Hi Everyone, so a quick update about this series. When I made these videos I used a Pitch-Octave notation other than SPN (Scientific Pitch Notation, which is standard). The system I worked with has C4 as middle C, and resets octaves every "A" instead of every "C". I apologize if this is confusing. My orchestration video on transposing explains the system in greater detail. Other than this, the information is accurate and should be helpful! I'll be releasing an updated series on orchestration soon with more information (and that actually uses SPN). Thank you for your understanding and support! I'm grateful to have such a great community surrounding this youtube channel!
All of your videos are great! Thanks for sharing. Your 8ve's are off on the Partials explanation. 5th partial would be 2 octaves + 5th, ...........,8th partial would be 3 octaves.
I think a lot of people appreciate what you're doing here. I'm one of them. Thanks very much for taking the time to explain these important fundamentals 🙏
❤❤❤❤❤❤❤Thank you so much sir very very useful in your videos have lots and lots of information sir that all levels up my music knowledge you are the best teacher i have ever seen once again thank you so much sir ❤❤❤❤❤❤❤❤❤❤❤
Funnily enough this explains then why open triads sound better to my ear. Great content and has definitely given me a new perspective. Subbed. Look forward to more content.
Thank You. This is great for piano. I have noticed Ragtime pianists doubling the Root in the left before playing the higher chords. Plus my teacher had emphasised the muddiness of closed chords below C4. Now it is all much clearer when to bring in the 9 11 and 13.
I've been looking for something like this for a while now. Thank you so much for this video! By chance does the harmonic series show good chords to travel to when writing chord progressions?
I'm sure it does, but unfortunately not in any way that I've studied. If you're interested in learning more about chord progressions though, I have an entire playlist called "harmony for composers" that teaches harmony like a class :)
@@TableTopComposer thanks I'll check it out! I've actually been watching a bunch of your videos after this one and I just have to say this is a gold mine for music producers. I've watched so many videos that leave me with more questions than answers about music but every video is very concise and answers about every question I have and more. Amazing work you do here and I wish TH-cam would recommend stuff like this more often!
I really appreciate that! It's always nice to hear how my videos are helping others. Leaving comments like this and sharing my videos are the best things you can do to help the algorithm find the channel :)
I've never heard of the 1537 rule. It makes perfect sense in the case of major chords but what about when you're getting into minor or diminished or augmented stuff, which is fairly common?
Great question! So the same idea works for each situation. For minor chords, the only difference is the third. Since it only appears once in the first 8 partials, it's not a big issue. You still follow the 1537. It will still help you avoid too much dissonance. With augmented and diminished chords the issue isn't so much avoiding dissonances any more as much as emphasizing the unique sounds of the chords. In these instances the relationship between the first and fifth are what create the defining sounds, so they're stilll the most important for doubling. That's why 1537 still works for them. So in summary, 1537 applies to just about every type of triad. I hope this helps!
What about extend chord tones e.g 9th 13th? Could you swap them out for the other chord tones like in four part writing? Love the channel BTW Many thanks
Thanks, Matt! The short answer is yes; it's called "tension substitution". The most common type is replacing the root (in the upper voices) with the 9th or the 5th with the 13th. I actually have a video I uploaded last week that covers this topic :)
question! do overtones work backwards too? Like with a principle pitch being high would there be lower octave tones as well? I love that you did this by the way, I've been trying to look for orchestral videos for monnths
Thanks! That's a really good question! What you're describing is a theory called the "undertone series". Unlike the overtime series, they're completely theoretical and don't physically exist, so you don't need to worry about them, but some composers/theorists like to work with them for fun. The basic idea is that you follow the same intervals, but going down instead of up. Unfortunately I don't know much else about it, so I'd recommend looking them up if you're interested in learning more. I hope this helped :)
Hi Everyone, so a quick update about this series. When I made these videos I used a Pitch-Octave notation other than SPN (Scientific Pitch Notation, which is standard). The system I worked with has C4 as middle C, and resets octaves every "A" instead of every "C". I apologize if this is confusing. My orchestration video on transposing explains the system in greater detail. Other than this, the information is accurate and should be helpful! I'll be releasing an updated series on orchestration soon with more information (and that actually uses SPN). Thank you for your understanding and support! I'm grateful to have such a great community surrounding this youtube channel!
All of your videos are great! Thanks for sharing. Your 8ve's are off on the Partials explanation. 5th partial would be 2 octaves + 5th, ...........,8th partial would be 3 octaves.
Excellent teaching! Thank you and I have both given thumbs (way up!!) and subscribed to your channel.
I think a lot of people appreciate what you're doing here. I'm one of them. Thanks very much for taking the time to explain these important fundamentals 🙏
You're great at explaining all the "whys"!
Excellent! I never realised the implications of the overtones so clearly before. Very important for understanding harmony.
❤❤❤❤❤❤❤Thank you so much sir very very useful in your videos have lots and lots of information sir that all levels up my music knowledge you are the best teacher i have ever seen once again thank you so much sir ❤❤❤❤❤❤❤❤❤❤❤
Subscribed! Amazing content here. Thank you
Amazing series! Thanks a lot for sharing!
Funnily enough this explains then why open triads sound better to my ear. Great content and has definitely given me a new perspective. Subbed. Look forward to more content.
Thank you so much for creating these videos. Really appreciate it. Hope you become famous soon
Amazing video! Thank you!!
very clear! Keep going this please.
Very clear lesson in orchestration. You are a master presenter!
How can I figure out the order of The videos? These videos on orchestration are the best I’ve ever seen.
Thank You. This is great for piano. I have noticed Ragtime pianists doubling the Root in the left before playing the higher chords. Plus my teacher had emphasised the muddiness of closed chords below C4. Now it is all much clearer when to bring in the 9 11 and 13.
Great video, very good pacing and balance between supporting theory, practicality and examples.
its so useful......very appreciate for your work...lots of thanks from Taiwan 😭
My pleasure! I'm glad it's helpful :)
Great video
Great tutorial! I’m working on my first composition and your channel is very helpful for me. Thanks a lot!
I've been looking for something like this for a while now. Thank you so much for this video!
By chance does the harmonic series show good chords to travel to when writing chord progressions?
I'm sure it does, but unfortunately not in any way that I've studied. If you're interested in learning more about chord progressions though, I have an entire playlist called "harmony for composers" that teaches harmony like a class :)
@@TableTopComposer thanks I'll check it out! I've actually been watching a bunch of your videos after this one and I just have to say this is a gold mine for music producers. I've watched so many videos that leave me with more questions than answers about music but every video is very concise and answers about every question I have and more. Amazing work you do here and I wish TH-cam would recommend stuff like this more often!
I really appreciate that!
It's always nice to hear how my videos are helping others. Leaving comments like this and sharing my videos are the best things you can do to help the algorithm find the channel :)
I've never heard of the 1537 rule. It makes perfect sense in the case of major chords but what about when you're getting into minor or diminished or augmented stuff, which is fairly common?
Great question! So the same idea works for each situation. For minor chords, the only difference is the third. Since it only appears once in the first 8 partials, it's not a big issue. You still follow the 1537. It will still help you avoid too much dissonance.
With augmented and diminished chords the issue isn't so much avoiding dissonances any more as much as emphasizing the unique sounds of the chords. In these instances the relationship between the first and fifth are what create the defining sounds, so they're stilll the most important for doubling. That's why 1537 still works for them.
So in summary, 1537 applies to just about every type of triad. I hope this helps!
@@TableTopComposer thanks! Ive been watching orchestration videos from a bunch of different sources and yours have been particularly helpful. Cheers !
Wat software you use to demonstrate the overtone maneuvering in this video?
I use Cubase as my DAW of choice :)
What about extend chord tones e.g 9th 13th? Could you swap them out for the other chord tones like in four part writing? Love the channel BTW
Many thanks
Thanks, Matt! The short answer is yes; it's called "tension substitution". The most common type is replacing the root (in the upper voices) with the 9th or the 5th with the 13th. I actually have a video I uploaded last week that covers this topic :)
question! do overtones work backwards too? Like with a principle pitch being high would there be lower octave tones as well? I love that you did this by the way, I've been trying to look for orchestral videos for monnths
Thanks! That's a really good question! What you're describing is a theory called the "undertone series". Unlike the overtime series, they're completely theoretical and don't physically exist, so you don't need to worry about them, but some composers/theorists like to work with them for fun. The basic idea is that you follow the same intervals, but going down instead of up. Unfortunately I don't know much else about it, so I'd recommend looking them up if you're interested in learning more. I hope this helped :)
@@TableTopComposer thank you sir!!!! very helpful (:
My pleasure :)
U are Cool!!
👍