This is a great visualization and explanation. I got a bit stuck at around the @ mark though, with the tertiary connections, which sounds fascinating, so I'm looking forward to another video that explains it further. Thanks for the excellent content :)
Thank you! Yes, the tertiary connections between chords is super insightful. This video explains this link between harmonies in a bit more detail: th-cam.com/video/1Np9hdbIibM/w-d-xo.html
Another video misunderstanding Modal Harmony and teaching people the wrong way to think. The Ionian Mode does not simply equal the Major Scale. It is more nuanced than that. Yes, the Ionian SCALE (that word is important) happens to be exactly the same series of intervals as the Major Scale, but the Ionian MODE is a harmonic device, not a scale. The words KEY and MODE are related to how a scale is used to create harmony. These two different systems of harmony are call Tonal Harmony and Modal Harmony. (Let's do examples in C) The C Ionian MODE simply cannot have a G chord (V) in it. It will immediately tonicize the C Major, creating a KEY, putting the progression into the system of Tonal Harmony, not Modal anymore. But C Ionian CAN have a G/C chord, because as long as C stays in the bass, we aren't creating a dominant chord. In fact, a G/C may just be better thought of as a Cmaj9(no3). Modal harmony is more static, with chord functions called "tonic" "cadential" "noncadential". Tonal Harmony is more dynamic with chord functions called "tonic" "subdominant" "dominant". This same exact thinking applies to Aeolian Mode (MODAL) vs. a Minor Key (TONAL, and uses notes not just found in the natural minor scale).
Then the song examples: Using a Blues to convey either Major Key Harmony or Ionian Harmony is not great. Blues Harmony is completely different than the two previous mentioned harmonic systems. While you may be using the triadic versions of C F G, we both know it's really C7 F7 G7, which only serves to confuse a beginner when they try to play a major scale over top. Then I-V-vi-IV and Canon are also just totally tonal. Just in a Major Key. No Ionian in sight...
I am not musician but what you teach me is very crystal clear!!!!!!!
Brilliant teacher!!!!!
Great explanation! Thank you very much! :)
This is a great visualization and explanation. I got a bit stuck at around the @ mark though, with the tertiary connections, which sounds fascinating, so I'm looking forward to another video that explains it further. Thanks for the excellent content :)
Thank you! Yes, the tertiary connections between chords is super insightful. This video explains this link between harmonies in a bit more detail: th-cam.com/video/1Np9hdbIibM/w-d-xo.html
😂 thankyou for a crystal clear explanation 🎉 Sheila Duke 😅😊❤
Great
Another video misunderstanding Modal Harmony and teaching people the wrong way to think. The Ionian Mode does not simply equal the Major Scale. It is more nuanced than that. Yes, the Ionian SCALE (that word is important) happens to be exactly the same series of intervals as the Major Scale, but the Ionian MODE is a harmonic device, not a scale. The words KEY and MODE are related to how a scale is used to create harmony. These two different systems of harmony are call Tonal Harmony and Modal Harmony.
(Let's do examples in C) The C Ionian MODE simply cannot have a G chord (V) in it. It will immediately tonicize the C Major, creating a KEY, putting the progression into the system of Tonal Harmony, not Modal anymore. But C Ionian CAN have a G/C chord, because as long as C stays in the bass, we aren't creating a dominant chord. In fact, a G/C may just be better thought of as a Cmaj9(no3). Modal harmony is more static, with chord functions called "tonic" "cadential" "noncadential". Tonal Harmony is more dynamic with chord functions called "tonic" "subdominant" "dominant".
This same exact thinking applies to Aeolian Mode (MODAL) vs. a Minor Key (TONAL, and uses notes not just found in the natural minor scale).
Then the song examples:
Using a Blues to convey either Major Key Harmony or Ionian Harmony is not great. Blues Harmony is completely different than the two previous mentioned harmonic systems. While you may be using the triadic versions of C F G, we both know it's really C7 F7 G7, which only serves to confuse a beginner when they try to play a major scale over top.
Then I-V-vi-IV and Canon are also just totally tonal. Just in a Major Key. No Ionian in sight...
Awesome love it, thank you