I have a master in composition but this offers a fresh and simpler perspective of looking at this topic. How would go go beyond the two chord loop by following this principle? Thanks for your content.
Thank you! I've found that two strategies tend to work best. My favorite is to work mostly with diatonic harmonies, but borrow from an appropriate mode (as necessary) whenever I want a specific CR's sound. In my experience this tends to be most effectivr at the beginning or end of a phrase. The second deals with non-functional harmony. You basically pick two or three CR's you want to work with and figure out an effective chain that departs from and arrives back to the same chord. This strategy is a little more complicated but can be really fun if you're looking for more of an "academic" exercise, sort of like a musical puzzle.
This is gold, man. I couldn't understand when i was in a theory class but i watched this and it just clicked! Keep making videos, you're better than any teacher I've had.
Hi everyone, thank you for your kind and supportive comments! My website is currently down as I work on updating it :) please bear with me, and it will be back up in a week or two!
This is exactly what I was thinking about recently. When a tutor brings up the topic of emotions in music usually he would discuss the chords themselves separately from the context which doesn't help much. It is somehow useful when we are talking about harmonizing with seventh chords (and their extensions and alterations) or modal chords but when it comes to more classical approach the triad itself doesn't have much on its own without a context within conjunction with other chords. The perfect example is Mario cadence. It's built up of three same chords but they have a specific relation to the tonic and it has very victorious and uplifting fill. I still think the best use of it was in the Universal Pictures intro. Epochal. Thank you very much for sharing.
This is the most brilliant man on the Internet with respect to music. Nowhere have I ever seen so many likes, and zero or 1 dislike. Nowhere. This gentleman is more. He should serve as a model of how any instructional video on TH-cam, in any topic in the world, should be recorded. He is a teachers teacher.
this is a standout, straight into the main key of composing music by giving the most important element of a song: emotions.. I've not ever or would never find any tutorial like yours. This is a secret to me. Thanks for your sharing. Amazing.
You're a lifesaver, mate. I'm at the point where I understand the ideas behind chord function (in terms of basic Tonic and Dominant chord stuff), but trying to wrap my head around the subjective aspect is something I need to hone my ear on.
I'm an "eh" musician. Dusting some rust off to compose stingers and score for my Cyberpunk/Lovecraftian Horror "radioplay" channel. Your channel and site are great as a cheat sheet so far.
man, this channel is such a blessing, I'm fairly new to Music Theory and just by diving into your videos I learned a lot. Hope you get the attention you deserve
This channel is very helpful. You pick the right topics for me. I find this way of looking at chord progressions much better than functional harmony (although it is essential to know functional harmony). My personal favorites are chord progressions with major (4 half steps) or minor (3 half steps) third intervalls. No matter if up or down, major or minor - find the common tones and link them.
Thanks, I was looking for a chart like this for quite some time. Now I can actually write music I want to instead of randomly smashing the keyboard and trying to work with whatever comes out. Althuogh I would love if you covered more chord types like suspended or 7ths
I am going to say, I am happy, I’m glad, i am speechless that your channel exists. It is like everything I wanted but couldn’t find anywhere. Thank you for making this and these videos. Subscribed with the bell on for mortifications. Thank You!
Your channel is great! Thank you for taking the time out to create these resources that make it easy to understand complex music stuff. Much love to you and your family.
I might do an update video eventually on strategies for using this type of theory in your compositions (I'm reading a book on it at the moment). However, as for why the Intervals have these impacts, it's because they've been used like this for centuries (ever since the early days of opera) and composers just kept copying each other until the emotions became almost inbred to the sound itself. Now we've heard these chord relationships in so many different situations that we just associate them with their most common emotions :)
@@dylanduke1075 exactly! It's technically an application of something called neo-remannian theory. The idea is that the associations we have with certain chords, and the harmonic relationships between the chords themselves have just as much ability to organize your harmonic choices as a tonal center does. In other words, such strong relationships can be used to give your music structure instead of traditional diatonic harmony :)
I love this, the only thing I'd like to know is how can you extend the chord progression? all of these are 2 chords but if you'd like to extend it to 3,4 or whatever would you still use the root or would you use the second chord as the new root?
This is a great question, thank you for your patience! I actually had a similar conversation with one of my patrons not too long ago. To answer your question, there are two simple and effective strategies you can use. The first (and arguably most effective) is to simply write in a specific key and borrow from a parallel mode if you want to use a specific CR that goes outside of the key. This allows your to remain within the bounds of functional harmony. The Second is to ditch all sense of functional harmony and pick two-three Car's you like and mix and match them to create a chord progression of your own choosing. Does this help?
@@TableTopComposer Hi, I tried both methods and I think the first one works best for me. What's interesting about the second one is that you could create like a journey 2 CRs at the time, going further and further just to come back home at the end. Thanks for your answer!
@@TableTopComposer I have been pondering this very question for quite a while now and low and behold you have just given the answer I have been longing for - Thank you so much!
Quick question. For mysterious and tense (miim/mVIIm/mVIM/Miiim) Is this all one progression? And if not is it just 4 separate chord intervals that give that emotion on their own? And if you intended to play all 8 chords in one progression and I chose Amin to begin with does that mean after the slash would m always be Amin or would m be any diatonic minor chord in the key? Or if meant to play as one progression would I just pick any random minor chord regardless of it being all in same key? Most likely I'm assuming it's not a whole progression but 4 seperate chord intervals that can give off that same emotion. Please clarify
Hey, been falling down the proverbial rabbit hole on this subject for a while now since I first came across this video about two years ago. I'm curious if the codification you set out is something you decided to put together or if there was source material you referenced that specifically uses the formulaic approach to codifying emotions in music? Im having trouble finding material on this subject outside of using neo riemannian transformations or just moving in chromatic mediants that are specifically a third apart from the root. Any help on source material would be awesome especially if it relates to how you set out the relationships. Cheers!
Good question! Typically you'd want to count up, but that's not a hard rule. You can count however you like, so long as you feel it's still giving you the emotional impact you're looking for :)
Hey! This is a really nice and useful video. I have one big question tho - What's so special about Bitter Sweet music? I mean it is special, just what makes it sound unique? There are many examples for Bitter Sweet music, but a lot of times it is partially due to the views and pictures we see that is accompanied by the music. But what about music which does not have anything such to accompany it? I have been trying to understand this hidden feeling, this secret recipe to it. If you wanna know what I am talking about, try listening to Daft Punk's Touch and its legendary Piano passage. Will be looking out for an answer! Cheers.
Wow, this is a fantastic question! To answer it, I'd say that "bitter sweet music" is special because we, as humans, MAKE it special! There's nothing about the specific chords used or rhythms written that GIVE music emotion. At least, not in the sense of "We can explain this with physics!" There's nothing that occurs naturally within music to give it any kind of emotion. However, what we DO have is hundreds of years of tradition with western music being associated with stories. Somewhere along the line, someone decided to pair a minor chord with a sad moment in their opera/play/story/whatever, then someone else decided they liked the effect it had and did the same. Since learning is largely a process of imitating what we observe around us, it just eventually came to be accepted that "minor chords are sad" simply because it's been done so many times! The same rings true for all other emotions. We hear them in music, because we've all been exposed to this incredibly rich and time honored tradition. This impact has grown exponentially (in my opinion) over the last 100 years, since massive explosion of how fast and and widely available technology has become. So to answer your question, I'd say that bitter sweet music is typically "bitter sweet" BECAUSE it has been associated with those types of images so frequently! Also because it can take musical gestures/ideas typically associate with either sad or happy music and mix them together. To figure out exactly what kind traits you like to hear mixed, however, will require listening to and imitating pieces that you enjoy. Does that answer your question?
@@TableTopComposer It does in a way. I did think of such before asking you this, and I do agree that a lot in how we perceive music comes down to our traditions and continuous exposure. As I was reading your answer, I could not have not noticed you putting an emphasis on "western" music. It is rightfully so that in modern sense majority of music is written in the Western musical tradition and that did make me think how come I have not ran into or heard of Bitter Sweet music that was "foreign" in a sense, such as Japanese Bitter Sweet music. To be honest, I don't have a big luggage of knowledge about Sino-Japanese music, or even if there's such Bitter Sweet feeling in their tradition. Anyways, to get back to the original question - I'd say that to addition to what you've said, there's a big factor of musical context and large scale switch in the mood, not only in the chord progressions, but also in the "horizon over the landscape" kind of sense. I'm happy that you've enjoyed this question, and frankly speaking I would like to learn some more, so if anytime in the future you're out of the ideas and are willing to prepare a tutorial for this - boy would it require everyone to have lived through something in common :) , I will be on a lookout for it. Cheers for the answer!
Welcome! If you want to learn more about how to apply this video to your music, I recommend checking out my videos on intervals and emotion, and diatonic chords of the major scale. Both should help you understand the theory more, and be more useful than a couple of screen shots :)
Both the text and the tables on your website art images, So as a visually impaired person I could not read then…… That said, this is pretty useful information, please keep making videos like this, with stuff that is really useful… Thanks… Also, sorry for the broken English
Thanks! Sorry about the website, it was the only way I could figure out how to set it up. There should be a link at the top of each resource, however, that lets you download it from google docs as an actual document :)
@@TableTopComposer ❤❤❤❤❤❤thank you so much sir you are really the great teacher I have ever seen sir you levels upped my music knowledge lot ❤❤❤❤❤❤❤❤❤❤
Unfortunately not. I made this video after watching a few others that inspired me to take the time to actually map out every CR myself. Let me know if you find anything though!
I'd be glad if you put free books about creating your own riffs for rock songs on your website. If you also found a book related to music production without real instruments or midi using instruments inside the Daw or any Daw-like programs, I'd be so glad if you put it out on website
Music experts always seem leery about assigning specific emotions to different chords and chord relationships and they are always stressing that it’s really subjective. And I think that’s kinda bullshit. Like literally every other piece of art in this world, music is derivative and it relies on musical tropes and memes to create a mood or emotion that is familiar to us listeners. Over the millennia, our brains have been deeply ingrained with these tropes and it’s what we like to hear and it’s also what our ears use to tell us how we should feel when listening to the song. Perhaps when music was first discovered however many eons ago, the emotions of certain chords and scales were certainly subjective, but over time, the emotions associated with certain chords became so ingrained in us that it now just feels natural. GOOD musicians know this and know how to stir up certain emotions with choices of chords. For example, is there anyone out there who would listen to “Yesterday” by the Beatles and think it sounded like anything other than wistful and melancholy? No. Would anyone listen to “Head Over Heels” by the Go Go’s and interpret it as being a solemn and sad song? Hell no. Rhythm, time signature and chords all come together to evoke a standard set of certain emotions and that’s just the way it is. I don’t know why music experts are so against this idea. Perhaps because it makes them realize that creating music is not so much about truly original ideas but taking existing ideas and putting them together in your own configuration? That doesn’t take away from the mystique of music and songwriting. Embracing this fact makes it better and actually allows you to be MORE creative.
Nice video. Honestly, it would not take that long to make a video where you roll through all those combos real quick. Just play them quicker without such a long pause. Also, throw the disclaimers away. If someone needs a disclaimer to know that a person's opinion is their opinion, then that's their issue, not yours.
I have a master in composition but this offers a fresh and simpler perspective of looking at this topic. How would go go beyond the two chord loop by following this principle? Thanks for your content.
Thank you!
I've found that two strategies tend to work best. My favorite is to work mostly with diatonic harmonies, but borrow from an appropriate mode (as necessary) whenever I want a specific CR's sound. In my experience this tends to be most effectivr at the beginning or end of a phrase.
The second deals with non-functional harmony. You basically pick two or three CR's you want to work with and figure out an effective chain that departs from and arrives back to the same chord. This strategy is a little more complicated but can be really fun if you're looking for more of an "academic" exercise, sort of like a musical puzzle.
Can you explain it a bit clearer than he did then?
This is gold, man. I couldn't understand when i was in a theory class but i watched this and it just clicked! Keep making videos, you're better than any teacher I've had.
Lovely comment! About to watch the video 😂👍
As a composer that struggles to understand the emotions that two chords give, this was very very helpful. A thousand thanks your ways!
I'm glad you found it helpful, Deagle. Thanks for the support :)
5:20 Am Dm
5:33 Em Fm
5:47 E F
6:01 Am D
thank you so much bro
Hi everyone, thank you for your kind and supportive comments! My website is currently down as I work on updating it :) please bear with me, and it will be back up in a week or two!
Hi your videos are beautiful and so helpful. Since your website is down, would it be possible to get the above charts and notes some other way?
I'll be waiting for the chat also. It looks very interesting.
Thank you! You can find the PDF here :)
drive.google.com/file/d/1ToFRyjo07vWVYsDOJsrjiRtBN0CzbWKi/view?usp=drivesdk
@@TableTopComposer Thank you so much!! ❤️
@@TableTopComposer Thank you!!!
Not personally what I was searching for, but EXACTLY what I needed. Thanks.
This is exactly what I was thinking about recently. When a tutor brings up the topic of emotions in music usually he would discuss the chords themselves separately from the context which doesn't help much.
It is somehow useful when we are talking about harmonizing with seventh chords (and their extensions and alterations) or modal chords but when it comes to more classical approach the triad itself doesn't have much on its own without a context within conjunction with other chords. The perfect example is Mario cadence. It's built up of three same chords but they have a specific relation to the tonic and it has very victorious and uplifting fill. I still think the best use of it was in the Universal Pictures intro. Epochal.
Thank you very much for sharing.
Dude. I am not kidding. You are the best resource for a composer. I am going to become a patreon to support you as well when things get straight.
This is the most brilliant man on the Internet with respect to music. Nowhere have I ever seen so many likes, and zero or 1 dislike. Nowhere. This gentleman is more. He should serve as a model of how any instructional video on TH-cam, in any topic in the world, should be recorded. He is a teachers teacher.
FINALLY. I've been trying to ask people "but I can't emote my chords properly" for ages and had no way to ask the right question. Thank you.
this is a standout, straight into the main key of composing music by giving the most important element of a song: emotions.. I've not ever or would never find any tutorial like yours. This is a secret to me. Thanks for your sharing. Amazing.
You're a lifesaver, mate.
I'm at the point where I understand the ideas behind chord function (in terms of basic Tonic and Dominant chord stuff), but trying to wrap my head around the subjective aspect is something I need to hone my ear on.
Bro thank you for existing, this content is phenomenal
I'm an "eh" musician. Dusting some rust off to compose stingers and score for my Cyberpunk/Lovecraftian Horror "radioplay" channel. Your channel and site are great as a cheat sheet so far.
Thanks
man, this channel is such a blessing, I'm fairly new to Music Theory and just by diving into your videos I learned a lot. Hope you get the attention you deserve
I don't know how I just found your channel, but I'm so glad I did!
Your channel is a goldmine, so glad I found it. Thanks!
Thanks for the guide document!!
You earned my like and subscription. Its clear and concise. Super useful in understanding chord progressions.
thanks for the chart. really appreciate it.
GOLDMINE !! THANKS SO MUCH FOR IT ALL AND FOR THE WEBSITE .Awesome work
Thank you so very much. 6 min 58 sec is liken to a semester. Thank you.
Super refreshing and helpful video! thanks for this man
This channel is very helpful. You pick the right topics for me. I find this way of looking at chord progressions much better than functional harmony (although it is essential to know functional harmony). My personal favorites are chord progressions with major (4 half steps) or minor (3 half steps) third intervalls. No matter if up or down, major or minor - find the common tones and link them.
Very clear and informative, thanks
Great video! My favorite is probably M IV m, it sounds very bittersweet to me
thank you for the charts and notes! -new supporter
💕💕💕Thank you sm for this!!
great vid.. the subject of emotion in music is a very interesting to me, hope you will make more videos about this subject in the future.
Thanks, I was looking for a chart like this for quite some time. Now I can actually write music I want to instead of randomly smashing the keyboard and trying to work with whatever comes out. Althuogh I would love if you covered more chord types like suspended or 7ths
I cover them in my Playlist on harmony :)
I am going to say, I am happy, I’m glad, i am speechless that your channel exists. It is like everything I wanted but couldn’t find anywhere. Thank you for making this and these videos. Subscribed with the bell on for mortifications. Thank You!
I'm so glad it's helpful :) thanks for the support!
Thank you for a great video!
Thank you so much best content for any song writer to have an understanding of!
This is very helpfull. Thank you very much for this video.
Thanks Buddy for Sharing the knowledge
Looking for more content.
How about “analysis or breakdown of some popular song and it’s chord progression “ ?
This is exactly what I’ve been looking for! Thank you 👍🏼 Are there any other videos that you can recommend I watch on this topic?
So much helpfull!!!! thanks man
Your channel is great! Thank you for taking the time out to create these resources that make it easy to understand complex music stuff. Much love to you and your family.
Great lesson!
Great video, easy to follow. Appreciate the knowledge!
What an amazing resource, thanks
Very useful! I am studying songwriting, and it can be applied very easily. Thank you man! you definitely deserve more subs.
Best Ever Music Theory Video🔥❤️👍
Thanks 😊
This video is SUPER interesting & informative! Well done 👍🏼
Thank you for this!!
This is so helpful!!!
Is there any chance you could do a whole series on these and maybe even go abit more in-depth as to “why” the intervals have the effect they do??
I might do an update video eventually on strategies for using this type of theory in your compositions (I'm reading a book on it at the moment). However, as for why the Intervals have these impacts, it's because they've been used like this for centuries (ever since the early days of opera) and composers just kept copying each other until the emotions became almost inbred to the sound itself. Now we've heard these chord relationships in so many different situations that we just associate them with their most common emotions :)
@@TableTopComposer ahhh I see. So it’s actually emotion via association rather than inherent quality in the transitions themselves! Thanks
@@dylanduke1075 exactly! It's technically an application of something called neo-remannian theory. The idea is that the associations we have with certain chords, and the harmonic relationships between the chords themselves have just as much ability to organize your harmonic choices as a tonal center does. In other words, such strong relationships can be used to give your music structure instead of traditional diatonic harmony :)
I love this, the only thing I'd like to know is how can you extend the chord progression? all of these are 2 chords but if you'd like to extend it to 3,4 or whatever would you still use the root or would you use the second chord as the new root?
This is a great question, thank you for your patience! I actually had a similar conversation with one of my patrons not too long ago. To answer your question, there are two simple and effective strategies you can use.
The first (and arguably most effective) is to simply write in a specific key and borrow from a parallel mode if you want to use a specific CR that goes outside of the key. This allows your to remain within the bounds of functional harmony.
The Second is to ditch all sense of functional harmony and pick two-three Car's you like and mix and match them to create a chord progression of your own choosing.
Does this help?
@@TableTopComposer Hi, I tried both methods and I think the first one works best for me. What's interesting about the second one is that you could create like a journey 2 CRs at the time, going further and further just to come back home at the end. Thanks for your answer!
@@TableTopComposer I have been pondering this very question for quite a while now and low and behold you have just given the answer I have been longing for - Thank you so much!
Quick question. For mysterious and tense (miim/mVIIm/mVIM/Miiim)
Is this all one progression? And if not is it just 4 separate chord intervals that give that emotion on their own?
And if you intended to play all 8 chords in one progression and I chose Amin to begin with does that mean after the slash would m always be Amin or would m be any diatonic minor chord in the key? Or if meant to play as one progression would I just pick any random minor chord regardless of it being all in same key?
Most likely I'm assuming it's not a whole progression but 4 seperate chord intervals that can give off that same emotion.
Please clarify
i - IV is GOATED
Wanna thank you for sharing this knowledge. Really preciate it.
My pleasure! I always love to hear when people find my videos useful :)
Thank you so much
Hey, been falling down the proverbial rabbit hole on this subject for a while now since I first came across this video about two years ago. I'm curious if the codification you set out is something you decided to put together or if there was source material you referenced that specifically uses the formulaic approach to codifying emotions in music?
Im having trouble finding material on this subject outside of using neo riemannian transformations or just moving in chromatic mediants that are specifically a third apart from the root.
Any help on source material would be awesome especially if it relates to how you set out the relationships.
Cheers!
How would you describe aufmented and diminished chords
ty bro pls continue hese tutorials
thank you ♥️
thanx for the vid. But where do I find the notes?
Very helpful, thanks! Sadly the link doesn't work anymore :/
drive.google.com/file/d/1ToFRyjo07vWVYsDOJsrjiRtBN0CzbWKi/view
So great! Thank you! I couldn't find the charts when I went to the link above.
Dude you are a BEAST. Where did you learn all this stuff? Thanks!
6:02 I swear they use this one like 100000 times in every marvel film
you're 100% correct, the major IV chord in minor is incredibly common in superhero themes in general
Do you alwasy count the steps upwords for example if i go from c major to a minor in a down motion is it 9 semitones up or 3 semitones down?
Good question! Typically you'd want to count up, but that's not a hard rule. You can count however you like, so long as you feel it's still giving you the emotional impact you're looking for :)
I feel like the composer of the haunting of hill house leaned heavy on this!
love the video
Hey! This is a really nice and useful video. I have one big question tho - What's so special about Bitter Sweet music? I mean it is special, just what makes it sound unique? There are many examples for Bitter Sweet music, but a lot of times it is partially due to the views and pictures we see that is accompanied by the music. But what about music which does not have anything such to accompany it? I have been trying to understand this hidden feeling, this secret recipe to it. If you wanna know what I am talking about, try listening to Daft Punk's Touch and its legendary Piano passage. Will be looking out for an answer! Cheers.
Wow, this is a fantastic question! To answer it, I'd say that "bitter sweet music" is special because we, as humans, MAKE it special! There's nothing about the specific chords used or rhythms written that GIVE music emotion. At least, not in the sense of "We can explain this with physics!" There's nothing that occurs naturally within music to give it any kind of emotion. However, what we DO have is hundreds of years of tradition with western music being associated with stories. Somewhere along the line, someone decided to pair a minor chord with a sad moment in their opera/play/story/whatever, then someone else decided they liked the effect it had and did the same. Since learning is largely a process of imitating what we observe around us, it just eventually came to be accepted that "minor chords are sad" simply because it's been done so many times! The same rings true for all other emotions. We hear them in music, because we've all been exposed to this incredibly rich and time honored tradition. This impact has grown exponentially (in my opinion) over the last 100 years, since massive explosion of how fast and and widely available technology has become. So to answer your question, I'd say that bitter sweet music is typically "bitter sweet" BECAUSE it has been associated with those types of images so frequently! Also because it can take musical gestures/ideas typically associate with either sad or happy music and mix them together. To figure out exactly what kind traits you like to hear mixed, however, will require listening to and imitating pieces that you enjoy.
Does that answer your question?
@@TableTopComposer It does in a way. I did think of such before asking you this, and I do agree that a lot in how we perceive music comes down to our traditions and continuous exposure. As I was reading your answer, I could not have not noticed you putting an emphasis on "western" music. It is rightfully so that in modern sense majority of music is written in the Western musical tradition and that did make me think how come I have not ran into or heard of Bitter Sweet music that was "foreign" in a sense, such as Japanese Bitter Sweet music. To be honest, I don't have a big luggage of knowledge about Sino-Japanese music, or even if there's such Bitter Sweet feeling in their tradition. Anyways, to get back to the original question - I'd say that to addition to what you've said, there's a big factor of musical context and large scale switch in the mood, not only in the chord progressions, but also in the "horizon over the landscape" kind of sense. I'm happy that you've enjoyed this question, and frankly speaking I would like to learn some more, so if anytime in the future you're out of the ideas and are willing to prepare a tutorial for this - boy would it require everyone to have lived through something in common :) , I will be on a lookout for it. Cheers for the answer!
THANK YOU! :)
your website doesnt exist anymore :( are the free resources available elsewhere?
Sorry about that! I'm updating the website. It'll be up again in a week or two :)
i am new, please explain CRs with DAW ( 2 or 3 exmple) or reply with screen shot please, u great, thank you,
Welcome! If you want to learn more about how to apply this video to your music, I recommend checking out my videos on intervals and emotion, and diatonic chords of the major scale. Both should help you understand the theory more, and be more useful than a couple of screen shots :)
Both the text and the tables on your website art images, So as a visually impaired person I could not read then…… That said, this is pretty useful information, please keep making videos like this, with stuff that is really useful… Thanks… Also, sorry for the broken English
Thanks! Sorry about the website, it was the only way I could figure out how to set it up. There should be a link at the top of each resource, however, that lets you download it from google docs as an actual document :)
But for example C to Cm, what kind of Emotion is it?😅
Stellar
I have one doubt sir i know that m IV m = Am Dm , but m IV + m = ? What is + means hear pls explain sir.
+ means "augmented" so an IV+ would be an "augmented 4th" or "tritone"
@@TableTopComposer ❤❤❤❤❤❤thank you so much sir you are really the great teacher I have ever seen sir you levels upped my music knowledge lot ❤❤❤❤❤❤❤❤❤❤
@@hiphoprajeshlifeksr220 thank you so very much! It makes me very happy to help :)
sooooooo goooooood
This is awesome thank you so much for this! Do you know anywhere i can do further reading on this?
Unfortunately not. I made this video after watching a few others that inspired me to take the time to actually map out every CR myself. Let me know if you find anything though!
la pagina del link, acaba de expirar, podria refrescarla porfavor
drive.google.com/file/d/1ToFRyjo07vWVYsDOJsrjiRtBN0CzbWKi/view
I'd be glad if you put free books about creating your own riffs for rock songs on your website. If you also found a book related to music production without real instruments or midi using instruments inside the Daw or any Daw-like programs, I'd be so glad if you put it out on website
Another banger
FKA twigs’ Fallen Alien starts with the M ii M I believe? and she’s enchanting af lol :)
th-cam.com/video/hky6cifwWyo/w-d-xo.html
That was awesome! I love listening to new music. Thanks for sharing :)
great
Damn, link is expired. :(
Thank u none the less for the video
drive.google.com/file/d/1ToFRyjo07vWVYsDOJsrjiRtBN0CzbWKi/view
Why tf don't you have at least a hundred thousand subscribers?
Music experts always seem leery about assigning specific emotions to different chords and chord relationships and they are always stressing that it’s really subjective. And I think that’s kinda bullshit.
Like literally every other piece of art in this world, music is derivative and it relies on musical tropes and memes to create a mood or emotion that is familiar to us listeners. Over the millennia, our brains have been deeply ingrained with these tropes and it’s what we like to hear and it’s also what our ears use to tell us how we should feel when listening to the song.
Perhaps when music was first discovered however many eons ago, the emotions of certain chords and scales were certainly subjective, but over time, the emotions associated with certain chords became so ingrained in us that it now just feels natural. GOOD musicians know this and know how to stir up certain emotions with choices of chords.
For example, is there anyone out there who would listen to “Yesterday” by the Beatles and think it sounded like anything other than wistful and melancholy? No.
Would anyone listen to “Head Over Heels” by the Go Go’s and interpret it as being a solemn and sad song? Hell no.
Rhythm, time signature and chords all come together to evoke a standard set of certain emotions and that’s just the way it is. I don’t know why music experts are so against this idea. Perhaps because it makes them realize that creating music is not so much about truly original ideas but taking existing ideas and putting them together in your own configuration?
That doesn’t take away from the mystique of music and songwriting. Embracing this fact makes it better and actually allows you to be MORE creative.
This sounds like Michael Giacchino's Lost music lol
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Nice video. Honestly, it would not take that long to make a video where you roll through all those combos real quick. Just play them quicker without such a long pause. Also, throw the disclaimers away. If someone needs a disclaimer to know that a person's opinion is their opinion, then that's their issue, not yours.
CR isn’t a thing
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