Augmented: The Rebel Triad
Вставка
- Опубліковано 9 чер 2024
- Mailing List: eepurl.com/bCTDaj
Practice Exercises: 12tonevideos.blogspot.com/2016...
Diminished 7ths Video: • Diminished 7ths: Trito...
Secondary Dominants Video: • Secondary Dominants: A...
Harmonic/Melodic Minor Video: • All About Minor
Dominant Function Video: • Dominant Function
Chord Scales Video: • A Scale For Every Chord
Dominant Scales Video: • Scaling The Summit Wit...
Modulation Video: • Modulation
Diminished 7th Modulations Video: • Diminished 7th Modulat...
Facebook: / 12tonevideos
Twitter: / 12tonevideos
Email: 12tonevideos@gmail.com
Next: • What The Heck Is Neo-R...
Last: • Fire The Canons!
Whoops! I messed up the audio clip again, this time for the minor line cliche. The line is correct, but I accidentally put it over a major triad and didn't catch it in time. Sorry! Here's a link to a recording of real minor line cliche: soundcloud.com/12tonevideos/correct-minor-line-cliche
Everything the video says about it is correct, I just misclicked when I was programming the audio and didn't double check enough.
Pin this to stop it getting buried
This is exactly the solution I needed. You are a hero amongst our people, told about in legends for ages to come.
i like to use augmented triads as a harsher replacement for the dominant 7 chord, or to just use for its sheer dissonance
Sheer dissonance is a poor compositional technique. Put more thought into it and craft more specific dissonances.
Great Lesson.
On a related mathy note, I think that I found an interval more dissonant than the Tritone and it is a modified minor 6th. The ditone: A, F is 110Hz and ~174.6141157Hz. The golden interval from A is 110Hz to ~177.9837388Hz (~33 cents higher than F). Of course I do not know how to use this knowledge except to make a subtly more dissonant Augmented chord or a subtly darker minor scale that cannot be played without manually tuning to it. The reason that golden ratio is more dissonant than the tritone (which is a square root 2 increase in frequency) is that the golden ratio is the worst number possible for representing as a fraction.
Huh, neat! I hadn't thought to try that. I'll have to give it a shot, see what it sounds like. Thanks!
And you know what, that note is in use in arabic music when the second jins of a maqam is a beyati tetrachord. I can immediately give you an example of a turkish folk song called 'kara tren'.
@SharkRetriever One way to think about it is to look at how quickly fractional approximations converge to it. For the golden ratio, any sequence of fractions that gets closer to approximating it do so much more slowly than would similar sequences constructed for other, unrelated irrationals.
Another way to think about it is that, if you had a line with the Golden Ratio as its slope, passing through the origin it would 'miss' all the other lattice points of the grid by, on average, a greater margin than would any other unrelated irrational number slope.
I thought the ditone was a 81:64 ratio
Although the golden ratio might be the "most irrational" number by some measures, keep in mind that our ears are really good at approximating rational intervals even when the actual interval they hear is slightly (or sometimes a fair bit!) out - that's basically why 12TET works. If we wanted the most dissonant interval possible (and I know that's not exactly what you said, but it's in a similar vein), what we would probably need to look for is the furthest interval from any rational number, up to a certain limit on the numerator and denominator. (Keep in mind going forward, the reciprocal of any interval still encodes the interval, but between 0 and 1. It just makes it easier.) I started with a limit of 15, just to see what would happen, and... the greatest range between two consecutive fractions 0 to 1, limit 15, is between 0 and 1/15, or 14/15 and 1; second place is between 7/15 and 1/2, or 1/2 and 8/15 - basically, approaching unison (1:1) and the octave (and a 15:1 interval of nearly 4 octaves, lol). I tried with each whole number below 15, and yes, the answer does seem to asymptotically approach unison and the octave. I guess it kind of makes sense that given any limit, you could just play an interval slightly sharper or flatter than an octave or unison and it would clash pretty bad; still, I wasn't expecting that answer.
(Since what I was looking for was "the furthest interval from any rational number," you still have to calculate what's at the median of each range, which often has larger divisors than the limit it derives from. Within an octave, 15-limit gives you 60:31 and 30:29. More manageably, 9-limit gives you 36:19 and 9:8 [hello, major second!]; while 5-limit gives you 20:11 and 5:4 [hello, major third! Kinda wasn't expecting you around]. Interestingly, for even limits, the range closer to 0 gets smaller but the closest fraction to 1/2 is the same as for the previous odd limit - so 6-limit tuning would yield 6:5 [insert that joke again but it's a minor third], and 20:11 again.)
So line cliches (specifically the ascending one demonstrated) are what give me this strange nostalgic feeling. Don't a lot of old school RPG video games use this motif?
I'm not sure! Video game music isn't really my area of expertise, but I do know that the limits of 8-bit composition meant that they had to rely on a lot of fairly basic voiceleading tricks to build in some harmonic interest (They used a lot of chromaticism for the same reason) so it wouldn't surprise me!
Getting close to seeing every video...gotta catch em all
Excellent video as always!
+Cory Martin Thanks!
1:40 I heard a major triad, not a minor...
Yep! I messed up the audio on that. I put an annotation up to acknowledge it, but if you're watching on mobile that's not gonna pop up. Sorry! There's a link to the correct line cliche in the comments already, but in case it got buried, here's another one: soundcloud.com/12tonevideos/correct-minor-line-cliche
1:25 - 1:30
I I⁺ I⁶ I⁷ ... That chord progression occurs precisely that way in the Four Seasons' song, "Bye Bye Baby," where it resolves into the III major. Cast in your example key of F:
F F⁺ F⁶ F⁷ A
[I'm sure it can be found in tons of other songs, with different resolutions; just can't think of any right away ...]
1:40 Stairway to Heaven
To modulate using Aug. triads couldn’t you move an aug. triad (acting as the V of I), up a major third and treat that as the new V of the new I, and so on for the last inversion?
at 2:18, the Daug7 ( D F# A# C )in G minor is same as in G major, the ( #2 ) A# need to resolve to ( 3 ) B too, i don't know why you say #2 - 3 only in major?
that B+ sounded like it wanted to resolve to C
If you’re singing and using just intonation, then an augmented chord is not three major thirds, but two major thirds and a diminished fourth. My music is close to renaissance music, so it’s all triads, but for a bit of color I can do something like:
Bbm Db+/F (D flat is suspended) F
This sort of thing was fairly common in the late renassaince… and here’s an example:
ua-cam.com/video/eq2Gz6Ogxj4/v-deo.html
After 16 months, this video has still no dislikes.
Thomas Nimmesgern someone disliked it. That's sad that they did.
And now, after 67 months, it yet again has no dislikes.
Great channel, but this time I watched over and over and still can't understand what he said from 2:000 on, how can it have a dominant function and all these dominant scales, could someone help me
a dominant chord is (1 3 5 b7)
is 7Aug (1 3 #5 b7) a dominat chord?
is 7(b5) (1 3 b5 b7) a dominat chord?
They should be, but I'm not sure.
Even with the altered fifth, they still have the tritone between the 3rd and b7th, in fact the 7b5 has two tritones (1 and b5) in it for extra tension.
For a common song people probably know that has the chord, you can think Jingle Bell Rock. The last note of "Now the jingle-hop has begun" is a V+ or V+7 chord.
Though, to me, it just sounds bluesy. No destabilizing the tonality.
Huh, neat, I didn't know that! Thanks!
on 2:40,how we get the conclusion of "augmented triad is the 5th degree of harmonic minor"?...
is it shoud be the 3rd degree of both harmonic and melodic minor?..
Well, yes and no! It's the III chord in that it contains the 3rd, 5th, and 7th of the key, but because augmented chords are symmetrical, you can assign any chord tone you want to be the root and still have an augmented triad. The chord, as used, tends to have dominant function, which means we're most likely to see the 5th of the key as the root, making it the V chord and making the b3 of the key behave more like a #2.
many thanks your reply!!
can you make some videos about jazz improvisation in details? how we choose a tune or scale over different chords!
It's great in a blues turnaround, like G7 C9 G7 D+. Obviously D+ isn't in G blues but it's a nice tension because that A# (aka Bb) has half step motion to the B natural.
Interesting! I hadn't seen it used like that but it makes a lot of sense, thanks for sharing!
I was messing around with it earlier today and think it's really a simplified dominant 7#5, or whatever the theory-correct name for that is. On a guitar playing a D7#5 with stacked thirds is very difficult so I often omit the 7 and just play the D+ because the #5 seems to override the tritone to my ear.
I don’t know I like to call it Aeolian major cause it doesn’t really feel like a V chord
i don't know what you talking about after 2:40...it's too advanced
Phrygian? the interval between F and G# is 3 semitones not 2 semitones, i'm so confused.
Good question! Phrygian Dominant is actually a slightly different scale from normal Phrygian. Specifically, it's Phrygian but with a major third degree (In this case G#) whereas Phrygian has a minor 3rd. (G)
Hey 12tone, can you like this comment? I have nothing original to say. Is there any books or websites I can check out to understand half of what you're saying?
Let’s see, if you start with C+, here are the ways to get to any key:
Drop a single note a half step: C, Ab, E
Raise a single note a half step: Am, Fm, C#m
Raise two notes by half step: A, F, C#
Lower two notes by a half step: Cm, Fm, Abm,
Huh, that’s just 6 out of 12, plus their minor versions, how to get the other half?
You can't use a single diminished chord to have all 12 keys tho, you'll have some steps to do it all (and this channel has a video about it). For example, C°7 can be a primary leading tone dominant to Db/Bbm, E/C#m, G/Em, and Bb/Gm. To obtain the rests, you kinda need several steps, using a vii°/V (to resolves to Gb/Ebm, A/F#m, C/Am, and Eb/Cm, and vii°/IV (to Ab/Fm, B/G#m, D/Bm, and F/Dm). You can simplify it tho by using sameroot resolution (+II and +VI) (+II resolves to C/Cm, Eb/Ebm, F#/F#m, and A/Am, while +VI resolves to F/Fm (using C7), Ab/G#m (using Eb7/D#7), B/Bm (using F#7), and D/Dm (using A7))
In this case, you'll need another steps by using the roots' minor version or its' resolved new majors. I'll take C+ -> F here. Augment the F (to F+), you'll get D, F#, and Bb (both major and minors). That's 9/12, so we'll take another new majors, I'll take Bb (so the V+ -> I resolution is in act) and augment it, yielding Eb, G, and B (both majors and minors).
So... (*C*, E, Ab) -> C+ -> (A, C#, *F*) -> F+ -> (D, F#, *Bb*) -> Bb+ -> (Eb, G, B), that's the route I take for this obtaining
V+ I