb, C). You can determine the mode by memorizing the formulas. For example, mixolydian is the same as major with a lowered 7, so the formula is b7. Dorian is the same as major with a lowered 3 and 7, so the formula is b3, b7. There are many ways in music theory to get to the same ending point of understanding. This is one system that works for a lot of musicians. I hope that helps!

Thank you for yet another precise and clear explanation. Why does it seem that guitar players so often have such a better grasp on music. theory more so than other instrumentalists? I started on violin and did not understand music theory at all until I self taught myself piano but I am thinking there may be more to learn and apply about musical modes flwith a 🎸 guitar.

@Andrea-xw4xe, good question! I think that it might be more about being an improvisor as opposed to a guitarist. Both improvisors and composers need to know and apply theory to create at a high level, but improvisors need to do it through their instrument, so the knowledge of scales, arpeggios, etc. needs to be practiced and understood so that they can be applied on the spot.

You're welcome! Thank you for watching, @deppam!

@-Dominique, Absolutely!

@holytaco, thank you for watching! For basic voicings, a general rule is to always include the third and seventh. However, you might choose to leave the third out for various reasons. For example, on the guitar, depending on the voicing, it can be difficult to finger the third and 11 together.

Thank you for the question! I mainly studied constant structure as a student at Berklee about 30 years ago with two of the great theory gurus there, Barrie Nettles and Steve Rochinski. Here are a couple of books to check out: a.co/d/2LuCpM9 a.co/d/c9mtiCO

@@AnthonyFesmirethanks

@monsterjazzlicks, thank you for watching! I typically have a disclaimer with my videos that I am making public content from hybrid college courses that I teach, and when watched on TH-cam, they are taken out of context from the course design. The conclusions and applications are done with my students in class.

@@AnthonyFesmire - OK, that makes sense now.

Thank you for watching!

@deppam, You can use F, Dm, or Am as pivot (common) chords. F is IV in C and I in F; Dm is ii is C and vi in F; and Am is vi in C and iii in F. The F and Dm chords work well. Establish the key of C, pivot with F or Dm, follow with the dominant 7 in F (C7), and establish the key of F.

@@AnthonyFesmire greatly appreciate will try all of there progression

Thank you, @deppam!

Great question, @deppam! You can certainly use the iii chord, and it sounds great. In music from the common practice period (Baroque through Romantic periods), generally, the I works in most places where the iii works, and composers choose the I. In jazz, the iii is often used as a deceptive resolution to take the listener on a detour before eventually landing on I. For example, a progression might go ii V to iii (instead of I) followed by vi ii V and then land on I.

@@AnthonyFesmirecool makes sense

Thank you, @johnegan4762!

Thank you, @midibass100!

Have not heard that name in a hot minute

@deppam, this is such a great question! Here is a series of videos about chords in minor keys. Video 4 on putting it all together is very important, so be sure to check out the entire series. This series should help clarify how natural, harmonic, and melodic minor work when it comes to the chords. Please let me know if you still need an explanation about how they all relate to modulation after you check out the videos: Triads in Minor Keys 1: Natural Minor (th-cam.com/video/ZFQclFrDP8Y/w-d-xo.html) Triads in Minor Keys 2: Harmonic Minor (th-cam.com/video/kTPd08k74F0/w-d-xo.html) Triads in Minor Keys 3: Melodic Minor (th-cam.com/video/Lni5ChPTgA0/w-d-xo.html) Triads in Minor Keys 4: Putting it all Together (th-cam.com/video/Pf8lG3wfMoI/w-d-xo.html)

@@AnthonyFesmire Thanks is there a series of how to use them.

I am checking your videos thanks alot.

@derrickellerbie4806, thank you for checking it out!

@dirtworshiper2800, thank you so much for checking it out!

@Phaseish, thank you so much for your kind words! At this point, my channel is mainly for sharing and archiving videos that I use in my college courses. Perhaps I will have more time in the future to dedicate specifically to the channel. It is great hear about how much you have learned!

@sidsadsid777, that you for watching!