I would say that the emotion conveyed by a chord depends on what chord proceeds and follows it. Context is everything. Another thing to consider is what the bass is playing over your chord. If the Bass is playing Bb or F over the Cadd9 it will totally change how that chord is perceived.
I scrolled down to wrote this exact thing. I also dont think its useful to explain the emotion in terms of verbal language. Its better to have a memory of the emotion not of the words for it
I think the best songwriters are masters at this. Some of them write chords like a native language. When I notice a songwriter casually matching chords with the perfect word or thought, it always impresses me in the most satisfying way.
OH My Fkin God. WHY is there not more on this!? I've been looking for videos on this exact topic for ages, no idea how I must have missed your video on this before as it's over 3 years old. All this nerding out over theory becomes completely pointless in my opinion, ESPECIALLY when they can't relate it to emotion - which is the whole point in the first place.
It’s a funny thing, the add9. It makes major chords more happy and minor chords more sad, I think. This whole subject of music and emotion could fuel several PhDs, but it’s so intangible and subjective. You did a great job, Tommaso, of putting that across.
I think the reason it makes the major chord sound happier/brighter is that it implies the whole tone scale. (And the whole tone scale includes the augmented fourth). For this reason it also sounds more nuanced/mysterious than a regular major chord to me.
@@commentfreely5443 because there is also interval relationships between each chord and the melody amplifies it with its own intervals. A chord alone has some emotions but we must sing over it to clarify the context
I find this to be therapy watching this. I study psychology/sociology in my spare time to process the world, and I also play guitar(terribly). I have written maybe a handful of my own songs in a decade. This is going to make things much easier.
I'm addicted to your channel bruh. I don't even care if I know the topic you're talking about, your whole vibe is very soothing and dope to me :) respect
Chords feel different in different keys, on different instruments, in different tunings, and with different vocalists... I'd be asking "how does an E Major chord feel when the song is in G major?" And in that case, the answer differs depending on what the NEXT chord is. My chord book would be a series of huge spider diagrams that would get unruly rather fast :D That Cadd9 sounded mellow because of the way you guys strummed it. If you'd stabbed the guitar, it would've been rather sharp. Everything depends on context.
I've been thinking this the entire video! He's mentioned this many times in other videos, but kind of lacked mention here. In music, context is everything.
A tone in a vacuum will have no emotion. A chord to some degree will supply it's own context in a vacuum, because it is made of intervals. I think you could think of a chord like a person or a character and ask, "What is this person's natural disposition?" The next step is to ask, "How would this person respond in this situation?"
I researched this subject a little bit in grad school, and I was interested to learn about how much of our understanding of meaning comes from our embodied experiences. If you're continuing to struggle with this, one thing I would suggest is to pay attention to your body and really pay attention to how it 'feels'. Try not to make it an intellectual exercise; your first instinct is probably going to be shared by at least one other person, unless you're an alien or a robot. I also find that compounding emotions for complex chord voicings works for me. My personal reaction to the isolated Cadd9 was "happy, surprised". (And I think it's clear that this comes from the stability of the triad + the uncertainty of the suspension).
I think the emotion of a chord depends also on how you play it as much as the notes in it. e.g. a Cadd9 strummed aggressively with staccato might feel like a rush of happiness while the same chord being played slow and free may feel like a more relaxed kind of happy. I love thinking about this stuff and your channel is such a goldmine of knowledge! Bula from Fiji 🇫🇯
Instead of asking them how it makes them feel, I'll ask my students to close their eyes and tell me what the chord makes them think about or picture.. I'll also play something and ask; If you heard this music in a movie, what would be happening? This is a lot of fun to do with younger kids.. Adults can sometimes be a little too reserved to play along
This is the first time I ever came across your channel and the words spoken would never be forgotten. It's so much more meaningful to create a progression based on writers' emotion
Another thing that might be helpful in pinning down those emotions is to make a rough estimate first for each chord. This way, you will end up with GROUPS of chords: happy, sad, melancholic, strange, mysterious, dark, etc. THEN you take chords from one particular group IN PAIRS and compare them with each other, trying to figure out what's the most important thing that DIFFERS them. This way each of the groups will split into SUBGROUPS, each with more revised emotions, more detailed, more particular. Then you do the same inside those subgroups to make them even more refined. This way it's easier to pin down those emotions, because once you have two chords that have very similar feel, it's easier to pin down that one particular thing that differs them, because now it's the only variable in the equation. It's much harder to do when you have two dissimilar chords, because then they contain a whole lot of emotions and there's too many variables to consider, and that's why it is harder to tell the emotion in detail.
I think I'm going to show this video to some friends, but then I'm going to recommend that instead of trying to analyze the chord in a vacuum, such as BbMaj7 for example, they first establish a tonic such as A Major. After playing A for a bit and getting a feel for it, THEN play BbMaj7, but write it in their book as bIIMaj7. Then repeat the process using Am as their tonic.
Saw 11 minutes and thought I was gonna have to really focus but the concise while thought provoking format of the video made it seem like it was a 4 minute video taht I did while just listening along. Much appreciated for the stellar breakdown!
This is such an important video. Every note, chord, and vowel if you're a singer has a purpose/meaning (especially in Faure's work). Thank you for this! As a singer, I love to feel the emotions of harmonic structure to make the overall character of the aria more expressive. Analyzing the music (not just the melody, but the instrumental) is so important to understanding the expression and character. Investigating the harmonic progression helps me understand exactly how the character develops throughout the aria. Therefore, I can communicate better to the audience.
Emotions are the only way for me to evaluate what I do musically. It's basically what I feel, if I have an emotional journey throughout the song, if emotions are consistent. Music is all about emotions. There is no other way for me. Of course music is mathematically structured, but that's the way we humans describe and systematise things and musical theory is describing science, not prescribing. So in the end what for it is all if not for emotions :)
An emotional chord book - what a great idea! I think that adding the spiritual, emotional element to playing is the whole point of why we love to play music. Thank you.
Whenever I hear Cadd9, if feels like I am walking on the street late at night. Feeling the cold air that blows on my skin that makes me shiver. I dont kinda understand what emotion it is but that feeling of being alone and contented. It feels like I am independent, chilling, yeah mellow is the right term. Whenever I hear Dsus4 it's kinda like I am in the vast space alone standing on a small planet. If feels like I am searching for something kinda like that. Hehehe by the way... I'll add something... isn't it saddening to hear a progression A, C#m, D, Dm... I think it's in the major scale with borrowed minor chord. It start as cheerful but then on the next three chord it's sad. It feels like the person is begging man. Just on my perspective it feels like that
The greatest part of the lesson ,to me , being taught here isn't what exactly each chord is suppose to make you feel. It's that you even ask yourself the question in the first place. Define an answer for you. The answer does't even matter really ,as he states , it's different for everyone. But you define your unique musically language by just asking yourself the question and applying what it means to you. Instead of of just applying notes and chords from a theory stand point. Apply them from how they make you feel and the theory explains it, not creates it.
You've just proved that math is not a boring and cold pure science of the mind - there is much emotion hidden in those pattern and numbers ;-) Thank you for this great video upload.
Tomasso - thanks once again for confirming & refreshing my self taught searchings & discoveries & i must say my close friend & life long musocal mentor was classically trained by world renowned pianist father...& he & i have written & performed & influenced each other for 40yrs now...his compositions are far more sophisticated than mine & ive so often wanted to steal his chords & progressions because of their sophisticated palette of emotional impact...NOW having listened to your lesson here i have a platform from which to open the discussion with him...i have always thought that VOICINGS of chords made the big difference in that a 1st inversion major chord to me says one thing while the root or 2nd inversion says another - yes?
Grazie, Tommaso, splendida lezione! Il tuo suggerimento di scrivere il "libro di accordi emozionali" (ma in italiano mi suona meglio "emozioni negli accordi") è bellissimo e inizio subito. Nella mia prima lezione di chitarra il maestro mi chiese come compito a casa di esercitarmi a suonare il La min e il Mi con diverse emozioni. Da quel momento mi ricordo sempre di portare attenzione alle mie emozioni mentre strimpello e a come cambia il suone se cambio lo stato d'animo. --- Your suggestion to write the "book of emotional chords" (but in Italian it sounds better "emotions in chords") is beautiful and I start right away. In my first guitar lesson the teacher asked me as homework to practice playing A min and E with different emotions. From that moment on I always remember to pay attention to my emotions while I strum and how the sound changes if I change my mood.
What I learnt is..Even a meldody has great emotions but each note depends on what comes next or left..ie.intervals. Not only chords has feelings, a set of 3 notes without any harmony can create so much emotion ,which depends on modulations, othewise a singes ability to express with slides and glides create mesarable feeling. Westerners might not have any idea about that but loose stringed instuments is a good exaple.. Timber ,yes
I have something similar to an "Emotional Chord Book" but it don't talk about one chord only. For example I will take a I chord to a IV and ask my self how does it feel. Or a ii to a vii°. It helps me get through creating emotional chord progressions too. This is just a personal view about theory but I hope you find this usefull as well.
Interesting idea, I had thought about doing something like this years ago but dismissed it as being a bit futile and arbitrary. Years later I can definitely see the potential benefits of this practice, so will start doing it at least for a while to see where it takes me, thanks very much for the suggestion. I'm quite new to your channel and it's giving me a lot of food for thought. Really though I just watch it for the opening greeting in the hope that you're going to break out into a rousing chorus of 'If I were a Rich Man', for reasons known only to myself probably...
Love all your videos! I have some coffee and watch one of ypur videos....play some guitar...and it's time to go to work. Not a bad way to start the day! Chow..
The combinations of chords can build on the emotional meaning and a chord progression might let's say have a completely different vibe to the chords it's made from. I'd say the combinations might be more important than the individual chords; a single chord's meaning might depend more on the chords that come before and after it than on what chord it is. (It's too complex to create a useful emotional index, at least with this video's way of doing it).
Thanks for the vid! I am concerned about the feeling of tonality though. If for instance I'd play a C# diminished, write down the feeling, and then play B minor, I think it would taste differently than if I just played Bm alone because of the context, of feeling the release. How would you suggest "clearing the ears", discarding the tonality feeling between each chord? Thank you.
I gotta say a chord is more like a sense, you can't describe it it without knowing what it leads or follows. Just as intervials defines emotions even as we normally used to speak id depends on how we say it, thats the inteval and feeling comes from. So its not just about a chord but rather be a scale..
Seriously, every time I heard the words "music theory" I would think of teachers explaining the science of emotion behind chord progressions and using examples like "why is Canon in D played at weddings?" or "why is Pomp and Circumstance played at graduation?" and I would think of associating specific chords with certain emotions. Every time I search for a lesson in music theory, it's just a glorified grammar lesson that serves to dissect chords and chord progressions instead of actually teaching something productive to aspiring musicians.
Tommaso, Thank you! Your videos are so inspiring! I would be all so grateful if you explain in the next video - the major and minor quality after using certain chords in the context. Let me explain what do I mean about it. When Minor chord or interval is taken just after another sequence of chords/intervals, it can sound like a “major” or vice versa… I can’t remember where I have read about it, but I constantly "get cheated" by harmony in music of Chopin and Grieg )))
"Complete Chord Mastery" sounds awesome for me, but I'm producing in my DAW with no instruments except for a small MIDI piano. Might upgrade later, but is there anything similar to this "Complete Chord Mastery" that is not for guitar that someone know of?
I had pianists and producers going through Complete Chord Mastery. It really depends on a number of things (who you are , how you learn, etc). Write me at tommaso@musictheoryforguitar.com so we can figure it out. (YT does not always notify me of comments replies)
OOOOOOhhhhhh COmmmmoooooon, CHords are easy... MAJOR chords are bright and happy, MINOR chords all are written for SAD songs Dominant 7 chords reminds me of ROck n Roll... ALL other funny chords, jazz chords all sounds broken to me, or disonants or OUT OF TUNE
Great video. I've been working on some new tunes and really trying to focus on the emotions I want to evoke. What role do you think rhythm and phrasing play in emotion? Can a 'chilled' chord become a 'scared' chord if you approach it from a different place, put it in an uneven time signature or an offset rhythm for example?
Nice video. But I find it a bit misleading. The same chord that is described as "mellow" might be described using completely different language if any number of other musical elements are altered; such as timbre, dynamics, scoring, voicing, register, position, and how the chord is attacked. Not to mention rhythm. Play that same chord in a lower register with an aggressive attack and lots of reverb, the audience probably wouldn't say "mellow." If I simply play an Eb major triad in root position on the piano in the middle register at mf, people might say it sounds "pleasant." But in the hands of John Williams (Imperial March theme), it sounds anything but "pleasant." The rhythm, dynamics, scoring, and accompaniment of that opening chord make a huge difference. And as others have mentioned, the context surrounding any musical moment matters.
Instead of looking at the emotions of C7 vs D7 wouldn't it make more sense to talk about it in terms of where the chord is in the context of the current key? So like, I'd assume that a V add 7 would feel the same whether it whatever the tonic happened to be. Is that a bad assumption?
Very interesting video. It definitely makes me want to try to make that book. The only thing that confuses me a little bit is that a feel like a chord will inspire a different emotion when played alone than it will in a context of a chird progression. I guess the chord that precede and the chord that follow will have a great impact on the emotion that chord will provoke in us. What’s your thought on this?
Yes, the feeling of a chord depends also from the context i.e. its position respect to the tonal center. But we start doing the exercise with single chords.
Hi. Is there any way to add, at least, spanish subtitles? Because it is to fast for me. I feel it is very inyeresting your music class. Many many thanks.
![The MAGIC Of Third Inversion Chords [Chord Progression Music Theory]](http://i.ytimg.com/vi/a77Jfu-NO1o/mqdefault.jpg)
I would say that the emotion conveyed by a chord depends on what chord proceeds and follows it. Context is everything. Another thing to consider is what the bass is playing over your chord. If the Bass is playing Bb or F over the Cadd9 it will totally change how that chord is perceived.
I scrolled down to wrote this exact thing. I also dont think its useful to explain the emotion in terms of verbal language. Its better to have a memory of the emotion not of the words for it
I even read it about somewhere, but never seen any explanation on how to employ it. Would be grateful if you suggest me info on this
Yea i felt dat too
@@Atezian i always get the emotions in visuals and moments
But then that changes the character of the chord. I argue it's really a different chord then, just dispersed across multiple instruments.
I think the best songwriters are masters at this. Some of them write chords like a native language. When I notice a songwriter casually matching chords with the perfect word or thought, it always impresses me in the most satisfying way.
OH My Fkin God. WHY is there not more on this!?
I've been looking for videos on this exact topic for ages, no idea how I must have missed your video on this before as it's over 3 years old.
All this nerding out over theory becomes completely pointless in my opinion, ESPECIALLY when they can't relate it to emotion - which is the whole point in the first place.
I do have more on this :-). th-cam.com/video/px4AjgrWKys/w-d-xo.html
It’s a funny thing, the add9. It makes major chords more happy and minor chords more sad, I think. This whole subject of music and emotion could fuel several PhDs, but it’s so intangible and subjective. You did a great job, Tommaso, of putting that across.
I think the reason it makes the major chord sound happier/brighter is that it implies the whole tone scale. (And the whole tone scale includes the augmented fourth). For this reason it also sounds more nuanced/mysterious than a regular major chord to me.
I found that music is math that makes me feel
YES! Couldn't have said it better!
Profound.
Had this exact thought a couple of days ago lol
Man im drunk as fck, and this is so true...
this what I found many years ago, and succesfully lead me to conservatory.
This is, if not the most, one of the most valuable topics one can teach. You did a great job!
He forgot to talk about the many intervals relationships in the chord to build a stronger emotional understanding
@@MrFree-vj8qj i agree, but let's be real - this lesson could be as endless as music itself, so there will always be something missing
chords don't make me feel anything. songs do.
@@commentfreely5443 because there is also interval relationships between each chord and the melody amplifies it with its own intervals. A chord alone has some emotions but we must sing over it to clarify the context
I find this to be therapy watching this. I study psychology/sociology in my spare time to process the world, and I also play guitar(terribly). I have written maybe a handful of my own songs in a decade. This is going to make things much easier.
I'm addicted to your channel bruh. I don't even care if I know the topic you're talking about, your whole vibe is very soothing and dope to me :) respect
Chords feel different in different keys, on different instruments, in different tunings, and with different vocalists... I'd be asking "how does an E Major chord feel when the song is in G major?" And in that case, the answer differs depending on what the NEXT chord is. My chord book would be a series of huge spider diagrams that would get unruly rather fast :D
That Cadd9 sounded mellow because of the way you guys strummed it. If you'd stabbed the guitar, it would've been rather sharp. Everything depends on context.
I've been thinking this the entire video! He's mentioned this many times in other videos, but kind of lacked mention here. In music, context is everything.
A tone in a vacuum will have no emotion. A chord to some degree will supply it's own context in a vacuum, because it is made of intervals. I think you could think of a chord like a person or a character and ask, "What is this person's natural disposition?" The next step is to ask, "How would this person respond in this situation?"
@@chiju There is no tone in the vacuum though
@@richaellr there is definitely a loud 'tone' emanating from MY vacuum so u better check ur sources bud.
Thats given me an idea to right down chord change emotions which would be more useful in day to day songwriting. Ta.
The suggestion to use a list of emotions is so simple it's perfect. Thanks for this!
I researched this subject a little bit in grad school, and I was interested to learn about how much of our understanding of meaning comes from our embodied experiences.
If you're continuing to struggle with this, one thing I would suggest is to pay attention to your body and really pay attention to how it 'feels'. Try not to make it an intellectual exercise; your first instinct is probably going to be shared by at least one other person, unless you're an alien or a robot.
I also find that compounding emotions for complex chord voicings works for me. My personal reaction to the isolated Cadd9 was "happy, surprised". (And I think it's clear that this comes from the stability of the triad + the uncertainty of the suspension).
I think the emotion of a chord depends also on how you play it as much as the notes in it. e.g. a Cadd9 strummed aggressively with staccato might feel like a rush of happiness while the same chord being played slow and free may feel like a more relaxed kind of happy.
I love thinking about this stuff and your channel is such a goldmine of knowledge! Bula from Fiji 🇫🇯
This is a pretty dang genius concept. I feel like everyone should know this.
Instead of asking them how it makes them feel, I'll ask my students to close their eyes and tell me what the chord makes them think about or picture.. I'll also play something and ask; If you heard this music in a movie, what would be happening? This is a lot of fun to do with younger kids.. Adults can sometimes be a little too reserved to play along
1:26: His example chord is precisely the chord that starts the song I recorded for my wedding (a good 20 years ago :-)). I feel calmly in love :-D
I thought, "suave, but in the least aggressive way possible."
You can't remain anonymous because that is impossible. Psuedo-anonymity is the best that can be achieved.
This is the first time I ever came across your channel and the words spoken would never be forgotten. It's so much more meaningful to create a progression based on writers' emotion
Another thing that might be helpful in pinning down those emotions is to make a rough estimate first for each chord. This way, you will end up with GROUPS of chords: happy, sad, melancholic, strange, mysterious, dark, etc. THEN you take chords from one particular group IN PAIRS and compare them with each other, trying to figure out what's the most important thing that DIFFERS them. This way each of the groups will split into SUBGROUPS, each with more revised emotions, more detailed, more particular. Then you do the same inside those subgroups to make them even more refined. This way it's easier to pin down those emotions, because once you have two chords that have very similar feel, it's easier to pin down that one particular thing that differs them, because now it's the only variable in the equation. It's much harder to do when you have two dissimilar chords, because then they contain a whole lot of emotions and there's too many variables to consider, and that's why it is harder to tell the emotion in detail.
I think I'm going to show this video to some friends, but then I'm going to recommend that instead of trying to analyze the chord in a vacuum, such as BbMaj7 for example, they first establish a tonic such as A Major. After playing A for a bit and getting a feel for it, THEN play BbMaj7, but write it in their book as bIIMaj7. Then repeat the process using Am as their tonic.
Yes. The chord in a vacuum is just to get started ;-)
Saw 11 minutes and thought I was gonna have to really focus but the concise while thought provoking format of the video made it seem like it was a 4 minute video taht I did while just listening along. Much appreciated for the stellar breakdown!
Absolutely love your video on how music makes a person feel. I think it's important even in selecting what instrument a person plays!
This is such an important video. Every note, chord, and vowel if you're a singer has a purpose/meaning (especially in Faure's work). Thank you for this! As a singer, I love to feel the emotions of harmonic structure to make the overall character of the aria more expressive. Analyzing the music (not just the melody, but the instrumental) is so important to understanding the expression and character. Investigating the harmonic progression helps me understand exactly how the character develops throughout the aria. Therefore, I can communicate better to the audience.
This is probably one of the best informative videos that you have made.
You have been a big help.
Thank you
I've got work to do with this information.
Emotions are the only way for me to evaluate what I do musically. It's basically what I feel, if I have an emotional journey throughout the song, if emotions are consistent.
Music is all about emotions. There is no other way for me.
Of course music is mathematically structured, but that's the way we humans describe and systematise things and musical theory is describing science, not prescribing.
So in the end what for it is all if not for emotions :)
I appreciate your lession
Makes sense
An emotional chord book - what a great idea! I think that adding the spiritual, emotional element to playing is the whole point of why we love to play music. Thank you.
Whenever I hear Cadd9, if feels like I am walking on the street late at night. Feeling the cold air that blows on my skin that makes me shiver. I dont kinda understand what emotion it is but that feeling of being alone and contented. It feels like I am independent, chilling, yeah mellow is the right term. Whenever I hear Dsus4 it's kinda like I am in the vast space alone standing on a small planet. If feels like I am searching for something kinda like that. Hehehe by the way... I'll add something... isn't it saddening to hear a progression A, C#m, D, Dm... I think it's in the major scale with borrowed minor chord. It start as cheerful but then on the next three chord it's sad. It feels like the person is begging man. Just on my perspective it feels like that
thankyou for sharing
Far out man, this is one of the best videos ive seen on youtube. Props to you.
Love your channel. I play lap steel in open tuning, not regular guitar, but lots of your material is still super helpful.
At 6:59 he talks about a very important point. I suspected 'it' was the case, but hearing from a teacher helps.
The greatest part of the lesson ,to me , being taught here isn't what exactly each chord is suppose to make you feel. It's that you even ask yourself the question in the first place. Define an answer for you. The answer does't even matter really ,as he states , it's different for everyone. But you define your unique musically language by just asking yourself the question and applying what it means to you. Instead of of just applying notes and chords from a theory stand point. Apply them from how they make you feel and the theory explains it, not creates it.
YOU ARE THE BEST GUITAR TEACHER EVER!
C add9 immediately made me feel relaxed, tranquil, the idea of peacefulness
You've just proved that math is not a boring and cold pure science of the mind - there is much emotion hidden in those pattern and numbers ;-)
Thank you for this great video upload.
Tomasso - thanks once again for confirming & refreshing my self taught searchings & discoveries & i must say my close friend & life long musocal mentor was classically trained by world renowned pianist father...& he & i have written & performed & influenced each other for 40yrs now...his compositions are far more sophisticated than mine & ive so often wanted to steal his chords & progressions because of their sophisticated palette of emotional impact...NOW having listened to your lesson here i have a platform from which to open the discussion with him...i have always thought that VOICINGS of chords made the big difference in that a 1st inversion major chord to me says one thing while the root or 2nd inversion says another - yes?
Grazie, Tommaso, splendida lezione!
Il tuo suggerimento di scrivere il "libro di accordi emozionali" (ma in italiano mi suona meglio "emozioni negli accordi") è bellissimo e inizio subito.
Nella mia prima lezione di chitarra il maestro mi chiese come compito a casa di esercitarmi a suonare il La min e il Mi con diverse emozioni.
Da quel momento mi ricordo sempre di portare attenzione alle mie emozioni mentre strimpello e a come cambia il suone se cambio lo stato d'animo.
---
Your suggestion to write the "book of emotional chords" (but in Italian it sounds better "emotions in chords") is beautiful and I start right away.
In my first guitar lesson the teacher asked me as homework to practice playing A min and E with different emotions.
From that moment on I always remember to pay attention to my emotions while I strum and how the sound changes if I change my mood.
What I learnt is..Even a meldody has great emotions but each note depends on what comes next or left..ie.intervals. Not only chords has feelings, a set of 3 notes without any harmony can create so much emotion ,which depends on modulations, othewise a singes ability to express with slides and glides create mesarable feeling. Westerners might not have any idea about that but loose stringed instuments is a good exaple..
Timber ,yes
This video is really really helpful. Thank you for putting this up.
Absolutely fabulous. Thanks. My chording WILL never be the same! Thanks x100
the first one - theraupetic calming feeling.
This is one of the best music tutorial!!! Thank you very much....
it depends on the chords around it for example two major chords (happy) a tritone apart sound mysterious to me
The first chord feels like a mellow midsummer afternoon in the sticks.
I have something similar to an "Emotional Chord Book" but it don't talk about one chord only. For example I will take a I chord to a IV and ask my self how does it feel. Or a ii to a vii°. It helps me get through creating emotional chord progressions too. This is just a personal view about theory but I hope you find this usefull as well.
Interesting idea, I had thought about doing something like this years ago but dismissed it as being a bit futile and arbitrary. Years later I can definitely see the potential benefits of this practice, so will start doing it at least for a while to see where it takes me, thanks very much for the suggestion. I'm quite new to your channel and it's giving me a lot of food for thought. Really though I just watch it for the opening greeting in the hope that you're going to break out into a rousing chorus of 'If I were a Rich Man', for reasons known only to myself probably...
Emotional Chord Book! That's great, i had to take notes on that, in case I forget since I watch so many videos!
Thanks for the lesson!
I am emotionally aroused by Lydian sound the most.
I also cannot restrain myself from emoting to a IV-V-vi-iii progression
Love all your videos! I have some coffee and watch one of ypur videos....play some guitar...and it's time to go to work. Not a bad way to start the day! Chow..
What a beautiful idea... Bass cords for me. Love this stuff..!! Inspiring me to play more and more.. Thanks as always . Have a fantastic night..!!
Thanks for sharing. That's very important.
The combinations of chords can build on the emotional meaning and a chord progression might let's say have a completely different vibe to the chords it's made from. I'd say the combinations might be more important than the individual chords; a single chord's meaning might depend more on the chords that come before and after it than on what chord it is. (It's too complex to create a useful emotional index, at least with this video's way of doing it).
This is so fire bro thank you
Thanks for the vid! I am concerned about the feeling of tonality though. If for instance I'd play a C# diminished, write down the feeling, and then play B minor, I think it would taste differently than if I just played Bm alone because of the context, of feeling the release. How would you suggest "clearing the ears", discarding the tonality feeling between each chord? Thank you.
Beautifully explained. Thank you.
Did you get new black board color markers?
I gotta say a chord is more like a sense, you can't describe it it without knowing what it leads or follows. Just as intervials defines emotions even as we normally used to speak id depends on how we say it, thats the inteval and feeling comes from.
So its not just about a chord but rather be a scale..
IMO, Starting from just a chord itself means attention or trying to tell something.... and wait for the context to understand it... Nice topic.!
Best example is John Williams. A great maestro
thanks a ton for this video, it's very helpful
You do a wonderful job. Thank you for your videos.
Such valuable lessons!!
Totally awesome... Thanks Tomasso
This knowledge is gold. Subscribed.
Great video!!! Love your channel too. Thanks
Thanks for the video Tommaso! :)
Wow! I've loved the lesson. Thanks teacher
I love your videos and the way you teach your thoughts 👍
This is what I teach first and with vocal too. It always gets ignored
Thank you. I needed this like you would not believe.
:-)
Seriously, every time I heard the words "music theory" I would think of teachers explaining the science of emotion behind chord progressions and using examples like "why is Canon in D played at weddings?" or "why is Pomp and Circumstance played at graduation?" and I would think of associating specific chords with certain emotions. Every time I search for a lesson in music theory, it's just a glorified grammar lesson that serves to dissect chords and chord progressions instead of actually teaching something productive to aspiring musicians.
Oh, I agree :) Have you seen this interview for more on this topic? th-cam.com/video/5V6Dr1Y3Jew/w-d-xo.html
Thankyou very much❤❤❤
Very helpful thank you ❤
Fantastic video Tommaso!
00:00:35 *I WAS JUST THINKING ABOUT A CM7* (well, c maj7, whatever.)
Tommaso, Thank you! Your videos are so inspiring! I would be all so grateful if you explain in the next video - the major and minor quality after using certain chords in the context. Let me explain what do I mean about it. When Minor chord or interval is taken just after another sequence of chords/intervals, it can sound like a “major” or vice versa… I can’t remember where I have read about it, but I constantly "get cheated" by harmony in music of Chopin and Grieg )))
I appreciated the extra math drop at 0:45 haha
Looks like one of Maxwell equation ^^
Nabla is your friend. Excellent video thank you!
Ciao Tommaso, sei un grande maestro...
"Complete Chord Mastery" sounds awesome for me, but I'm producing in my DAW with no instruments except for a small MIDI piano. Might upgrade later, but is there anything similar to this "Complete Chord Mastery" that is not for guitar that someone know of?
I had pianists and producers going through Complete Chord Mastery. It really depends on a number of things (who you are , how you learn, etc). Write me at tommaso@musictheoryforguitar.com so we can figure it out. (YT does not always notify me of comments replies)
Love this topic!
OOOOOOhhhhhh COmmmmoooooon,
CHords are easy... MAJOR chords are bright and happy, MINOR chords all are written for SAD songs
Dominant 7 chords reminds me of ROck n Roll...
ALL other funny chords, jazz chords all sounds broken to me, or disonants or OUT OF TUNE
It could be broken down to the emotion of each interval. Chords as colection of intervals
I get the theory sir, and then how about the real emotions of the words of the song. Sometimes it may differs with the emotion of the chords.??
Would you please explain about any scales that can be used in dominant?
I'm looking for this lecture! Thanks can we do more of this
Great video. I've been working on some new tunes and really trying to focus on the emotions I want to evoke.
What role do you think rhythm and phrasing play in emotion? Can a 'chilled' chord become a 'scared' chord if you approach it from a different place, put it in an uneven time signature or an offset rhythm for example?
Nice video. But I find it a bit misleading. The same chord that is described as "mellow" might be described using completely different language if any number of other musical elements are altered; such as timbre, dynamics, scoring, voicing, register, position, and how the chord is attacked. Not to mention rhythm. Play that same chord in a lower register with an aggressive attack and lots of reverb, the audience probably wouldn't say "mellow."
If I simply play an Eb major triad in root position on the piano in the middle register at mf, people might say it sounds "pleasant." But in the hands of John Williams (Imperial March theme), it sounds anything but "pleasant." The rhythm, dynamics, scoring, and accompaniment of that opening chord make a huge difference. And as others have mentioned, the context surrounding any musical moment matters.
It's not the cord but the style that evokes emotion
Great video!
I just discovered the Zizek of music theory
Beautiful and simple. Awesome TZ, thanks.
Edit: wrong initials, oops.
Instead of looking at the emotions of C7 vs D7 wouldn't it make more sense to talk about it in terms of where the chord is in the context of the current key? So like, I'd assume that a V add 7 would feel the same whether it whatever the tonic happened to be. Is that a bad assumption?
Very interesting video. It definitely makes me want to try to make that book. The only thing that confuses me a little bit is that a feel like a chord will inspire a different emotion when played alone than it will in a context of a chird progression. I guess the chord that precede and the chord that follow will have a great impact on the emotion that chord will provoke in us. What’s your thought on this?
Yes, the feeling of a chord depends also from the context i.e. its position respect to the tonal center. But we start doing the exercise with single chords.
What!? Taking the curl of Cm7 chord equals the Feynman slash derivative of F9 chord minus mu times G13? Very nice! Rsrsrs
Impressive awesome content.
The first word to come to mind was "pensive".
We could philosophize all night about the metaphysics of emotions.
Hi.
Is there any way to add, at least, spanish subtitles? Because it is to fast for me. I feel it is very inyeresting your music class. Many many thanks.
Awesome video
First comment! Lovin’ this content! 👍🏼👍🏼👍🏼
I cant find the book of chords he mentioned ??? :(