You are overthinking chords 2/3 | The Songwriting Corner
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- Опубліковано 16 чер 2024
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Holistic Songwriting is the most relevant resource for modern Songwriters/Producers on the net.
Friedemann Findeisen is an award-winning songwriter and the author of the bestselling book "The Addiction Formula". As a musical profiler, he coaches some of the biggest producers in Germany.
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that´s what my mother always told me (she was a singer, my father a pianist, he accompanied her on piano): "your father had to learn what was best for my voice."
Important clarification: I made this clearer in part one of this series when I talked about it in full, but the chord inversions that you build on a bass note give you different chords. So for example, if your bass note is a c, the 1-3-5 pattern will produce a C major, the 1-4-6 will produce an F major (in 2nd inversion), and the 1-3-6 will produce an A minor (in 1st inversion).
So that gives you 3 paths to choose from, awesome!
This channels wicked. Subbed. Looking forward to more.
Hi! Do you have a podcast as well? Love your material thanks for creating it :-)
I like what you said and touched upon again in this episode. Use your ears, all the music has to do is sound good and fulfill your motive. That's it. So key.
Thank you for these videos!
Great work as always! Thanks for the great content to hone our craft. The key and the BPM drastically change the feel and emotions of a song. Personally I love the key of D, but there’s something insanely good about C#m.
'if it doesn't sound right, change it!!!💡
Brilliantly simple truth😁
So appreciated ⭐⭐⭐⭐⭐⭐⭐⭐⭐⭐
Thanks! I've been fighting with a tune for ages. This is really helpful.
Really insightful nice!
"don't overthink chords"
spends 5 minutes overthinking keys.
Ha! Well, I believe I at least said everything that ever needed to be said about picking the right key. ;)
To be fair, the key and the BPM are the entirety of how the emotions of a song feel. So it kind of requires thinking a lot about the key. I wouldn’t call it overthinking the key at all :)
Mark Farnsworth hey Mark, Can you please tell me where can I read more about that concept?
@@markfarnsworth3340 you're wrong. Tempo matters, key doesn't. The same song in a different key has the same "feeling" (unless you use the same voice and move it too much then it will sound different on that voice). the only consideration when picking a key is what sounds good on your singer
@@ShaharHarshuv I’m going to respectfully disagree. Take any pop song and sing it 6 keys lower than it already is. Now tell me key doesn’t change the feeling of a song as it sounds sluggish. ;)
Hi Friedemann, great video!
I'm really looking forward to get your songwriting decks. We ordered a couple of them to give them away to our students. Keep up the good work and thank you for the great content.
Cheers, Daniel
I love that, thank you for sharing! :) I think you won't be disappointed!
Always tell a story, and remember that you're putting the responsibility for telling that story into the hands of other people, beyond your reach. Compose what you love to compose, of course, but don't forget that what brings all composers together from Shubert to Hart to Berlin to Kern to Rodgers to Hammerstein to Sondheim to Larsen to Miranda is this. Good composers love to compose what performers love to perform, which is what audiences love to hear. If you're going to be a good song writer, you have to be its first performer and its first audience. You have to first be its writer and love writing it, you have to be its first performer and love performing it, and be its first audience, and you have to enjoy the same thing three times over to know it's good. And if you never enjoy what you're doing in the first place, never enjoy what you're making, you're not going to make anything good and you're going to throw it all out, 100% instead of just 99% like a successful artist.
And even most of what you enjoy, you're going to throw out. And of what remains, even that will get mostly thrown out. And at the end of the day, there is a golden gem and that's really something. Take a journey of ten thousand steps. Ask yourself at any one of those ten thousand steps, any one of them-- hey, that last step you took-- was that the step that took you to somewhere you wanted to be? Is this step where you were going? Of course not, not particularly. Just one step closer than the place before it. And yet throughout this journey you took ten thousand steps to ten thousand places you didn't particularly want to be until you finally found one you did.
Life is like that, you know? You take ten thousand steps to ten thousand places you didn't want to go to, until you end some place you want. Your destination. Your FINAL destination.
Along the way you have to learn to enjoy the view, seriously enjoy the view, and laugh at all the little missteps along the way. For instance, reading long youtube comments
That inversion stuff is misleading. Those inversions are three different chords that share the same note (C)
135 - CMajor
146 - FMajor 1st Inversion
136 - AMinor 2nd Inversion
They can all work in the key of C, but the way it was worded made it seem like they are all the same chord/serve the same function
Thanks. That's what I also wanted to comment on.
Thank you for pointing that out. They are indeed all different chords. However, the truth is: Does it matter? I want people to listen to what they're playing, not overtheorize it. It's really not all that important whether they KNOW what the notes or chords are called. But if we want to be sticklers, your comment should actually read F major 2nd inversion and A minor 1st inversion.
Yeah but I didn't quite get how that helps with basslines. Those are the notes that the bass can play in each bar?
Holistic Songwriting yes it matters because it's misinformation that people will take as fact. You could have portrayed the same concept of playing around with different chords with a C as the bass note without, making it harder for the aspiring musician to learn more theory in the future.
You're not the only content creator musicians follow, so now a musician is gonna see a video on inversions after internalizing what they learned in this video, and it's gonna be really confusing and hard to understand, because they previously learned that the name of a chord is defined by the bass note, rather than the notes in the chord.
And they're not gonna have enough information to know which video is correct, so they'll probably stick with whichever method they learned first, which could seriously limit future improvement.
Like if you literally didn't mention inversions (the misinformation) and hint to the fact that these are all the same chord, I wouldn't have said anything. But if you're gonna mention half truths, it's gonna steer people the wrong direction for future self-education.
@@LouisLinggandtheBombs No, the bass just plays one note per bar, on the one. That can then be expanded with the highlighted notes.
love it
01:06 click here to start the video
I just made a microtonal song in 19TET for more interesting chords and to challenge myself a little and now I'm watching this and I don't know why
The 12 notes in my DAW dont make any sense anymore in 19TET so you have to do a lot by ear. That's the quickest way at least. In that way this video was still helpfull for me
That lil piano's over thinking it's notes.. I think the lil fella wants to be a real big-boy grand piano 😝
Part 3 is up: ua-cam.com/video/9SMqhuPboOA/v-deo.html
'Key competence'
Interesting and well explained but I don’t understand around 7:00 when you are talking about chords inversion why some notes are different when you are referring as first and second inversions. Shouldn’t the three notes be the same just in different octave positions?
In inversions, why do they complicate things and use intervals to call a positon a 6th? To me, the positions should be called 1-3-5, 3-5-1, and 5-1-3. Or instead, call the 1 an 8 when it is a higher octave. I just think of it as finger positions relative to the key as the root when I play. It is easier for me as a beginner.
You're using functional theory, which is 100% correct. My version focuses on the intervals, which is easier to learn if you don't know music theory.
@@Holistic-songwriting Thanks, but it is not easy to me on piano. Is it easier for guitar tabs? I don't know how to read tabs. ha, haa.
If I use the harmonic minor or phrygian which chords should I use?
I think Signals Music Studio videos could help you with that
Just check what triads all scale notes can form in harmonic minor.
Regarding phrygian, it has the "same" notes as a normal major key, but the trick is to make the third chord of the major key feel like home (simply put, because it will give a whole different vibe). Not always an easy task, but quite fun.
I find phrygian and lydian quite difficult to grasp. I'd recommend to start by mastering ionian, aeolian, harmonic minor, dorian and then mixolydian. :)
After watching your videos I realized that maybe I have a problem. The songs I'm writing for my firt solo album have half born from ramdom voice recordings I did in my phone. Just now I realized they all have VI-V-IV-n chord progression. Is people gonna feel like there are to many songs alike? They differ in tempo, rhythm, key...you know. But now I wonder If I should try to chance the chords. But when I started to try, they lost the feeling. Maybe I'll spread them in future albums. Any advice?
Sometimes in that situation I swap out for relative chords. Example: swap Amin for Fmaj and see if it works ☺ the melody might still work over the relative chord. Doesn't always work but hey
This happens to everyone in the beginning. It just means that you need to work on your musical vocabulary. Learn to hear and appreciate other chord progressions. There's no need to change existing songs (although if you want to, what Brad Hoffman said is the way to go, so exchange with a tonal chord that's a third higher or lower than the chord you want to exchange), but work on it in the future.
@@Holistic-songwriting Thank you for the answer and thank you for the videos!
@@Bradovski Thank you!
I know C Major is the “easiest”, it’s really my least favorite scale and so it’s hard for me to even be inspired to come up with anything good in it.
The link for the HS Welcome package doesn't work. Well, the link works, but when you put your email address in, you never receive a confirmation email. I tried from several times from several accounts, and no confirmation email to receive the items.
Could you send an email to me@holistic-songwriting.com please? That shouldn't happen.
@@Holistic-songwriting just sent one over, thanks
feel like this entire 3 part series could have been shortened to just the part 7:19 - 7:32
Sir can you start artist series again focussing on artists rather than just single songs. I liked the old format better,that was far more informational and easier get inspiration.😇
Yes, planning to! I had just done a video like that for Tool already. But returning to that format this year.
Sorry I meant to say"easier to get inspiration",not that great with typing, but thnx and hope you and your family are fine in these tough times.😇
Great work. Been following you for years. I have a small request to make.
Please do a porcpine tree song in artist series.. Please. If you do anesthetized or arriving somewhere that be great. Please.
Great lesson. I think you need a bigger piano!
Actually his hands are huge
Not gonna lie he kinda looks like binging with babish.
Andrew Rae, connoisseur of making things tasty. Be it your musical jams or more fruity ones.
I saw the thumbnail in my sub box and thought "ah, a new binging with babish...oh no it's not lol"
Constructive criticism. The little piano is a very interesting build but for the porpouse of this videos is not helpful. The sound quality is not enough to hear properly what you are describing. A MIDI controller hooked to a computer would be much more effective and educative, you can hear way better and see it. This is a great channel
"If you're a beginner just stick with the white keys," is absolutely one of the worst things to say to a beginner. Visually, yes, it's easier to internalize. But w/o the black keys the white keys are harder to navigate. At the same time, "if it sounds bad, change it," is a direct and constructive way to get students/writers out of their heads. So kudos there, thanks. Also - Captain Chords is contemptible.
I'm not sure I follow. What do you mean by "But w/o the black keys the white keys are harder to navigate"?
@@Holistic-songwriting The black keys provide a visual - landmarks if you will. Without them the white keys all look the same and wash together. The 2 and 3 black keys are guides to get from one octave to another (up, down, 1, 2, 3, etc.). Hold a piece of paper or a towel or your arm in front of the black keys so you can't see them. The white keys just run together. Black keys are essential to the beginner piano student and in my experience are only more challenging to play when students are taught they are from the beginning, and/or to avoid them for years entirely. I'm down with what you're doing and respect your skill sets. And I realize this was a video covering a specific topic in a short amount of time. Black keys, however, are essential for piano students to learn from day 1, in varied ways. Also - thanks for the follow-up comment - I appreciate it.
I am pretty sure Friedman was addressing that to begginner songwriters. Because its definitely harder to play in keys which have both naturals and accidentals than Cmajar and Aminor. I believe he wasn't suggesting to ignore them but to avoid using them in the beginning stages of songwriting.
What The Vast Expanse said. Also, Kavon, it sounds like you're saying "don't remove all black keys from a piano or you won't know where c is any more", which is hilarious to me, and that's obviously not what I was suggesting. All I said was: in the beginning, keep it simple.
@@Holistic-songwriting Your direct quote was "If you're a beginner just stick with the white keys," and there are ways to phrase that which avoid limiting beginners' collective mindset of the keyboard. You are oddly defensive and it's unfortunate you publicly display that aspect of your personality regarding your approach to music education.
maybe you can pronounce your name a bit quicker and put Eminem outa business - love your video’s, thanks for sharing your valuable knowledge
Not liking these new format videos :-(