Correct... however the progression ( Am | Em | G | F ) is incorrect as described, defining it as ( i v VII IV) when the correct way, it must be : ( i -- v -- bVII -- bVI) you always build your modes and chords when they are outside of the key/mode you're in by comparing them against the Tonic is from the Major key.... if you are in Am, the G is not VII , it is bVII because VII is G# relative to Am .. G is the bVII because the interval from A to G is a minor 7th, bVII, and VII is a major 7th G#)..
Just copy paste. No need for a notebook. Look at the great songs you can "write" by just writing the same thing someone else already wrote! "But there's only twelve notes!" Ah. The mating call of the uncreative.
Thank you for this! I’ve always had a strength in working with chords, guide tone lines, and melodies to convey emotion. Over the years, I’ve written thousands of different arrangements. While I could intuitively create these by feeling them out, hearing your interpretation amplified my understanding and broadened my perspective. I was aware of the method and understood its importance, but your ability to formulate and explain it so gracefully, instantly enhanced the organization of my thoughts and ideas. This will allow me to approach my work with greater intention and clarity. Once again, thank you for the video. Your words have helped me move from what I saw in myself as an unorganized, free-flowing approach to one that feels more deliberate and structured. I now understand these concepts with more certainty, which I see as being an incredibly valuable tool to what I am trying to accomplish. Once again thank you 🙏
Off... another absolute MONSTER video to edit. But it was tons of fun! Pattern #9 is definitely my favorite! Here's a cheat sheet for the patterns: docs.google.com/document/d/14oCxkl9AKAfnw5huh5mY_mj3yUMDoxmjhhv3mz1o0lk/edit?usp=sharing Hope these patterns will be helpful to you. Seriously, use these! :) Wishing you all happy holidays and a good end of the year. Love you!
Thanks for the genorisity Kevin. Happy holidays to you too happy new year. Would it be possible to get a pdf cheatsheet with these progressions? No biggie, but if you created a cheat sheet for yourself for this video, would it be possible to share it?😊
I love this video Kevin! We can learn a lot from soundtracks about creating emotions in music. And your "quick mockups," as you call them, sound damned epic. I love this stuff!
I love cinematic and musical scores. I like to write rock and metal and often use cinematic techniques in order to flesh out the story and create immersion. These techniques are going to be awesome in my stuff. Great video!
😂 why should you? If Hollywood has no problem stealing music and calling it original, why shouldn't you? Right? You could write the next smells like teen spirit if you just use the same chords!
Your videos are so so good. Your channel started giving me ideas of vsts and daws to use, but these last videos are really inspiring in an artistic way. Great work. ❤
I think I am going to start saving up for the course. It seems the closest thing for what I want to make and I like your enthusiasm. I like/love fantasy and adventure soundtracks but not totally epic per say. I want the movement of epic but the subtle sounds of the instruments as well. Such as walking into a mysterious forest glade with a little foreboding but changes to elation as you realize that it is magical with many mysterious things around you. Then you realize that you are in danger and need to move on. That would be the epic part I suppose. Hard to explain and one of the reasons I think your course may fit. I love to imagine a scene in my head and try to find the sounds that fit. Some times it is purely orchestral and sometimes hybrid. All that I have made is OK but amateurish at best. It has the foundations but my orchestration skills are severely lacking. I have the equipment and libraries but, I lack the skill sets and need to invest in myself more. Hundreds of hours pouring over videos and books have helped but lacks structure. I learned how to play the guitar and violin which lead me down this path when making backing tracks. You never know where life will take you sometimes.
YES!!!!!!!! I ABSOLUTELY LOVE THIS VIDEO!!!!!!!! The Emotional Response to invoked by the mounting perplexity of a myriad of uniquely crafted authentically for the characters that had built up throughout the film, to and through the pinnacle of a fever pitch of intensity, up to the point of a cacophony to an utterly chaotic crescendo climax of nearly gut-wrenchimg visceral dissonance dangling off of the edge of the abyss, suddenly all is lost in the unthinkable calamity and absolute insanity as the hero falls to certain unaliving, but at the last moment the absolutely absurd and utterly impossible series of events somehow shifts from never happening into a strike of dumb luck and undying determination when nearly all was lost, one by one each impossible feat somehow threads the needle from a million miles away with lightning speed, and the first, second, third, and so on at each and every turn falls right into place in a rapid fire succession to save the hero at the very last moment empowering the hero to destroy the ultimate evil villain in the most epic display of legendary poetic justice... the movie goers explode in cheers and joyful gllee in exclamation, stirred to the verge of tears of valiant elation... all of which is why I LOVE Cinematic Music and always with!!!!!!!! My Amazingly Brilliant Classical Guitarist Father and the great Soundtrack Composer of my youth, John Williams made this Rock/Pop/Classical Instrumental Guitarist and Rock/R&B/Pop Vocalist and Songwriter into a fan of phenomenally great music!!!!!!!!
A lot of my favorite electronic music is just complex remixes of old songs like twinkle twinkle little star. You would not realize it at first unless you break it down into these simple structures.
I love these examples.. and if you studied classical music theory you must already know that the "D major" triad is NOT spelled "D Gb A" I see this all over U2B.. It's "D F# A" D can't be dominant, if there's a Gb as a leading tone to G.. when F# is the leading tone to G (G Major key), This understand is extremely important if you want to employ tools like "modal exchange" , pivot modulations, substitution chords, "negative harmony".. without a solid understanding of music theory, you can only find these progressions by accident rather than intentional.
Unfortunately the program that I (and most other creators) use to display on-screen MIDI notes in real-time doesn’t seem to have options to set the key and therefore doesn’t show b and # dependent on context.
Amazing video. Very inspiring. Do you think it's too late to get into composing at 23? Music production feels like this dream that I've only discovered later in life, previously struggling to find something that I would truly like. But there are all these people that started as kids and spend years and years learning, and it feels unachievable now. Also when you're an introverted person, and from what I understand one of the most important things is contacts and acquaintances - which is very challenging when you're introverted and anxious. Do you think that it's setting yourself an impossible task to accomplish?
Incredible! Thanks for that I learned a lot. Have you ever tried the Dorian '4 in any progression? It would be awesome to hear your thoughts on that. Best Regards
Can someone explain the reason to me why some musicians purposely refer to something like Am - G as i - VII when it's actually i - bVII? What could the possible advantage be of labeling it that way?
This was a common question when i taught AP music theory. In a minor key, the 7th scale degree is lowered (or flat), and the chord on that scale degree is major. So when it is shown as VII, it is assumed to be a major chord on the lowered (or flat) 7th scale degree. If lowercase numerals are used (vii), it is assumed the 7th scale degree is not lowered, and the chord on that degree is diminished. If a minor is i, then G major would be VII because the key of a minor has a G natural instead of its G# in A major so the idea of flat 7, or G natural is already accounted for with VII. Hope that makes sense. Easier to show on a staff!
your story and progress is very impressive and inspiring. I remember you mentioned in one of your videos that you studied/worked medicine before switch to music production and compposing within a few years. I'm wondering did you have musical background or did you play piano or any instrument before you switch and when you switched did you learn an instrument or just learned enough to be able to produce?
Because if the D resolved back down G it would be a secondary dominant. But it doesn’t resolve so I would just say that it was a IV chord. He did that for some other patterns so I am not sure why he didn’t this time. It is an unnecessary complication, I think.
I'm an acoustic guitar singer songwriter and I watch videos like these for many of the same reasons as a composer. Just an FYI that I and perhaps others exist
Helpful video / well presented, but a quick clarification . . What you are calling the first inversion (e.g., C E G) is the "root position"; the first inversion would be E G C; the second inversion would be G C E Onward!
These chord progressions look deadly platitudinous, but maybe that’s the whole point of this industry: replacing true music and true images by symbols.
Attaching labels like ' hopeful' and 'lonely' to a chord sequence is utter nonsense. Steal these all yuou want. It won't make your music any better. Be inventive ! Take risks !
Then you're unaware of how these progressions are used and perceived by most listeners. The sociomusical context in which these progressions are heard has an impact on how they're perceived, and it's context that impacts how a song feels emotionally. These labels are not applied willy nilly and without literal decades of theory understanding their function and role in the west.
Learning what has gone before enables you to later take risks as you suggest. Having accessed the literature on music and emotion for my PhD, I can say that there is truth here. However, these particular descriptors might be expressed with reference to the literature they emerged from. But, the creator is setting a level for a general audience who might not be heavilyinto music theory.
@@SD-ff1je I hope you didn't think I was replying to you, TH-cam is very deceiving when it comes to replies in comments and it's difficult to tell who is talking to whom. I agree with you wholly, and while music has no objective emotion to it, it is subjectively experienced depending on context and usage.
@duxoakende Have a happy New Year. I have written out all you show. I know that you will impact on my musical life and I thank you greatly for that. Thank you.
Thanks ❤️
1:47 There is a mistake, F should be IV
Sorry, yes!
Correct... however the progression ( Am | Em | G | F ) is incorrect as described, defining it as ( i v VII IV) when the correct way, it must be : ( i -- v -- bVII -- bVI) you always build your modes and chords when they are outside of the key/mode you're in by comparing them against the Tonic is from the Major key.... if you are in Am, the G is not VII , it is bVII because VII is G# relative to Am .. G is the bVII because the interval from A to G is a minor 7th, bVII, and VII is a major 7th G#)..
@@arpeggioblues5924 this is why music theory kinda sucks lol
Incredible. I’ve never wanted to take notes watching other videos but this one made me dust off my notebook
Just copy paste. No need for a notebook. Look at the great songs you can "write" by just writing the same thing someone else already wrote!
"But there's only twelve notes!" Ah. The mating call of the uncreative.
Haha same! I love having a note book to jot stuff down, so much better
Thank you for this!
I’ve always had a strength in working with chords, guide tone lines, and melodies to convey emotion. Over the years, I’ve written thousands of different arrangements. While I could intuitively create these by feeling them out, hearing your interpretation amplified my understanding and broadened my perspective.
I was aware of the method and understood its importance, but your ability to formulate and explain it so gracefully, instantly enhanced the organization of my thoughts and ideas. This will allow me to approach my work with greater intention and clarity.
Once again, thank you for the video. Your words have helped me move from what I saw in myself as an unorganized, free-flowing approach to one that feels more deliberate and structured. I now understand these concepts with more certainty, which I see as being an incredibly valuable tool to what I am trying to accomplish. Once again thank you 🙏
Great video! I always love videos about the ways to convey emotions via particular chord progressions. You did very well. Cheers!
Off... another absolute MONSTER video to edit. But it was tons of fun! Pattern #9 is definitely my favorite!
Here's a cheat sheet for the patterns: docs.google.com/document/d/14oCxkl9AKAfnw5huh5mY_mj3yUMDoxmjhhv3mz1o0lk/edit?usp=sharing
Hope these patterns will be helpful to you. Seriously, use these! :)
Wishing you all happy holidays and a good end of the year. Love you!
Thanks for the genorisity Kevin. Happy holidays to you too happy new year. Would it be possible to get a pdf cheatsheet with these progressions? No biggie, but if you created a cheat sheet for yourself for this video, would it be possible to share it?😊
@@5ammy13 There you are: docs.google.com/document/d/14oCxkl9AKAfnw5huh5mY_mj3yUMDoxmjhhv3mz1o0lk/edit?usp=sharing
@@KevinKuschel Splendid. Thank you so much
Thanks for the cheat sheet. Much appreciated!
THOSE EXAMPLES YOU MADE FOR THE PROGRESSIONS ARE SO GOOD
I love this video Kevin! We can learn a lot from soundtracks about creating emotions in music. And your "quick mockups," as you call them, sound damned epic. I love this stuff!
Great video. Imho your best so far 💪
wow!! thanks for this man
Good work - very interesting. 🙂
This is so useful! Taking notes ✍🏼
Thank you for the lesson bro! Can’t wait for the next one!!!
I love cinematic and musical scores. I like to write rock and metal and often use cinematic techniques in order to flesh out the story and create immersion. These techniques are going to be awesome in my stuff. Great video!
Brilliant video you have probably given be the basis for my next twenty tracks 😀👍
What a great class in music theory.....brilliant. I'll have to watch 9 more times.
Well done here! simple and elegant composure. Great video style.
I appreciate the time the work you put it into this demo
This guy is cool. Extremely competent and able to explain and demonstrate at a basic level. Outstanding work. HIGHLY recommended.
Thanks young man. I will no longer feel 'guilty' for taking chord progressions from anyone if they fit my song.
😂 why should you? If Hollywood has no problem stealing music and calling it original, why shouldn't you? Right? You could write the next smells like teen spirit if you just use the same chords!
Your videos are so so good. Your channel started giving me ideas of vsts and daws to use, but these last videos are really inspiring in an artistic way. Great work. ❤
Thank you! Super great to hear that you appreciate this direction.
17:31: You have Ab and Bb, in C Major, as VI and VII, but they should be bVI and bVII.
Yes, absolutely! 🙏
I think I am going to start saving up for the course. It seems the closest thing for what I want to make and I like your enthusiasm. I like/love fantasy and adventure soundtracks but not totally epic per say. I want the movement of epic but the subtle sounds of the instruments as well. Such as walking into a mysterious forest glade with a little foreboding but changes to elation as you realize that it is magical with many mysterious things around you. Then you realize that you are in danger and need to move on. That would be the epic part I suppose. Hard to explain and one of the reasons I think your course may fit. I love to imagine a scene in my head and try to find the sounds that fit. Some times it is purely orchestral and sometimes hybrid. All that I have made is OK but amateurish at best. It has the foundations but my orchestration skills are severely lacking. I have the equipment and libraries but, I lack the skill sets and need to invest in myself more. Hundreds of hours pouring over videos and books have helped but lacks structure. I learned how to play the guitar and violin which lead me down this path when making backing tracks. You never know where life will take you sometimes.
Very illuminating, thank you.
Well explained and nice compositions
Great Video! Need more like this
YES!!!!!!!! I ABSOLUTELY LOVE THIS VIDEO!!!!!!!! The Emotional Response to invoked by the mounting perplexity of a myriad of uniquely crafted authentically for the characters that had built up throughout the film, to and through the pinnacle of a fever pitch of intensity, up to the point of a cacophony to an utterly chaotic crescendo climax of nearly gut-wrenchimg visceral dissonance dangling off of the edge of the abyss, suddenly all is lost in the unthinkable calamity and absolute insanity as the hero falls to certain unaliving, but at the last moment the absolutely absurd and utterly impossible series of events somehow shifts from never happening into a strike of dumb luck and undying determination when nearly all was lost, one by one each impossible feat somehow threads the needle from a million miles away with lightning speed, and the first, second, third, and so on at each and every turn falls right into place in a rapid fire succession to save the hero at the very last moment empowering the hero to destroy the ultimate evil villain in the most epic display of legendary poetic justice... the movie goers explode in cheers and joyful gllee in exclamation, stirred to the verge of tears of valiant elation... all of which is why I LOVE Cinematic Music and always with!!!!!!!!
My Amazingly Brilliant Classical Guitarist Father and the great Soundtrack Composer of my youth, John Williams made this Rock/Pop/Classical Instrumental Guitarist and Rock/R&B/Pop Vocalist and Songwriter into a fan of phenomenally great music!!!!!!!!
Cooles Video, vielen Dank!
Only just discovered your channel - your videos are so informative - thank you. Hope your move goes well.
A lot of my favorite electronic music is just complex remixes of old songs like twinkle twinkle little star. You would not realize it at first unless you break it down into these simple structures.
This was great. ❤❤
Whats that vst or preset at 10:00 that choir in the background
I love these examples.. and if you studied classical music theory you must already know that the "D major" triad is NOT spelled "D Gb A" I see this all over U2B.. It's "D F# A" D can't be dominant, if there's a Gb as a leading tone to G.. when F# is the leading tone to G (G Major key), This understand is extremely important if you want to employ tools like "modal exchange" , pivot modulations, substitution chords, "negative harmony".. without a solid understanding of music theory, you can only find these progressions by accident rather than intentional.
Unfortunately the program that I (and most other creators) use to display on-screen MIDI notes in real-time doesn’t seem to have options to set the key and therefore doesn’t show b and # dependent on context.
Amazing video. Very inspiring. Do you think it's too late to get into composing at 23? Music production feels like this dream that I've only discovered later in life, previously struggling to find something that I would truly like. But there are all these people that started as kids and spend years and years learning, and it feels unachievable now. Also when you're an introverted person, and from what I understand one of the most important things is contacts and acquaintances - which is very challenging when you're introverted and anxious. Do you think that it's setting yourself an impossible task to accomplish?
23 is not too late 🔥
Danke - sehr hiflreich! Guten Rutsch nach 2025
Thank you Kevin!
Incredible! Thanks for that I learned a lot. Have you ever tried the Dorian '4 in any progression? It would be awesome to hear your thoughts on that. Best Regards
Can someone explain the reason to me why some musicians purposely refer to something like Am - G as i - VII when it's actually i - bVII? What could the possible advantage be of labeling it that way?
Good question
This was a common question when i taught AP music theory. In a minor key, the 7th scale degree is lowered (or flat), and the chord on that scale degree is major. So when it is shown as VII, it is assumed to be a major chord on the lowered (or flat) 7th scale degree. If lowercase numerals are used (vii), it is assumed the 7th scale degree is not lowered, and the chord on that degree is diminished.
If a minor is i, then G major would be VII because the key of a minor has a G natural instead of its G# in A major so the idea of flat 7, or G natural is already accounted for with VII. Hope that makes sense. Easier to show on a staff!
your story and progress is very impressive and inspiring. I remember you mentioned in one of your videos that you studied/worked medicine before switch to music production and compposing within a few years. I'm wondering did you have musical background or did you play piano or any instrument before you switch and when you switched did you learn an instrument or just learned enough to be able to produce?
Thanks! I've been playing keyboard/piano since childhood.
Okay first of all this is amazing! Second of all i need to know what that vocal bending sound is at 09:59 it sounds amazing!
@@kayamusic5696 Just a vocal patch from Elements Kepler (plus Blackhole reverb maybe). The bend is simply pitch bend wheel :)
@@KevinKuschel Amazing creativity with that pitch bend, fits perfectly.
There are at least 2 instances where you are showing the iv chord as V/VII chord. Can you explain why?
Because if the D resolved back down G it would be a secondary dominant. But it doesn’t resolve so I would just say that it was a IV chord. He did that for some other patterns so I am not sure why he didn’t this time. It is an unnecessary complication, I think.
In pattern #3 is D-major really a V/VII, or is it a mistake??
heyy where can I find this shirt
how come #3 considered to be in dorian mode when it could be ii-vi-I-V in G major?
2 1:43, it she’s F as VI. Shouldn’t it be IV?
Yes, sorry!
Im new here. Can you make orchestral NF type beat tutorial pleaseeee?🙏🙏🙏
5:39 A Forest
I'm an acoustic guitar singer songwriter and I watch videos like these for many of the same reasons as a composer. Just an FYI that I and perhaps others exist
What DAW are you using?
Studio One
Kevins orchestral recipes when
Funny, I've never used any of these. I thought at least one or two of mine would be here.
Helpful video / well presented, but a quick clarification . .
What you are calling the first inversion (e.g., C E G) is the "root position"; the first inversion would be E G C; the second inversion would be G C E
Onward!
Yes C-E-G (the triad) is the root position, E-G-C first inversion, G-C-E second inversion.
🔥🔥
2:15 not could it is
i - v - VII - V/VII - you say that this would be Am Em G D, but wouldn't it be Am Em G E/G? Am Em G D would be i - v - VII - IV.
These chord progressions look deadly platitudinous, but maybe that’s the whole point of this industry: replacing true music and true images by symbols.
❤❤❤
Stop teaching simpletons how to be simpler.
Totally stolen. Thanks Kevin ;)
Camp
Gelispeltes ingliß macht mich echt fertig, 😂😂. Sisse isse se good fideo
who is first not use same patterns. lets make own LOL
Good luck trying.
Coming up with new stuff is literally what composing is...
Attaching labels like ' hopeful' and 'lonely' to a chord sequence is utter nonsense. Steal these all yuou want. It won't make your music any better. Be inventive ! Take risks !
We describe human emotions through common language. The question becomes, is there consensus with a wider body of work in this field in this case?
Then you're unaware of how these progressions are used and perceived by most listeners. The sociomusical context in which these progressions are heard has an impact on how they're perceived, and it's context that impacts how a song feels emotionally. These labels are not applied willy nilly and without literal decades of theory understanding their function and role in the west.
Learning what has gone before enables you to later take risks as you suggest.
Having accessed the literature on music and emotion for my PhD, I can say that there is truth here. However, these particular descriptors might be expressed with reference to the literature they emerged from. But, the creator is setting a level for a general audience who might not be heavilyinto music theory.
@@SD-ff1je I hope you didn't think I was replying to you, TH-cam is very deceiving when it comes to replies in comments and it's difficult to tell who is talking to whom. I agree with you wholly, and while music has no objective emotion to it, it is subjectively experienced depending on context and usage.
@duxoakende Have a happy New Year. I have written out all you show. I know that you will impact on my musical life and I thank you greatly for that.
Thank you.
Are you really explaining what a key is?