For those of you that went nuts trying to follow-up (like me), between the weird square pad and the slow-refresh keyboard that lacks the C1-octave, here's the summary: 10:47 - #1 Innocent Love - Key: G - Progression: I - V - IIIm - II - I - Ch. w/ extensions: Gadd9 - D5(add9) - Bm7 - A - Gadd9 - Tricks: Make the "III" a "minor 7 chord"; For the "II", borrow the "Lidian chord" (Lidian sharps the IV! So C jumps to C#); For the rest, add "9s" for bright. 13:44 - #2 Beautiful Sorrow - Key: Am (eolian) - Progression: Im - Vm - VI - IVm - VI - Im - IVm - IVm - Im - Ch. w/ extensions: Am(add9) - Em7 - FMaj7 - Dm9 - F - Am7 - Dm7 - Dm7(add11) - Am(add9) - Tricks: Make the "VI" always "major", the rest keep all minor. For the "IVm" in the middle, add extra-dissonance with both the "7" and the "9" for climax. 16:36 - #3 Victorious Triumph - Key: Am (eolian) - Progression: Im - Vm - VII - IV - V - III - VII - IV - Ch. w/ extensions: Am7 - Em7 - G - D5 - C/E - CMaj7 - G - D/F# - Tricks: Avoid "9s". Play with the chord inversions. Borrow the last "IV" chord from Dorian. 19:31 - #4 The Mysterious Epic - Key: D major (mixture with Frigian) - Progression: I - III - bII - I - Ch. w/ extensions: D - Fadd13 - EbMaj7 - D - Tricks: Start major, but borrow "bII" and "III" major chords from Frigian. 21:37 - #5 Meditative Bliss - Key: B - Progression: I - I - IV - II - I - VIm - VIm - Ch. w/ extensions: Badd2 - B - Eadd9 - C#add9 - F#add2/A# - B - G#m - G#m7/F# - Tricks: Stay in the "I" an extra measure at the beginning, and the same for the "VIm" at the ending. Play with different bass notes. Use the "9s" a lot. 25:17 - #6 Hateful Plot - Key: Cm - Progression: Im - IIIm - Im - IIIm - Im - bIVm - bVIIm - #IV - Im - Ch. w/ extensions: Cm/Eb - Ebm - Cm - Ebm - Cm/E - Em - Bbm - F#m - Cm - Tricks: Make all chords minor. Go back and forth between the "Im" and the "IIIm". At some point create a dissonance with a bass out of scale, after which you to jump out of the scale. (Cm/E > Em). 27:24 - #7 An Amusing Classic - Key: E - Progression: I - V - VIm - I - VIm - I - V7 - I - Ch. w/ extensions: E - B - Am - C#m - E/G# - B7 - E - Tricks: Go back to the "I" frequently. Use the dominant at the end. 29:37 - #8 Existential Dread - Key: - - Progression: - - Ch. w/ extensions: Am/C - Fm/C - Am/C - Cm - Adim - Fdim - Cdim - Fdim/B - Tricks: Use the minor third (C) as a pedal tone in the bass. First half use minor chords, second half use diminished chords. 32:02 - #9 Endless Ascension - Key: - - Progression: - - Ch. w/ extensions: Gm7 - Am7 - Bm7add11 - Dm7add11 - Gm7 - Am7 - Aadd6 - Fadd2/C - Tricks: Keep most chords "minor 7", and add the 11s for extra brightness. 35:21 - #10 World Domination - Key: G (Hungarian minor scale) - Progression: I - bV - b IIIm - V - Ch. w/ extensions: GmMaj7 - EbMaj7 - BbMaj7(b5)- Eb7 - Tricks: Keep most chords "Major 7"
Thank you this is the information that I lacked. What mode and showind the chords number as an overview. There was to much fokus in the video of showing futuristic matrix keyboard with colors.
Valence isn't a measurement of the type of emotion, it's specifically refers to how pleasant or unpleasant the physiological response is being interpreted in the context of the environment & situation. Valence and arousal are the closest we get to consistent & measurable variables when it comes to emotions. Although there's a lot of functional value to using labels like "happy, sad, etc.", they take the science back to the pre-Darwinian biological essentialism way of conceptualising emotions that Paul Ekman has been selling (notably to Disney/Pixar) for decades. That is when he's not selling his totally legit "how to detect liars via facial microexpressions" courses to airport security and government agencies, with no adverse outcomes at all, besides all the pseudoscience.
Good video I didnt know about the Berklee map! the piano sound for the chords is way too brutal tho, kind of gets in the way for feeling the chords by being unuanced, should probably focus more on diving right in the chords and have them played with the right amount of velocity (and probably a better piano vst)
Glad you liked it! Indeed that study was really damn cool. Noted your feedback - I’ll keep that in mind for future videos. Good call on a visual of the whole progression too
Just as I have been singing the desire for this knowledge you have been crafting this video for us all. Blessed you heard my wishes all this time. Thank you 💙💙😇😇
These are the videos that sum up my thought process and explain how I think in terms of music and connection of life and frequency! I’m into all this philosophical and spiritual / frequency vibe stuff.
This is really a phenomenal video. Coming from guitar there are so many piano “cheats” to adding flavour to chords and some of these progressions are so interesting and educational. Loved it
This is very good video especially if you take in account how big this topic is. Would be cool if you make series of videos where you take each "emotion/ sub emotion" and make more examples I think all those people who write that its too complicated or they can't imagine would help them to see it better
Could you let me know what app you use to display the note and chord info at the top of the screen please? I'd really like to explore the chords with that tool and experiment with voicings.
I think you mind linked with me while you were making this video. 🧘♂️🧠🧘♂️ A few days ago, I thought of that emotion wheel after seeing it in someone's house a few years ago and thought *"oh man it would be convenient if we had a layout like that for cadences and professions"* I've never seen you channel before and the algo read tf outta me
I find it hard to judge the emotional impact of these progressions because 1. The piano sound is too percussive 2. Many of the chords are in a too low octave. Number one makes everything somewhat aggressive, number two makes it hard to hear the chords clearly. For a subject likes this you should have been aware if this.
Alternative analysis of progression 1 "Innocent Love:" key of D, 4-1-6-5, super basic, same progression as so many bland overproduced tracks form the last decade. I really tried to hear this in lydian, but the four inescapable chords of pop are too deeply embedded in my brain.
I think giving the progression chords 1 beat each is kinda like introducing the color palette. If you were to change the duration of the chords and rhythm, i recon the perception of the progression would also change. I think this is instructive as a way to expand possibilities, but I'd like to see how rhythm and duration helps to accentuate how the progressions hit
@@Mallcom7000 You can't see it? The video editing and graphics were done heavily by AI, and so much so that it was both distracting and irritating. It made things worse not better, though it really should not be used at all in this manner, if at all.
@@RememberGodHolyBible thats not AI it’s just low effort editing and stock transition effects. There is no robot attempting to simulate intelligence in this video
Such an interesting theme. Unfortunately I don't master the chord language well enough so it all became double greek to me. Probably need to study more music theory to have any value from it.
Thank you for this video, the voicing are beutiful. 🥰 I have a question, In progression 1 you are using slash chords with D in the bass, but in your example G is in the bass for all your voicing (/G) and the progression is 1 Major, V major, iii minor and II major (lydian). Doesn't that make the progression in G = G, D, B min and A. The chords listed in the progression 1 one example appear to be, I Major, V major, iii minor, II major or G,D,Bmin,D. It appears as if the II chord replaces the V chord. I can see that II Chord (A) is inbeded in the last chord (D -referenced in your progression as DMajor add 4), is this why you refer to the 'DMajor add 4" Chord as a II chord? Also in reference to the slash chords, it's my understanding that the note on the right side of the slash is the bass note. If this correct then would it make sense to refer to all these chords as "/G" since G is in the bass on all your voicing. It's apparent you know your voicing inside and out, I'm trying to catch up to your, so any help would be appreciated, Curious minds want to Know🙂. Thank you for this wonderful video, I'll be dissecting it with pleasure and incorporating your lesson into my musical life. Your fan...K ,
Great content bro, love your vids...Daniel Levitan mentions that emotional response to music, tones, and intervals are very culturally relevant...as opposed to the pentatonic scale, which is found in every culture and every era
His book is incredible. It’s unreal how deeply rooted music goes in our brains pattern recognition, emotional / motivation centres and all human culture. Truly beautiful
12:31 I feel like this progression just sounds like IV I vi V in D Major rather than G Lydian. I don’t think it’s doing much to tonicize G but I guess it’s in the context… I think a few of these are different voicings and colors of common progressions
@@metamindmusicofficial My right brain doesn't have the words, but I will think about it. Watch Jacob Collier at Power station, emotive listening video.
can you show us how Frank ocean makes non tonality ambiguity chord progressions, and how he uses delayed gratification breaking the mechanics of pop music but still staying accessible because of replay value
@@neji7070 all of his songs are built following the same mechanics that's why he gets away with not releasing anything, ofc his sound production and lyrics also plays a huge role in creating that delayed gratification emotion.. but I specifically learn his harmonic approach
@@pyaratofu I’m not understanding you here. Tonal ambiguity expresses that the structure of the song doesn’t lead toward any centre or home when it comes to theory. While I can understand your point of delayed gratification, maybe it’s because he structures his songs in a composer style, but for the life of me I don’t understand how his chord progressions are non tonal? If you could name me at least one song where the chord progression is remotely ambiguous, that would help because I’ve also studied a lot of franks music and I can tell u for certain that they have a tonal centre
@@neji7070 I think you are missing the point, he makes it ACCESSIBLE, that's the whole point, he follows the Radiohead mechanics but blurs it enough to makes it sound tonal
@@pyaratofu i am not missing the point because you clearly stated 1. He makes non tonal ambiguity chord progressions. I’m not arguing that his music isn’t accessible and yes Radiohead has been a big inspiration for frank, you can literally hear it in his music. I just want to know just 1 song where his progressions define it as non tonal and ambiguous? There’s not much to fight over you on that except just naming 1 song
I did not feel like this video was useful at all. There is so much more to creating emotion in music than choice in chord progression. It is only one factor and not even close to the most important.
I mention this in the video - it’s an impossible task to capture all the nuances and variables that contribute to the emotion of a piece of music. Timbre, tempo, arrangement, harmony, melody, sound design, instrumentation, context… the list is endless. That’s not including how we label feelings with concepts - which everyone could be doing slightly differently. I chose chord progressions since I think it’s a single element that can help display what CAN create emotion. If you disagree with my interpretations - that’s totally cool. If it’s not for you, it’s not for you✌️
I agree with the too much AI comment, the background is crazy distracting, it's driving me crazier, and stop saying yo please, that's like what the '80s?
Guess what? The problem isn't a word that the author of the video says that most likely did not bother anyone else if they even noticed it. You should take as much time as it took you to send your negativity through the interwebz to the author to do a lot of self reflecting and ask yourself WHY does this bother me? And WHAT is actually driving you crazy...because if it truly is an animated background and the word YO, then perhaps instead of being rude and disrespectful and spreading negativity...might I suggest you stick to BOOKS instead of UA-cam videos? I am completely serious. Also, you might want to survey your friends and family and see how many agree that you might have some control/domination issues that you might want to work on. A polite, well mannered, and well adjusted person would just thank the video creator for all the knowledge they shared instead of focusing on things that YOU do not like. Good luck!
Who cares just play or listen to music don’t do an in-depth analysis of it just enjoy. We spend too much time worrying about stupid crap like this, it pathetic
It's important to understand these concepts if you have a job like composing a score for a film or game. While I understand what you're getting at (because it annoys me as well when things are picked apart and compartmentalized or split into subgenre upon subgenre), it's very useful to know why something like this works and how to implement it when needed. ✌️
I don’t think analysis and enjoyment are mutually exclusive. The only reason for the breakdown is so that others can maybe play something they’ve never tried before.
Is analysis paralysis a thing? Yes absolutely but for me personally I learned best from analysis and seeing how something works. It gives you a guide to understand what came before, so you can create what comes after if that makes sense ❤
![Demonstrating 7 Ways that Composers Make Music Using Modes [SONGWRITING / THEORY]](http://i.ytimg.com/vi/sC2qXLnVU3A/mqdefault.jpg)
![Demonstrating 7 Ways that Composers Make Music Using Modes [SONGWRITING / THEORY]](/img/tr.png)
For those of you that went nuts trying to follow-up (like me), between the weird square pad and the slow-refresh keyboard that lacks the C1-octave, here's the summary:
10:47 - #1 Innocent Love
- Key: G
- Progression: I - V - IIIm - II - I
- Ch. w/ extensions: Gadd9 - D5(add9) - Bm7 - A - Gadd9
- Tricks: Make the "III" a "minor 7 chord"; For the "II", borrow the "Lidian chord" (Lidian sharps the IV! So C jumps to C#); For the rest, add "9s" for bright.
13:44 - #2 Beautiful Sorrow
- Key: Am (eolian)
- Progression: Im - Vm - VI - IVm - VI - Im - IVm - IVm - Im
- Ch. w/ extensions: Am(add9) - Em7 - FMaj7 - Dm9 - F - Am7 - Dm7 - Dm7(add11) - Am(add9)
- Tricks: Make the "VI" always "major", the rest keep all minor. For the "IVm" in the middle, add extra-dissonance with both the "7" and the "9" for climax.
16:36 - #3 Victorious Triumph
- Key: Am (eolian)
- Progression: Im - Vm - VII - IV - V - III - VII - IV
- Ch. w/ extensions: Am7 - Em7 - G - D5 - C/E - CMaj7 - G - D/F#
- Tricks: Avoid "9s". Play with the chord inversions. Borrow the last "IV" chord from Dorian.
19:31 - #4 The Mysterious Epic
- Key: D major (mixture with Frigian)
- Progression: I - III - bII - I
- Ch. w/ extensions: D - Fadd13 - EbMaj7 - D
- Tricks: Start major, but borrow "bII" and "III" major chords from Frigian.
21:37 - #5 Meditative Bliss
- Key: B
- Progression: I - I - IV - II - I - VIm - VIm
- Ch. w/ extensions: Badd2 - B - Eadd9 - C#add9 - F#add2/A# - B - G#m - G#m7/F#
- Tricks: Stay in the "I" an extra measure at the beginning, and the same for the "VIm" at the ending. Play with different bass notes. Use the "9s" a lot.
25:17 - #6 Hateful Plot
- Key: Cm
- Progression: Im - IIIm - Im - IIIm - Im - bIVm - bVIIm - #IV - Im
- Ch. w/ extensions: Cm/Eb - Ebm - Cm - Ebm - Cm/E - Em - Bbm - F#m - Cm
- Tricks: Make all chords minor. Go back and forth between the "Im" and the "IIIm". At some point create a dissonance with a bass out of scale, after which you to jump out of the scale. (Cm/E > Em).
27:24 - #7 An Amusing Classic
- Key: E
- Progression: I - V - VIm - I - VIm - I - V7 - I
- Ch. w/ extensions: E - B - Am - C#m - E/G# - B7 - E
- Tricks: Go back to the "I" frequently. Use the dominant at the end.
29:37 - #8 Existential Dread
- Key: -
- Progression: -
- Ch. w/ extensions: Am/C - Fm/C - Am/C - Cm - Adim - Fdim - Cdim - Fdim/B
- Tricks: Use the minor third (C) as a pedal tone in the bass. First half use minor chords, second half use diminished chords.
32:02 - #9 Endless Ascension
- Key: -
- Progression: -
- Ch. w/ extensions: Gm7 - Am7 - Bm7add11 - Dm7add11 - Gm7 - Am7 - Aadd6 - Fadd2/C
- Tricks: Keep most chords "minor 7", and add the 11s for extra brightness.
35:21 - #10 World Domination
- Key: G (Hungarian minor scale)
- Progression: I - bV - b IIIm - V
- Ch. w/ extensions: GmMaj7 - EbMaj7 - BbMaj7(b5)- Eb7
- Tricks: Keep most chords "Major 7"
Thank you this is the information that I lacked. What mode and showind the chords number as an overview. There was to much fokus in the video of showing futuristic matrix keyboard with colors.
Valence isn't a measurement of the type of emotion, it's specifically refers to how pleasant or unpleasant the physiological response is being interpreted in the context of the environment & situation. Valence and arousal are the closest we get to consistent & measurable variables when it comes to emotions. Although there's a lot of functional value to using labels like "happy, sad, etc.", they take the science back to the pre-Darwinian biological essentialism way of conceptualising emotions that Paul Ekman has been selling (notably to Disney/Pixar) for decades. That is when he's not selling his totally legit "how to detect liars via facial microexpressions" courses to airport security and government agencies, with no adverse outcomes at all, besides all the pseudoscience.
Good video I didnt know about the Berklee map! the piano sound for the chords is way too brutal tho, kind of gets in the way for feeling the chords by being unuanced, should probably focus more on diving right in the chords and have them played with the right amount of velocity (and probably a better piano vst)
Also would be great to add permanent text with the entire chord progressions for each part, keep it up man, love your use for generated animations ;)
Glad you liked it! Indeed that study was really damn cool. Noted your feedback - I’ll keep that in mind for future videos. Good call on a visual of the whole progression too
Just as I have been singing the desire for this knowledge you have been crafting this video for us all.
Blessed you heard my wishes all this time. Thank you 💙💙😇😇
Glad I could help!
These are the videos that sum up my thought process and explain how I think in terms of music and connection of life and frequency!
I’m into all this philosophical and spiritual / frequency vibe stuff.
Glad it resonated! Gotta love the philosophical & spiritual vibes along with music 🌀
This was helpful, thank you!
Happy to help!
Instant subscribe !!!
A very interesting video, excellent stuff! Thanks for making this.
My pleasure! Glad you enjoyed it
This is really a phenomenal video. Coming from guitar there are so many piano “cheats” to adding flavour to chords and some of these progressions are so interesting and educational. Loved it
Endless thanks. Glad it was helpful!
Yooo... Great explanation, for ease of referencing, can you name the progressions by their emotional theme?
100% will do.
This is very good video especially if you take in account how big this topic is. Would be cool if you make series of videos where you take each "emotion/ sub emotion" and make more examples I think all those people who write that its too complicated or they can't imagine would help them to see it better
Endless thanks for the kind words. Excellent idea on exploring more sub emotions!
This is super helpful. Well done
My pleasure - glad it was helpful
Could you let me know what app you use to display the note and chord info at the top of the screen please? I'd really like to explore the chords with that tool and experiment with voicings.
100% it’s called ChordieApp
@@metamindmusicofficial Many thanks 🤟
I think you mind linked with me while you were making this video. 🧘♂️🧠🧘♂️
A few days ago, I thought of that emotion wheel after seeing it in someone's house a few years ago and thought
*"oh man it would be convenient if we had a layout like that for cadences and professions"*
I've never seen you channel before and the algo read tf outta me
Crazy how things work - gotta love algorithmic synchronicities
I find it hard to judge the emotional impact of these progressions because 1. The piano sound is too percussive 2. Many of the chords are in a too low octave. Number one makes everything somewhat aggressive, number two makes it hard to hear the chords clearly. For a subject likes this you should have been aware if this.
Alternative analysis of progression 1 "Innocent Love:" key of D, 4-1-6-5, super basic, same progression as so many bland overproduced tracks form the last decade. I really tried to hear this in lydian, but the four inescapable chords of pop are too deeply embedded in my brain.
Fantastic breakdown, dude
endless thanks!
@@metamindmusicofficialwhere did you find that emotional circle? I need to find a copy of that
I think giving the progression chords 1 beat each is kinda like introducing the color palette. If you were to change the duration of the chords and rhythm, i recon the perception of the progression would also change. I think this is instructive as a way to expand possibilities, but I'd like to see how rhythm and duration helps to accentuate how the progressions hit
too much AI
What?
@@Mallcom7000 You can't see it? The video editing and graphics were done heavily by AI, and so much so that it was both distracting and irritating. It made things worse not better, though it really should not be used at all in this manner, if at all.
@@RememberGodHolyBible thats not AI it’s just low effort editing and stock transition effects. There is no robot attempting to simulate intelligence in this video
@@Mallcom7000no there are AI generated images.
@@RememberGodHolyBible
Yeah, I'm also really annoyed by that.
Such an interesting theme. Unfortunately I don't master the chord language well enough so it all became double greek to me. Probably need to study more music theory to have any value from it.
Thanks! Here's a link to a video that covers all the foundations: ua-cam.com/video/2LA6EfD-TXs/v-deo.html
Brother I’m getting push 3 and also shure sm7db can I record good vocals or is there a need for an audio interface please help
Thank you for this video, the voicing are beutiful. 🥰 I have a question, In progression 1 you are using slash chords with D in the bass, but in your example G is in the bass for all your voicing (/G) and the progression is 1 Major, V major, iii minor and II major (lydian). Doesn't that make the progression in G = G, D, B min and A.
The chords listed in the progression 1 one example appear to be, I Major, V major, iii minor, II major or G,D,Bmin,D.
It appears as if the II chord replaces the V chord. I can see that II Chord (A) is inbeded in the last chord (D -referenced in your progression as DMajor add 4), is this why you refer to the 'DMajor add 4" Chord as a II chord?
Also in reference to the slash chords, it's my understanding that the note on the right side of the slash is the bass note. If this correct then would it make sense to refer to all these chords as "/G" since G is in the bass on all your voicing. It's apparent you know your voicing inside and out, I'm trying to catch up to your, so any help would be appreciated, Curious minds want to Know🙂. Thank you for this wonderful video, I'll be dissecting it with pleasure and incorporating your lesson into my musical life. Your fan...K
,
Great content bro, love your vids...Daniel Levitan mentions that emotional response to music, tones, and intervals are very culturally relevant...as opposed to the pentatonic scale, which is found in every culture and every era
His book is incredible. It’s unreal how deeply rooted music goes in our brains pattern recognition, emotional / motivation centres and all human culture. Truly beautiful
Commenting for the algo, biggups
Endless thanks 🙏
Eight words minimum to trigger that algorithmic response.
@@M2Mil7er thank you sir knight - you are the best
This is great
Just tryna boost the algorithm for u theres this deserves way more views
Appreciate it! Glad you enjoyed it
Why does happiness always sound melancholic to me?
12:31 I feel like this progression just sounds like IV I vi V in D Major rather than G Lydian. I don’t think it’s doing much to tonicize G but I guess it’s in the context…
I think a few of these are different voicings and colors of common progressions
for music theory dumbos like me:
10:47 - #1 Innocent Love------------- 4-1-6-5//4add9-1sus4-6m7-5sus4
13:44 - #2 Beautiful Sorrow---------6-3-4-2-4-6-2//6add2-3m7-4Maj7-2m9-4-6m7-2m7add4
16:36 - #3 Victorious Triumph-----6-3-5-2M//6m7-3m7-5-2(no 3rd)
19:31 - #4 The Mysterious Epic---
21:37 - #5 Meditative Bliss----------
25:17 - #6 Hateful Plot----------------
27:24 - #7 An Amusing Classic---
29:37 - #8 Existential Dread--------
32:02 - #9 Endless Ascension ----
35:21 - #10 World Domination----
27:27 odio cuando aparecen todas las notas ya tocadas, desconozco que tocas ahora después de ver el piano así :c
Love the examples but your examples you make when breaking the chord progression down is unclear to a noob like me
I meant to say your explanation is unclear and complicated to me. Can you please simplify this more please?
Ai background is just doing wayyy too much 😭
The first happy and sad examples were not "happy" and "sad".
what did you feel they were?
@@metamindmusicofficial
My right brain doesn't have the words, but I will think about it.
Watch Jacob Collier at Power station, emotive listening video.
“Thats just like, your opinion, man.”
@@Turtlpwr Man?
Melancholy and mysterious
can you show us how Frank ocean makes non tonality ambiguity chord progressions, and how he uses delayed gratification breaking the mechanics of pop music but still staying accessible because of replay value
I’m also interested in this, but do you have any examples of songs where is ambiguous in tonality?
@@neji7070 all of his songs are built following the same mechanics that's why he gets away with not releasing anything, ofc his sound production and lyrics also plays a huge role in creating that delayed gratification emotion.. but I specifically learn his harmonic approach
@@pyaratofu I’m not understanding you here. Tonal ambiguity expresses that the structure of the song doesn’t lead toward any centre or home when it comes to theory. While I can understand your point of delayed gratification, maybe it’s because he structures his songs in a composer style, but for the life of me I don’t understand how his chord progressions are non tonal? If you could name me at least one song where the chord progression is remotely ambiguous, that would help because I’ve also studied a lot of franks music and I can tell u for certain that they have a tonal centre
@@neji7070 I think you are missing the point, he makes it ACCESSIBLE, that's the whole point, he follows the Radiohead mechanics but blurs it enough to makes it sound tonal
@@pyaratofu i am not missing the point because you clearly stated 1. He makes non tonal ambiguity chord progressions.
I’m not arguing that his music isn’t accessible and yes Radiohead has been a big inspiration for frank, you can literally hear it in his music. I just want to know just 1 song where his progressions define it as non tonal and ambiguous? There’s not much to fight over you on that except just naming 1 song
Jumped in for the concept, left because the harsh piano sounds didn't make me feel anything
Noted for next time
Stay human. Express yourself, not "everything".
Maybe yourself and everything isn’t so different
I did not feel like this video was useful at all. There is so much more to creating emotion in music than choice in chord progression. It is only one factor and not even close to the most important.
I mention this in the video - it’s an impossible task to capture all the nuances and variables that contribute to the emotion of a piece of music.
Timbre, tempo, arrangement, harmony, melody, sound design, instrumentation, context… the list is endless.
That’s not including how we label feelings with concepts - which everyone could be doing slightly differently.
I chose chord progressions since I think it’s a single element that can help display what CAN create emotion. If you disagree with my interpretations - that’s totally cool.
If it’s not for you, it’s not for you✌️
I agree with the too much AI comment, the background is crazy distracting, it's driving me crazier, and stop saying yo please, that's like what the '80s?
Guess what? The problem isn't a word that the author of the video says that most likely did not bother anyone else if they even noticed it. You should take as much time as it took you to send your negativity through the interwebz to the author to do a lot of self reflecting and ask yourself WHY does this bother me? And WHAT is actually driving you crazy...because if it truly is an animated background and the word YO, then perhaps instead of being rude and disrespectful and spreading negativity...might I suggest you stick to BOOKS instead of UA-cam videos? I am completely serious. Also, you might want to survey your friends and family and see how many agree that you might have some control/domination issues that you might want to work on. A polite, well mannered, and well adjusted person would just thank the video creator for all the knowledge they shared instead of focusing on things that YOU do not like. Good luck!
Who cares just play or listen to music don’t do an in-depth analysis of it just enjoy. We spend too much time worrying about stupid crap like this, it pathetic
It's important to understand these concepts if you have a job like composing a score for a film or game. While I understand what you're getting at (because it annoys me as well when things are picked apart and compartmentalized or split into subgenre upon subgenre), it's very useful to know why something like this works and how to implement it when needed. ✌️
I don’t think analysis and enjoyment are mutually exclusive. The only reason for the breakdown is so that others can maybe play something they’ve never tried before.
Is analysis paralysis a thing? Yes absolutely but for me personally I learned best from analysis and seeing how something works. It gives you a guide to understand what came before, so you can create what comes after if that makes sense ❤
This video is for people that want to make music. Why are you watching videos explaining how to do things that you have to desire to do?
@@NaanFungibullexactakally
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