Rick! This is one of the highest quality music lessons I've seen on TH-cam. The editing is incredibly good for this kind of video. If this is part of a series I'm hooked. I'll be studying this for hours! Huge thanks!
You've told us what chords you're playing, but from the title i'm expecting an exploration of why chord progressions like this might work in a film score. How different chord sequences affect mood & feeling etc.. Maybe that's the follow up video? (or maybe an earlier one, i'll look through your back catalog)
I have a whole series of film scoring videos from John Williams, Bernard Herrmann, Howard Shore, Mark Isham, James Newton Howard, Thomas Newman, Gustav Holst, James Horner etc. In addition I have a film scoring playlist that has 63 videos on music theory, writing and arranging. Enjoy!
Lorant, you're absolutely correct! Teaching yourself is the best way to get good at something. It's kind of like reinventing the wheel. To some it would be a waste of time, but the lessons you learn from solving your own problems is what's valuable.
Cool thanks Rick.. a wealth of videos indeed, i'll definitely take a look. I can see you have videos on the underpinning theory in that playlist, which is where i should probably start. Sorry, from the description i thought this was the first.. but it's first in a *new* series ;-)
Sacredly and Serenely Sublime! My cup Runneth over with Inspiration! I love the A Lydian chord and the B F# ADG chord. Pure genius! Thank you!Rick! This video is my birthday gift!
If I remember right the Twin Peaks title theme is in F major and stays there (?) - I can only remember the beginning parts, and there seems to be a long version too. Many of the blues and jazz approached tunes from the shows first two seasons were in C minor, featuring this great walking bass and are a lot of fun to play and improvise to. It certainly reminds me a bit of Twin Peaks too, but I cannot make out why. Probably it's really just the string sound
I just bought the Beato Book and now these videos don't sound like complete gibberish to me. It's crazy actually I took a few semesters of courses at a university and barely scratched the surface of really understanding anything about music theory yet in a few days I feel like having the Beato Book as a reference I can understand almost anything.
Nice chords! Would I be right in thinking that you made up the chords 'on the spot', then made the second half slightly later, once you'd jotted down what chords you'd played?
I always tried to learn different types of chords, specially on guitar, Also on piano, but when down to use them properly I haven't find a way to harmonize them all together between one scale, lets put an example, A6-AMAJ7,Esus4-E7,F#m7-Bm7, Dm7, all this ones on a major scale, they collide, but many other types, like aug,dim,9s, add 9, 11s, and etc, haven't, is there any theory behind that can help to harmonize them, example. On major scales, 1M 2m 3m 4M 5M 6m and 7dim, so if it is I would appreciate that you post video about it
I never hear it as Bmi(b6), I hear it as a first-inversion GMaj7. Wonderful progression, by the way! I had a question: you said that "complex" music is best for newborns. Would that encompass music from Schoenberg, Messiaen, Wyschnegradsky, and other composers like that, or should it be more tonal like, say, Hindemith?
When you play extensions or polychords, do you typically think of them as two separate chords on each hand, or do you think of it as one chord with extensions?
Congrats! Gorgeous progression! I suppose you could name some chords differently. For instance, the A7sus4/3 at 6:04 could be an inverted DM7sus4 add9 (which would avoid having the 3rd and the suspended 4th together, which doesn't sound very logical to me as far as theory is concerned).
Depends on the harmonic context, in this context is A. Don't see it, hear it. The third+4th is fine in this style, is just a color, not really important, however you can display these harmonies horizontally (melody and counterpoint). You are not obligated to write the exact chord, o even a chord , we care more about harmonies than just chords, chords are just a vertical way to see music, it's like a summary of what music actually is. If you study the counterpoint masters you see that they don't need chords, even with one monophonic voice they can make all the harmonies.
So cool ! Thanks Rick ! But I'm wondering how did you get to this chords progression ? Using common tone, using tonal progression theory, or just using chord's colors and ears..? All of this I guess ? :)
Yeah, Rick didn't really explain the thinking behind this. I'm not sure if it's from an existing song, or what. But sometimes it's good not getting an explanation because it forces you to think and figure the puzzle for yourself. For example, the first 3 chords (to me) seem like they come from chromatic mediant modulations (CMajor EbMajor and G Major). But the important thing is that the beauty comes from the voicings. If you listen to great musicians, they'll always have great voice leading.
You make the finest music content of youtube! :D I was wondering if there will be a lesson/analysis of Danny Elfman style (theory, way fo orchestration, etc)
Putting Aaron to work I see! Nice editing job! Though, some of the editing software tools are visible at the end :o I dig the format here. A Film Scoring quicky. Easy to digest!
I'm sorry. But at the very first chord. That split C major in the left... YOUR HANDS HAVE TO BE GIGANTIC TO DO THAT. maybe mine are small... but I was like, "A TENTH? ARE YOU SERIOUS?"
What a wonderful lesson, Rick! Thank you so much, this is really inspiring. I have just one question: how can a 3rd be in a "sus" chord? I mean, doesn't "sus" stand for "suspended" (when the 4th, or the 2nd, is instead of the 3rd)? Isn't more correct to write down the A7sus4/3 as an A7(add11)? I'm talking about the chord at 05:59.
It doesn't matter. That's how people I know have been writing it for 30 years. If you understand it, what's the difference? Why not write sus4 add3? Because it takes up too much space on a chart. Think of it however you want, just think of it :)
great!!!, awesome!!, good job, thank you very much, there is a lot of things to learn but is definitley worth learning (4:45 Rick beato illuminati confirmed!!!!!!)
HAHA HA OMG i got lost at: Bmajorsus4flat79th resolving in gmaj6sus474859thFLAT XD the name of the fucking chords doesnt matter for a composer... luckily
Rick! This is one of the highest quality music lessons I've seen on TH-cam. The editing is incredibly good for this kind of video. If this is part of a series I'm hooked. I'll be studying this for hours! Huge thanks!
This is very cool but I would also love to hear the reasoning behind how you decided to change to a particular chord - in a functional harmony sense.
This is not functional harmony bro, it's modal, the opposite of the tonal system. Just use your ears and heart for this kind of music.
You've told us what chords you're playing, but from the title i'm expecting an exploration of why chord progressions like this might work in a film score. How different chord sequences affect mood & feeling etc.. Maybe that's the follow up video? (or maybe an earlier one, i'll look through your back catalog)
michael chalk same here i can copy the progression but i don't know how to use it in different situations
I have a whole series of film scoring videos from John Williams, Bernard Herrmann, Howard Shore, Mark Isham, James Newton Howard, Thomas Newman, Gustav Holst, James Horner etc. In addition I have a film scoring playlist that has 63 videos on music theory, writing and arranging. Enjoy!
That seems to be a great thing to watch! :D thanks
Lorant, you're absolutely correct! Teaching yourself is the best way to get good at something. It's kind of like reinventing the wheel. To some it would be a waste of time, but the lessons you learn from solving your own problems is what's valuable.
Cool thanks Rick.. a wealth of videos indeed, i'll definitely take a look. I can see you have videos on the underpinning theory in that playlist, which is where i should probably start.
Sorry, from the description i thought this was the first.. but it's first in a *new* series ;-)
Sacredly and Serenely Sublime! My cup Runneth over with Inspiration! I love the A Lydian chord and the B F# ADG chord. Pure genius! Thank you!Rick! This video is my birthday gift!
Happy Birthday!
This is the best thing I've ever heard you're a saint for putting this on TH-cam I have to say it
Man that's one tasty chord progression!
Great stuff Rick. Lots of ideas to muse over. The new camera angle is super helpful too. Thanks for posting all this cool stuff.
Love the top down view of the keyboard and the focused content...not too much for one video
This is so cool 😱
beautiful chord progression. Thanks Rick
very cool. Rick knows all the chords
Such harmonic richness!! It's like a Monet painting! :D
I don't know if it's just the synth patch, but this is giving me serious Twin Peaks vibes
If I remember right the Twin Peaks title theme is in F major and stays there (?) - I can only remember the beginning parts, and there seems to be a long version too. Many of the blues and jazz approached tunes from the shows first two seasons were in C minor, featuring this great walking bass and are a lot of fun to play and improvise to. It certainly reminds me a bit of Twin Peaks too, but I cannot make out why. Probably it's really just the string sound
Yeah it's probably just the patch and the slow chords
There are some same kind of sus-chords in the progression as in Twin Peaks themes. I think that's the thing combined with the sound.
I just bought the Beato Book and now these videos don't sound like complete gibberish to me. It's crazy actually I took a few semesters of courses at a university and barely scratched the surface of really understanding anything about music theory yet in a few days I feel like having the Beato Book as a reference I can understand almost anything.
Love these format when you show a close up RIck! *Awesome :)!*
great..that would definitely be awesome to have a downloadable midi file for videos like this
Nice chords! Would I be right in thinking that you made up the chords 'on the spot', then made the second half slightly later, once you'd jotted down what chords you'd played?
Loved those sounds! This is using a lot of tension but sounds so musical. I like the voicings with the miniclusters and the subtle Mix switches!
Awesome! This is going to be a great series. Good job on always keeping things fresh, interesting, and new.
I always tried to learn different types of chords, specially on guitar, Also on piano, but when down to use them properly I haven't find a way to harmonize them all together between one scale, lets put an example, A6-AMAJ7,Esus4-E7,F#m7-Bm7, Dm7, all this ones on a major scale, they collide, but many other types, like aug,dim,9s, add 9, 11s, and etc, haven't, is there any theory behind that can help to harmonize them, example. On major scales, 1M 2m 3m 4M 5M 6m and 7dim, so if it is I would appreciate that you post video about it
When composong, do you have a key signature in mind with embellishments, or is the key consistently changing?
Could you re-do your "The Claw" tutorial like this? Oh, also Bernard Hermann! Thanks for everything.
I never hear it as Bmi(b6), I hear it as a first-inversion GMaj7. Wonderful progression, by the way!
I had a question: you said that "complex" music is best for newborns. Would that encompass music from Schoenberg, Messiaen, Wyschnegradsky, and other composers like that, or should it be more tonal like, say, Hindemith?
Write to me about the newborn music rickbeato1@gmail.com
Only Aydin Esen!
I would say it's more like a GMaj9 because of the A that he's playing
hit the nail on the head, as per usual.
When you play extensions or polychords, do you typically think of them as two separate chords on each hand, or do you think of it as one chord with extensions?
Your string arrangement certainly reminds me of Thomas Newman. Good job, great video!
Congrats! Gorgeous progression!
I suppose you could name some chords differently. For instance, the A7sus4/3 at 6:04 could be an inverted DM7sus4 add9 (which would avoid having the 3rd and the suspended 4th together, which doesn't sound very logical to me as far as theory is concerned).
Depends on the harmonic context, in this context is A. Don't see it, hear it. The third+4th is fine in this style, is just a color, not really important, however you can display these harmonies horizontally (melody and counterpoint). You are not obligated to write the exact chord, o even a chord , we care more about harmonies than just chords, chords are just a vertical way to see music, it's like a summary of what music actually is. If you study the counterpoint masters you see that they don't need chords, even with one monophonic voice they can make all the harmonies.
I really think I would need more explanation on this one. It sound phenomenal though!
So cool ! Thanks Rick !
But I'm wondering how did you get to this chords progression ? Using common tone, using tonal progression theory, or just using chord's colors and ears..? All of this I guess ? :)
Seems like he's just going with what sounds good based on knowing lots of chords and voicings as well as having a good ear.
Yeah, Rick didn't really explain the thinking behind this. I'm not sure if it's from an existing song, or what. But sometimes it's good not getting an explanation because it forces you to think and figure the puzzle for yourself. For example, the first 3 chords (to me) seem like they come from chromatic mediant modulations (CMajor EbMajor and G Major). But the important thing is that the beauty comes from the voicings. If you listen to great musicians, they'll always have great voice leading.
Otherworldly sound thanks for the upload
You should do a video about how to program string to give that realistic feel.
+Stephen Moore The best way is to use real string players. If you don't have access or can't afford it you record them one part at a time.
See this is how the camera is more effective so we can see exactly what your doing thank you
dang, this is exactly what I needed! thanks rick
love it. I gotta get some piano lessons so i can think in piano language!
I'd like to see your approach to play things like this on a midi Guitar.
Is there a comprehensive list of all the chord/triad superimpositions rick uses?
Rick....without trying to search for it, what is the brand/model of keyboard you are using?
Getting some strong Ogerman vibes here. Great video!
Beautiful Harmony!
GREAT editing, nice touch... good to see you improve.
Another one of these videos please!
You make the finest music content of youtube! :D I was wondering if there will be a lesson/analysis of Danny Elfman style (theory, way fo orchestration, etc)
Thanks rick batao. i was looking for this tutorial 👍
Aaron shah great job
Does the Beato Book talk about these chords and how to apply them to film scoring?
Thanks!
+Jaxx Landry my book talks about this s and a thousand other things.
I love this channel!
which scale you are using ? and how do I know chords from different mode like aeolians , lydians
Hey Rick ! is a Q chord a half-diminished chord ? like Aø/B5 ?
Love your channel !
Nope. Q chord here refers to a Quartal chord. You can get a Quartal chord by stacking up notes in 4ths. So, AQ triad would be A-D-G. :)
thanks ;)
Great series! Keep em coming
Putting Aaron to work I see! Nice editing job! Though, some of the editing software tools are visible at the end :o
I dig the format here. A Film Scoring quicky. Easy to digest!
+Not Right Music I had them put the picture in with the editing tools. I thought it looked cool.
Just amazing love the content
this is GOLD!!!!
I'm sorry. But at the very first chord. That split C major in the left... YOUR HANDS HAVE TO BE GIGANTIC TO DO THAT. maybe mine are small... but I was like, "A TENTH? ARE YOU SERIOUS?"
What a wonderful lesson, Rick! Thank you so much, this is really inspiring.
I have just one question: how can a 3rd be in a "sus" chord? I mean, doesn't "sus" stand for "suspended" (when the 4th, or the 2nd, is instead of the 3rd)?
Isn't more correct to write down the A7sus4/3 as an A7(add11)?
I'm talking about the chord at 05:59.
It doesn't matter. That's how people I know have been writing it for 30 years. If you understand it, what's the difference? Why not write sus4 add3? Because it takes up too much space on a chart. Think of it however you want, just think of it :)
Yes, I got it. Totally agree with the "Think of it however you want, just think of it" part.
Anyway, thanks for the answer. Have a good day!
Thanks Antonio!
Gsus indeed my friend
Gorgeous!
Reminiscent of Smallcreeps Day by Mike Rutherford to me
great!!!, awesome!!, good job, thank you very much, there is a lot of things to learn but is definitley worth learning (4:45 Rick beato illuminati confirmed!!!!!!)
the intro sounds like something that shostakovich would write
I can't understand what "Q" chord is. Can you explain me? Thank you so much. :)
Q means Quartal AQ= A D G 2 P4's stacked
Thank you Rick!
super
Extend and invert. Extend and invert.
E is the Root Key?
4:27 9/11 wasn't a minor sound... Sorry for the joke
4:20
im the 666th like, jeez
HAHA HA OMG i got lost at: Bmajorsus4flat79th resolving in gmaj6sus474859thFLAT XD the name of the fucking chords doesnt matter for a composer... luckily
I love the G6-A lydian-Am11-A lydian part.