Much appreciated! I've accidentally created a number of lovely melodies, but you're helping me learn to do it on purpose and better understand what's happening. The relationship between melody notes and underlying chords is still mostly mysterious to me, but that makes it constantly surprising and delightful.
I'm totally a melody person. Lately, I've been digging into the power of melody to bridge the listener across harmonic surprises -- borrowed chords, chromatic mediants, etc. I love comparing melody to the hero of the story. The hero gets all sorts of challenges thrown at it for the first 2/3 of a story, and only in the end wins through. It's the path through the dense jungle.
This is a cracker video Chris! All of these sound worlds are such a joy to live and breathe in - how fortunate are we! Thank you for all this gifts into my day.......and beyond.
Thanks for a great explanation with examples of the melodic story. I found myself absolutely inspired to use this to take my music in the direction I've been wanting to, but without knowing quite how to do so.
I’m subscribed for exactly the reason you suggest … for using the information in anyway I might to help support my own personal composition. I love these presentations and your overviews. Thank you 🙏
Thank you for this Chris you should do a whole series on melodies, there is so much to say ! There are so many strange examples like the opening voice melody of 'Wuthering Heights' or Nutcracker Suite or 'I'd be surprisingly good for you' by Madonna, from Evita Thanks Chris, keep it coming !
“Art exists to reveal mystic truths.” I like how that saying dovetails with storytelling. To get to a “reveal” you have to have a way of leading your audience to it - hence, story.
Question: what are the different lessons I can learn from the two sections on using 9ths? Context: I am very much a cowboy songwriter, I-IV-V with chord tone melodies. The past year I've been using my lifelong love of jazz and classical music to expand my composing. Having written 8 novels, I know storytelling, which is easy with lyrics (okay, easier) but I'm working on telling stories with an instrumental, so this topic grabbed me.
@@joeldcanfield_spinhead good question. If you’re singing while playing your first step is to practice singing nonsense syllables on the 9th, or other non-chord tones. It’ll take a while to get that comfortable. The second level is to practice making a melody that steps to a non chord tone and stays there for a bit. Level 3 is leaping to a non chord tone. By then it’s second nature, you’ll be writing more expressive melodies. 🤞🏼
@@ImpliedMusic In my more jazz instrumentals, what storytelling role does the 9th play? Appreciate and understand your explanation of how to do it, thank you. What's the story/reasoning behind using the 9th, supertonic, in this role? Who is it in the story? Genuinely appreciate your expertise and willingness to share it. Thank you.
@@joeldcanfield_spinhead non-chord tones have tendencies toward chord tones... 7 goes to 1, 4 to 3, etc. 2 (9) is cool for its double tendency, either to 1 or 3. i think of these tones as adding yearning, or motion, to a melody.
@@ImpliedMusic Perfect! Stuff happens ‘cause somebody wants something. Probably a good exercise for me to play a chord pattern and pedal each degree of a chromatic scale to map a feeling to each in-key and non-key tone. Easier to hear than just read.
outstanding !
absolutely fantastic! very insightful, thanks
Great ideas Chris; love your teaching style
Much appreciated! I've accidentally created a number of lovely melodies, but you're helping me learn to do it on purpose and better understand what's happening. The relationship between melody notes and underlying chords is still mostly mysterious to me, but that makes it constantly surprising and delightful.
I'm totally a melody person. Lately, I've been digging into the power of melody to bridge the listener across harmonic surprises -- borrowed chords, chromatic mediants, etc. I love comparing melody to the hero of the story. The hero gets all sorts of challenges thrown at it for the first 2/3 of a story, and only in the end wins through. It's the path through the dense jungle.
Excellent
Also a "chord person" here. May be that's why I enjoyed this episode so much. Thanks again.
You a producing a great content!
How in the world does this only have 2.3k views?! 😍 Thanks for all your incredible content and heart
Thank you too!
This was one of my favorites of your lessons!
Thank you for generously sharing your knowledge. Love the ones on 'interference periodicity'--what a mouthful that term is!
Another Great one.
This is a cracker video Chris! All of these sound worlds are such a joy to live and breathe in - how fortunate are we! Thank you for all this gifts into my day.......and beyond.
Thanks for a great explanation with examples of the melodic story. I found myself absolutely inspired to use this to take my music in the direction I've been wanting to, but without knowing quite how to do so.
I’m subscribed for exactly the reason you suggest … for using the information in anyway I might to help support my own personal composition. I love these presentations and your overviews. Thank you 🙏
Without melody, there's no theme. You only have 12 notes to make a tune, and they all fall within an octave. Awesome stuff.
Thank you for this Chris
you should do a whole series on melodies, there is so much to say !
There are so many strange examples like the opening voice melody of 'Wuthering Heights' or Nutcracker Suite or 'I'd be surprisingly good for you' by Madonna, from Evita
Thanks Chris, keep it coming !
Wow it's great to think of creating melodies in a non musical theory manner ! (It's also more fun.)
Years ago I realized that all art is story telling.
“Art exists to reveal mystic truths.”
I like how that saying dovetails with storytelling. To get to a “reveal” you have to have a way of leading your audience to it - hence, story.
Question: what are the different lessons I can learn from the two sections on using 9ths?
Context: I am very much a cowboy songwriter, I-IV-V with chord tone melodies. The past year I've been using my lifelong love of jazz and classical music to expand my composing. Having written 8 novels, I know storytelling, which is easy with lyrics (okay, easier) but I'm working on telling stories with an instrumental, so this topic grabbed me.
@@joeldcanfield_spinhead good question. If you’re singing while playing your first step is to practice singing nonsense syllables on the 9th, or other non-chord tones. It’ll take a while to get that comfortable. The second level is to practice making a melody that steps to a non chord tone and stays there for a bit. Level 3 is leaping to a non chord tone. By then it’s second nature, you’ll be writing more expressive melodies. 🤞🏼
@@ImpliedMusic In my more jazz instrumentals, what storytelling role does the 9th play? Appreciate and understand your explanation of how to do it, thank you. What's the story/reasoning behind using the 9th, supertonic, in this role? Who is it in the story?
Genuinely appreciate your expertise and willingness to share it. Thank you.
@@joeldcanfield_spinhead non-chord tones have tendencies toward chord tones... 7 goes to 1, 4 to 3, etc. 2 (9) is cool for its double tendency, either to 1 or 3. i think of these tones as adding yearning, or motion, to a melody.
@@ImpliedMusic Perfect! Stuff happens ‘cause somebody wants something. Probably a good exercise for me to play a chord pattern and pedal each degree of a chromatic scale to map a feeling to each in-key and non-key tone. Easier to hear than just read.
TH-cam search ➡️➡️ implied music modal offset (there are two videos)