You're seriously one of the most brilliant people. Not only do you teach extraordinarily well, but you have the brightest personality. We need more people like you! 👏🏻
My favorite use of the Chromatic Mediant is actually for modulation, since my favorite way to modulate is to pick up the entire piece and drop it back in transposed up a minor third. I "came up with" the technique by accident solely because of the mathematical properties it has. Basically, I was doing a song and wanted to cycle through modulations until I returned to the original key. I was going to do it by modulating up by 4 semitones three times, but decided to try modulating just three semitones instead (which would give me four modulations before returning to the original key). Happily, I discovered it sounded amazing to do that. Before that trick, I would often modulate to the five chord via the "five of five" technique (so to modulate from C to G, you throw in a D major first sort of thing), but modulating up a minor third didn't require any setup of the dominant or to throw in a leading tone, etc. I loved it because you could play something 100% diatonic and then instantly modulate on a repeat and it adds a burst of energy to it with a sort of surprise modulation out of the blue.
I'm new to music theory, and your idea sounds interesting. I think your explanation was clear (well done!). Just to be sure I am following you, would you mind explaining further, by coming up with a 4 chord progression, and then tell me what the chords would be, after you transposed them. Please.
Can you please explain how you are able to instantly modulate to the minor third? If you’re going from C major to Eb major I would think you would in fact need some bridging chord. Or you could use the diminished chord with dominant function which is the same in both c major and Eb major if that’s what you’re referring to.
Dear Guy, I wrote it many times, but I need to wrote one time again: you are the most inspirational channel about music, learning and sensing it in the right way, good feelings, positivity, humor and many more things, on TH-cam and all the rest!!! Thank you immensely for your contribution to the beauty of this world, Stay safe, and again (did I say it jet?...): THANK YOU!! Christian R.
I learned this in college when I got my music degree --- but somehow hearing you describe it, it makes more sense -- I hadn't thought about using the minor versions of the chromatic mediants....very cool -- as always -- thanks again, Guy
The first I ever heard of this was in music school studying 16th century counterpoint and the cross-relations used by Carlo Gesualdo (d. 1613). He used chromatic mediants frequently and occasionally wildly. Such techniques were not used again until the late 19th century.
Finally, someone who can actually explain in detail, and a way I can actually understand. subscribed just because of that. ha-ha. been watching guitarists try and explain this to me and it was..... irritating to say the least. KEEP UP THE GOOD WORK MAN. it's appreciated more than you know,
de al motte once wrote: Mediants in Cmaj 1. degree. 2 common tones > Eminor > Aminor 2. degree 1 common tone > Emmas > Eb maj > Amman > Ab maj 3. degree. no common tone > Ab minor > Eb minor which shows the relation between the chords and makes using and composing eioth them a bit more logical...
Interesting! I have always categorized (relative to a "C" tonic) Eb major (bIII) and Ab major (bVI) as being from the parallel minor (C minor), or "modal interchange." And E major (III) or A major (VI) as being "stripped-down" triadic versions of E7 or A7--functioning or non-functioning secondary dominants (V7 of vi and V7 of ii, whether or not they "resolved"), respectively. Leaving only Ebm (biii) and Abm (bvi) as "chromatic mediants" (those specific two being the super common eerie/spooky "film score" moves--especially in a minor key). But I see what you mean, a third on either side of the tonic, being some form of "mediant,"and if it has an illegal note, "chromatic." Thanks for covering this badass topic! LOADS of these (biii and bvi) in Thomas Newman's amazing SKYFALL score, btw!!
I just have to say that you are, by far, one of my most favorite people o come watch for musical instruction and guidance. I am nearly 100% self-taught and have thus far managed to learn a great deal of music theory and even produce several instrumental tracks on the various major platforms. I play most instruments well enough, especially if I program them to my midi pads via my DAW (LOL) but lately have been working on developing my piano and notation skills. ...Any time I come across a concept that I struggle to grasp, I generally look to see if you have provided a lesson or video on it, as my very first step. Thank you you, for both your very obvious passion for the subject on which you speak, but also for simply being willing to share what you know. Too often, it seems as if knowledge is hoarded. Later days. ♥
Hi Guy! I really like when you cover music theory topics such as this one, short and sweet. I feel many who cover these topics do so with much verbiage, so much that's it's easy to get lost. As a person who's well-trained in theory, I haven't forgotten that many are not well-trained. This is a good presentation to dispense information on chromatic mediants in just a few minutes. It also happens to be one of my favorite ways to harmonically explore a melodic theme.
I think of The Doors "Light My Fire" which has the Am to F#m use of the Chromatic Mediant, which creates the "moody" feeling. Thanks Guy for the lesson!
Jeez... thank the lord (so to speak). I can't tell you what a relief it is finding your channel, Guy. I've been considering the most concise way to explain the harmony of Kurt Cobain's songwriting to students and, after endless Reddit threads and music theory forums teeming with academics furiously trying to out-intellectualise each other in ever more ridiculous ways, I've finally stumbled across someone who actually has the intent of transferring his knowledge to others in a concise fashion. I love how you distilled this down to it's simplest form so eloquently - thank you!
I like how you explained this, very clear! But still, I would love to have seen more implementations of this. Maybe even examples from famous pieces. I have that same issue with modes. I get what they are but don't know how to implement them...
My favorite quote: "All this sounds vaguely sort of fantasy-esque, doesn't it. Yes, there's a good reason for that..." [me, expecting a detailed explanation] "...that's how it works." Thanks for the vid, Guy. It's a great, condensed reminder for those of us who have gotten a little fuzzy with their theory.
This is the best presentation I have seen Guy do. Often he loses himself with waffle and I get irritated and bored but this was great. More of the same please, Guy, you have all you need to engage your audience stick to this style; it works well.
in Sweden we call the Mediant, the "Dominant Parallel". The logic behind it is the same as relative minors/majors. And the 2nd chord (for example Dm in C) is called a SubDominant Parallel. Because we are complicated... :) Personally I prefer the numbers (roman numerals), like how they do it in the states.
Thank you so much Guy! This video was extremely educational and so well delivered. I’ve been watching your videos for a year but this one is by far the best :)
Hi Guy, great video al always! During my music study I also learned about replacing the main I, IV and V chords by using one of the 3 other chords that you get when created a diminished 7th chord on the I, IV and V step. It gives even more freedom to break out the classical chord progressions! I like especially the tritones alternatives. Maybe interesting to make a video over as well?
I love to improvise using nothing but chord progressions by the third. It gives you a lot of freedom not only regarding what the tonal center of the song is, but I also find that the melody is less constrained by the chord progression, or vice verse. For instance, an F natural in the melody over a D major chord usually works just fine.
Hey Guy Thanks!!! Now all I have to do is try to make them sound good on guitar, it is so alien sounding trying to sneak these chords into a progression. I just will them into place until they start to make sense, it is literally like trying to learn a new language. I still have a very thick C major accent
Hi! Nice material, but...still not much about using it, maybe some chord progression examples? Are chromatic mediant chords most often used chromatic chords in music when going out of the diatonic box? Is it most often used way of modulation? How about leading melody with those chords? How about extending those chords? Thanx anyway Guy!
Fantastic video. Short, fun and filled with excellent clear information. I absolutely love when I get to learn some music theory that sheds a light on a subject that was previously a dimly lit pot hole filled path and now is a nice well lit carpeted hallway. :D
Some of this stuff actually makes sense if you ignore the strictly technical - probably more accurate - terminology and definitions. I go for the quick dirty and actually comprehensible version.
@@ThinkSpaceEducation Hm. Either they changed the description or I know more theory now. It actually makes sense. I'll go with the latter because it makes me feel better.
The reason as far as i know for 6 being known as submediant is because the mediant is mediating the Tonic and Dominant, the submediant mediates the Subdominant to Tonic, hence inheriting the sub prefix
Well, now I have a new meaning for chromatic, which caused me to look up the word chroma, which means color or tone as in skin color or tone, or paint color/tone, etc. Hmmm, then added "tic" to it and that lead to, referring to gradation or steps of color or tone, which lead to the chromatic scale in music being all twelve tones of a musical scale, which then lead back to this video of the chromatic mediant and a new meaning, which leads of course to Stiff Drink Time.......Great little video :)
Interesting topic for my Jeopardy game show preparation. I do have a QUESTION - I have noticed some sort of DAW controlling advice on your left in the video. I'd love to know exactly what it is. Thanks so much and keep the videos coming ... I continue to be wildly entertained while learning alot!
You've made sooo many helpful videos on music.. Can u make one on how to make music without knowing music theory? (I know the importance of learning music theory, even if you'll make this video, I'll not stop trying my best to understand music theory, just asking the video tho)
so, to make it really easy: any chord with the note that is either 3 or 4 semitones above or below the nominal tonic/root as the lowest note, and also includes at least one note not in the arbitrarily defined scale of the nominal tonic/root. Yep, definitely easy ! :)
very nice explanation. It's called 'chromatic' because it's additional 'colour' to the scale. Been trying to find a review of Noire, but can't find one. Have you reviewed it? I have a feeling it will speak to you.
![กี่หมื่นฟ้า | Your Sky Series EP.1 [2/4]](http://i.ytimg.com/vi/qJbQs_nhjD4/mqdefault.jpg)
"Is G# in the scale of C Major?"
Finally! A music theory question I can answer! :D
Hard questions first!
@@ThinkSpaceEducation Somebody needs to ask the hard questions.
But is A flat in the key of C major? XD
@@jensjensen4038 I believe it isn't, though I can never be sure
@@jensjensen4038 how about C flat? ;)
You're seriously one of the most brilliant people. Not only do you teach extraordinarily well, but you have the brightest personality. We need more people like you! 👏🏻
Here, here!
God I wish I had him as a theory teacher what a god
FYI, another similar music theory channel is Implied Music.
Guy......YOU are an excellent teacher and wonderful composer. Thank you for all of the help! Doug G in LV
thank you
My favorite use of the Chromatic Mediant is actually for modulation, since my favorite way to modulate is to pick up the entire piece and drop it back in transposed up a minor third. I "came up with" the technique by accident solely because of the mathematical properties it has. Basically, I was doing a song and wanted to cycle through modulations until I returned to the original key. I was going to do it by modulating up by 4 semitones three times, but decided to try modulating just three semitones instead (which would give me four modulations before returning to the original key). Happily, I discovered it sounded amazing to do that.
Before that trick, I would often modulate to the five chord via the "five of five" technique (so to modulate from C to G, you throw in a D major first sort of thing), but modulating up a minor third didn't require any setup of the dominant or to throw in a leading tone, etc. I loved it because you could play something 100% diatonic and then instantly modulate on a repeat and it adds a burst of energy to it with a sort of surprise modulation out of the blue.
I'm new to music theory, and your idea sounds interesting. I think your explanation was clear (well done!).
Just to be sure I am following you, would you mind explaining further, by coming up with a 4 chord progression, and then tell me what the chords would be, after you transposed them.
Please.
Can you please explain how you are able to instantly modulate to the minor third? If you’re going from C major to Eb major I would think you would in fact need some bridging chord. Or you could use the diminished chord with dominant function which is the same in both c major and Eb major if that’s what you’re referring to.
Was reading online for these answers and needed something in black and white to explain it and knew I'd find it in video form. Perfectly done, thanks.
Please keep doing these. The format is so easy to absorb and the knowledge sticks!
Right, I'm having a composing sesh later this evening, I will deliberately lob in a couple of chromatic mediants in your honour.
Dear Guy, I wrote it many times, but I need to wrote one time again: you are the most inspirational channel about music, learning and sensing it in the right way, good feelings, positivity, humor and many more things, on TH-cam and all the rest!!! Thank you immensely for your contribution to the beauty of this world, Stay safe, and again (did I say it jet?...): THANK YOU!! Christian R.
YOu are very welcome thank you
I learned this in college when I got my music degree --- but somehow hearing you describe it, it makes more sense -- I hadn't thought about using the minor versions of the chromatic mediants....very cool -- as always -- thanks again, Guy
You're welcome Linda!
The first I ever heard of this was in music school studying 16th century counterpoint and the cross-relations used by Carlo Gesualdo (d. 1613). He used chromatic mediants frequently and occasionally wildly. Such techniques were not used again until the late 19th century.
Really awesome tutorial. First time hearing such a clear explanation of chromatic mediants.❤
Thank you, that is very useful indeed! Really would like to see more of these short videos on advanced music theory topics
OK!
You're a great teacher, Guy. Thank you for the great videos! Love you buddy!
Finally, someone who can actually explain in detail, and a way I can actually understand. subscribed just because of that. ha-ha. been watching guitarists try and explain this to me and it was..... irritating to say the least. KEEP UP THE GOOD WORK MAN. it's appreciated more than you know,
Chromatic Mediant I got a cream for that, it cleared up in a few days.
Lol.
You stole my home! Ha!
Ha ha ha....
Recovery is often hastened if you are prescribed a tonic. I'll get my coat...
@@martifingers no sugar in mine yes I prefer a diettonic
de al motte once wrote:
Mediants in Cmaj
1. degree. 2 common tones
> Eminor
> Aminor
2. degree 1 common tone
> Emmas
> Eb maj
> Amman
> Ab maj
3. degree. no common tone
> Ab minor
> Eb minor
which shows the relation between the chords and makes using and composing eioth them a bit more logical...
You missed one. The Ab#5.
Excellent explanation, thanks, Guy!
Interesting! I have always categorized (relative to a "C" tonic) Eb major (bIII) and Ab major (bVI) as being from the parallel minor (C minor), or "modal interchange." And E major (III) or A major (VI) as being "stripped-down" triadic versions of E7 or A7--functioning or non-functioning secondary dominants (V7 of vi and V7 of ii, whether or not they "resolved"), respectively. Leaving only Ebm (biii) and Abm (bvi) as "chromatic mediants" (those specific two being the super common eerie/spooky "film score" moves--especially in a minor key). But I see what you mean, a third on either side of the tonic, being some form of "mediant,"and if it has an illegal note, "chromatic." Thanks for covering this badass topic!
LOADS of these (biii and bvi) in Thomas Newman's amazing SKYFALL score, btw!!
Gotta love how excited this guy sounds when talking about his stuff 👍
That was fun! Thanks, Guy. I'd love to see more videos like this!
I just have to say that you are, by far, one of my most favorite people o come watch for musical instruction and guidance.
I am nearly 100% self-taught and have thus far managed to learn a great deal of music theory and even produce several instrumental tracks on the various major platforms.
I play most instruments well enough, especially if I program them to my midi pads via my DAW (LOL) but lately have been working on developing my piano and notation skills.
...Any time I come across a concept that I struggle to grasp, I generally look to see if you have provided a lesson or video on it, as my very first step.
Thank you you, for both your very obvious passion for the subject on which you speak, but also for simply being willing to share what you know. Too often, it seems as if knowledge is hoarded.
Later days. ♥
Hi Guy! I really like when you cover music theory topics such as this one, short and sweet. I feel many who cover these topics do so with much verbiage, so much that's it's easy to get lost. As a person who's well-trained in theory, I haven't forgotten that many are not well-trained. This is a good presentation to dispense information on chromatic mediants in just a few minutes. It also happens to be one of my favorite ways to harmonically explore a melodic theme.
Brilliant! Thanks Guy
I kinda think u jumbled this a bit mate ,I followed it though, and now I know why the 6 is sub mediant ,bravo ty
Brilliantly explained, I think I can now actually remember it! Thank you 🙏
Thank you very much for your tut. I also liked very much your dog passing in your garden (min 3).
I think of The Doors "Light My Fire" which has the Am to F#m use of the Chromatic Mediant, which creates the "moody" feeling. Thanks Guy for the lesson!
Never heard about that before but it is a nice addition to the tools we can use to make music, thanks for this brilliant video! 🙏
It works great
Jeez... thank the lord (so to speak). I can't tell you what a relief it is finding your channel, Guy. I've been considering the most concise way to explain the harmony of Kurt Cobain's songwriting to students and, after endless Reddit threads and music theory forums teeming with academics furiously trying to out-intellectualise each other in ever more ridiculous ways, I've finally stumbled across someone who actually has the intent of transferring his knowledge to others in a concise fashion. I love how you distilled this down to it's simplest form so eloquently - thank you!
Excellent ! Thanks so much, very often use with film music.
Thanks so much Guy. I like the way you throw in some theory stuff to chew on a while without intimidating the people.
awesome lesson, thank you.
I like how you explained this, very clear! But still, I would love to have seen more implementations of this. Maybe even examples from famous pieces. I have that same issue with modes. I get what they are but don't know how to implement them...
Clear explanation. Thanks.
My favorite quote: "All this sounds vaguely sort of fantasy-esque, doesn't it. Yes, there's a good reason for that..." [me, expecting a detailed explanation] "...that's how it works."
Thanks for the vid, Guy. It's a great, condensed reminder for those of us who have gotten a little fuzzy with their theory.
Lord of the rings soundtrack by Howard Shore as well as other things I’m sure
This is the best presentation I have seen Guy do. Often he loses himself with waffle and I get irritated and bored but this was great. More of the same please, Guy, you have all you need to engage your audience stick to this style; it works well.
Fantastic lesson guy!
in Sweden we call the Mediant, the "Dominant Parallel". The logic behind it is the same as relative minors/majors. And the 2nd chord (for example Dm in C) is called a SubDominant Parallel.
Because we are complicated... :)
Personally I prefer the numbers (roman numerals), like how they do it in the states.
If it sounds good it is good....even in Sweden :)
@@ThinkSpaceEducation that's true :)
This was a really fun and straightforward tutorial to watch, how did I not know this channel?
This was SO useful, thank you!
Thank you so much for this stuff. It is otherwise a difficult topic to get through, I wasted two hours on it prior to finding your video
excellent explanation for the theory of these chords!
Thankyou for the jaunty ''can do'' style.
Wonderful explaination!!
This was such a helpful and straightforward video. Thank you!
Thanks for sharing your precious knowledge with us ... Respect from india 🙏
Fantastic Guy! I have struggled to explain this to our students! I'm just going to direct them to this in future! Thank you for being so inspiring.
Awesome tutorial!!!!
Exactly the lesson I needed today as I work on this game score. Thanks Guy!
Glad to help
Thank you, fantastic video!
Great explanation, no messing. Liked & subbed, thanks
Would augmented and diminished chords +/- a Major / Minor 3rd from the tonic also be considered chromatic mediants?
You may call them chromatic augmented/diminished mediants, if you like.
Thank you so much Guy! This video was extremely educational and so well delivered. I’ve been watching your videos for a year but this one is by far the best :)
Hi Guy, great video al always! During my music study I also learned about replacing the main I, IV and V chords by using one of the 3 other chords that you get when created a diminished 7th chord on the I, IV and V step. It gives even more freedom to break out the classical chord progressions! I like especially the tritones alternatives. Maybe interesting to make a video over as well?
Well explained! Love the cut of your jib by the way.
Thanks so much guy... Time to go make a tune
Go for it
Thanks for posting!
One more of your incredible videos I enjoyed and learned from. Thank you Guy Michelmore!
I love to improvise using nothing but chord progressions by the third. It gives you a lot of freedom not only regarding what the tonal center of the song is, but I also find that the melody is less constrained by the chord progression, or vice verse. For instance, an F natural in the melody over a D major chord usually works just fine.
Hey Guy Thanks!!! Now all I have to do is try to make them sound good on guitar, it is so alien sounding trying to sneak these chords into a progression. I just will them into place until they start to make sense, it is literally like trying to learn a new language. I still have a very thick C major accent
Great explanation!
Now THAT was very useful. Thanks Guy!
A really great video Guy - thanks.
Great sounds.
Very good!! Well explained, funny as always and simply useful to start trying it out!
Watched the first ten seconds and immediately liked and subbed! Love it :)
I had no idea about this... That's gorgeous!
Its fun to play with
man, your content is very enjoyable
Very nice explanation as usual, thank You
mote of this kind of stuff is what youtube needs
Love your energy!
Channeling my inner Elfman. Thanks, Guy
You are an amazing teacher.
I always confused the mediant and sub mediant and it never made sense why they were called those. Now after 30+ years of piano it makes sense!
Glorious! We adore you.
Hi! Nice material, but...still not much about using it, maybe some chord progression examples? Are chromatic mediant chords most often used chromatic chords in music when going out of the diatonic box? Is it most often used way of modulation? How about leading melody with those chords? How about extending those chords? Thanx anyway Guy!
Guy, how on earth do i develop your wonderful attitude? I wish to have your lovely outlook on things and your lightness.
Thanks for that. Let's implement thid in our tracks now ....
Go for it
Excellent explanation Guy thank you!
glad to help
Entertaining as always....and extremely informative and useful...
What a great explanation. Thank you !!!
Fantastic video. Short, fun and filled with excellent clear information. I absolutely love when I get to learn some music theory that sheds a light on a subject that was previously a dimly lit pot hole filled path and now is a nice well lit carpeted hallway. :D
Very interesting - really enjoy these music theory videos - as well as all the others of course!
Thank you!!!!
Thank you!
One guy I know I can count on to explain stuff! Thanks!
I tried reading the Wikipedia entry on this... It didn't go well.
Some of this stuff actually makes sense if you ignore the strictly technical - probably more accurate - terminology and definitions. I go for the quick dirty and actually comprehensible version.
@@ThinkSpaceEducation Hm. Either they changed the description or I know more theory now. It actually makes sense.
I'll go with the latter because it makes me feel better.
You're right though, sometimes a good rule of thumb or a feel for something is more important than a strict definition.
@@ThinkSpaceEducation and that's why we love what you do! Keep up the excellent work... my music theory knowledge expands with every video!
lovely explanation. Thanks Guy! :)
Happy to help
Very inspiring thank you !
The reason as far as i know for 6 being known as submediant is because the mediant is mediating the Tonic and Dominant, the submediant mediates the Subdominant to Tonic, hence inheriting the sub prefix
Great tutorial and helpful,thank you
Thanks Paul
thanks Guy, always great !!!
Well, now I have a new meaning for chromatic, which caused me to look up the word chroma, which means color or tone as in skin color or tone, or paint color/tone, etc. Hmmm, then added "tic" to it and that lead to, referring to gradation or steps of color or tone, which lead to the chromatic scale in music being all twelve tones of a musical scale, which then lead back to this video of the chromatic mediant and a new meaning, which leads of course to Stiff Drink Time.......Great little video :)
The color of the music! Nice insight :)
Indeed, these chromatic mediants should help us add more color to our compositions ;)
Interesting topic for my Jeopardy game show preparation. I do have a QUESTION - I have noticed some sort of DAW controlling advice on your left in the video. I'd love to know exactly what it is. Thanks so much and keep the videos coming ... I continue to be wildly entertained while learning alot!
Could you do one on minor chromatic mediant? Your explanation is clear
Very thanks
You've made sooo many helpful videos on music.. Can u make one on how to make music without knowing music theory?
(I know the importance of learning music theory, even if you'll make this video, I'll not stop trying my best to understand music theory, just asking the video tho)
so, to make it really easy: any chord with the note that is either 3 or 4 semitones above or below the nominal tonic/root as the lowest note, and also includes at least one note not in the arbitrarily defined scale of the nominal tonic/root. Yep, definitely easy ! :)
When you look at famous film music like Howard Shore's Farewell To Lorien for example, it's about 80% chord progressions in thirds.
Does anyone know what app Guy uses to show his keyboard on screen like that?
This is a brand new one called Midiculous gospelmusicians.com/midiculous/
@@ThinkSpaceEducation thanks, Guy!
Outstanding as ever.
Thanks :)
very nice explanation. It's called 'chromatic' because it's additional 'colour' to the scale.
Been trying to find a review of Noire, but can't find one. Have you reviewed it? I have a feeling it will speak to you.