@Nico, thank you so much for your kind comment! Outside of my performance videos, I mainly share content from online classes that I teach at College of the Desert. It is great to hear that other musicians are learning from them!
@@AnthonyFesmire Woah that’s amazing! Unfortunately for me, that is quite far away from where I reside at, so having these videos available here on TH-cam is a blessing’
@Nico, so great to hear that they are valuable to you as a musician! I plan to update the playlist organization soon for better access to the content. Keep an eye out. Thanks!
Knowing the names of these notes and chords tells you, or at least me, almost nothing. But it's essential when someone is trying to tell us something. Like at the end of the video which I would some up by calling all the mediant and submediants as the "going nowhere in particular chords," and that IS handy to know.
@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.
@DrGameTazo, absolutely! For this to feel like a true modulation, it is good to establish both keys. For example, using Fm to Abm, the first key may use i (Fm), iio (Go), V7 (C7), i (Fm). Moving to the new key of Abm, you might use i (Abm), iio (Bbo), V7 (Eb7), i (Abm). This is a very straight forward example, but it works to help the listener hear and feel that there is a key change. The formula for quickly establishing a key is Tonic (I or i), Subdominant function (IV/iv or ii/iio), Dominant (V7), back to Tonic. I hope this make sense! Let me know if you have any other questions.
@Woocker Socket, thank you for your questions! With this concept, mediant refers to both the mediant and sub-mediant chords. Since the other chords have a variety of possibilities when incorporating borrowed and secondary chords, this concept is specific to mediants. Here are a few other videos that might interest you: Borrowed Chords Overview: th-cam.com/video/L4csvskwRDk/w-d-xo.html Borrowed Chords in Jazz: th-cam.com/video/KoPk08AKW38/w-d-xo.html Constant Structure: th-cam.com/video/nKfwWYFN87w/w-d-xo.html Secondary Dominant in Major Keys: th-cam.com/video/VgrcQR2BsEg/w-d-xo.html Secondary Dominants in Minor Keys: th-cam.com/video/-uMItOxaiG8/w-d-xo.html
@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
@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.
Great video, Love how you demonstrate these chord progressions.
Thank you!
Your channel is an amazing resource I’m surprised doesn’t have as much attention as it should. Thank you so much for these videos
@Nico, thank you so much for your kind comment! Outside of my performance videos, I mainly share content from online classes that I teach at College of the Desert. It is great to hear that other musicians are learning from them!
@@AnthonyFesmire Woah that’s amazing! Unfortunately for me, that is quite far away from where I reside at, so having these videos available here on TH-cam is a blessing’
@Nico, so great to hear that they are valuable to you as a musician! I plan to update the playlist organization soon for better access to the content. Keep an eye out. Thanks!
@@AnthonyFesmire That’s great to hear! I’ll definitely be keeping an eye on the channel 👍
Very good video. Clear explanation and straight to the point. Thanks!
Thank you for watching!
Your voice is really soothing, great video!
Thank you!
Thank you!
You're welcome!
Knowing the names of these notes and chords tells you, or at least me, almost nothing. But it's essential when someone is trying to tell us something. Like at the end of the video which I would some up by calling all the mediant and submediants as the "going nowhere in particular chords," and that IS handy to know.
@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.
Very clear. Thank you
Glad it was helpful!
Super duper, bro! Thnx
Thanks again, @TheAtheistworld!
Thank you
You're welcome!
Amazing thank you!
@Martin P. Li, You're welcome, Thanks for checking it out!
Great video! Really well explained!
Thank you for checking it out!
well done, great video
Thank you very much!
Very well explained tq sir
God bless.
Thank you for checking it out!
Is this good for transpose Key?? (EX: Fm to Abm of Abm to Cm)
@DrGameTazo, absolutely! For this to feel like a true modulation, it is good to establish both keys. For example, using Fm to Abm, the first key may use i (Fm), iio (Go), V7 (C7), i (Fm). Moving to the new key of Abm, you might use i (Abm), iio (Bbo), V7 (Eb7), i (Abm). This is a very straight forward example, but it works to help the listener hear and feel that there is a key change. The formula for quickly establishing a key is Tonic (I or i), Subdominant function (IV/iv or ii/iio), Dominant (V7), back to Tonic. I hope this make sense! Let me know if you have any other questions.
@@AnthonyFesmire thx, my friend
@DrGameTazo, no problem!
Speak softly but carry a lot of content. Amazing you said all that with examples in under 5 minutes!
Thank you, @johnegan4762!
Since chromatic MEDIANT refers to the 3rd, can we do the same to the rest of the intervals?
e.g. chromatic dominant, chromatic sub mediant?
@Woocker Socket, thank you for your questions! With this concept, mediant refers to both the mediant and sub-mediant chords. Since the other chords have a variety of possibilities when incorporating borrowed and secondary chords, this concept is specific to mediants.
Here are a few other videos that might interest you:
Borrowed Chords Overview: th-cam.com/video/L4csvskwRDk/w-d-xo.html
Borrowed Chords in Jazz: th-cam.com/video/KoPk08AKW38/w-d-xo.html
Constant Structure: th-cam.com/video/nKfwWYFN87w/w-d-xo.html
Secondary Dominant in Major Keys: th-cam.com/video/VgrcQR2BsEg/w-d-xo.html
Secondary Dominants in Minor Keys: th-cam.com/video/-uMItOxaiG8/w-d-xo.html
Okay Harmony's fine but it needs Melody.
What scales can you use with chromatic mediants??
@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
thanks
You're welcome!
That ambiguity can be cured with secundary dominants I.e.
@-Dominique, Absolutely!
Is that it? There's not even a conclusion!
@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.