How Chord Progressions Work | Music with Myles
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- Опубліковано 10 кві 2017
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![How To Arrange Chords into BEAUTIFUL 4-PART HARMONIES [Music Theory - Voice Leading]](http://i.ytimg.com/vi/UkatcvIuF4U/mqdefault.jpg)
I’m not a music whiz by any means, but I’ve played guitar for 14 years and focused intently on the theory brought to me by playing a brass instrument for 15 years. This is the most intuitive explanation of harmony and melody I’ve ever experienced.
You guys should post more lessons like this!
I will be thankful to you forever! This lesson is just what I needed to finally really enjoy playing the guitar! I asked a lot of my musician friends about this and none of them could really explain like you! Thank You a LOT!:))
This is the most amazing explanation of why "music makes you feel" that I have ever seen. I have been playing for 30 years and only recently started to try to expand my playing/composing by understanding theory. Luckily I have previously learned enough to totally understand this. This is pure gold !...exactly at the level I am learnng....and so eloquently put...Magic.
many thanks Miles...also your video on Modal Interchange is simply outstanding. You have a great talent for communicating music Theory, please keep it coming.
Wow... the knowledge of individual tendancy tones in a chord wanting to resolve to another chord is sooo cool man. Wow.
Oh my god you dont know how long I have been loooking for an explanation for this THANK YOU SO MUCH!!!
this "harmony is melody" and "melody is harmony" perspective is very useful, as you promised it would be. thank you !😄
This is a beautiful concise look at the theory behind chord progressions. Putting it all together for me. Thanks for these!
This whole tendency tone thing is mind blowing, really just kinda opens up the bag conceptually
So glad you are getting into what the force is behind why the chords work, nobody does that. And that IS key to understanding, that starting point is crucial for understanding. Otherwise there’s that deficit of information, missing. Keep it up, this channel is becoming better and better.
Hello music people on UA-cam, my name is Luuk Swinkels. I am a young classical composer who wants to share his music to the world. It would be absolutely amazing if someone would listen to one of my own compositions or arrangements. (sorry for the advertisment if you dont like it)
You have a true talent as a teacher!
You are the best teacher. You touch every questions i ever had about harmony. Fits like a glove with what i already know and didn't know what to do with!
Make all your videos like the one about modal interchanges....a beat in the back constantly humming...simply written explanations....examples right after explanations....images that move and slide to show what's going on. I learned modal through THAT video, after not understanding it and being intimidated by it for years. Thanks. So do more! If you need help with ideas let me know~
Man, I was about to write those exact same words. That video was one of the best institutional videos I've ever seen! If every music theory video was based on that model I think people would understand much better
Absolutely agree with this suggestion. the Modal Interchanges video was produced spot on 👌🏼
+Claudio Ferrari (CFJr) Exactly. Music theory from the outside looks extremely intimidating but people would be more willing to learn how it works if there's a friendly voice with nice simple visuals, like the modal interchange video
Couldn't agree more
agree 6 years later
Myles, thank you for sharing this knowledge. You laid out concepts in a very understandable manner. Excellent!
can't believe I am only finding your channel now. these videos are so good!!
Thank you for doing this lesson!!!
So thankful for sharing your knowledge, you have a great teaching style!
Amazing job! I was looking for this lesson for a long time! thanks Miles 😆
One whole hour of very important and informative music theory, whatttt. Thanks for creating this iluvit.
So helpful. Loved the more indepth stuff you did
This video was a gamechanger for me. Thank you.
Thanks for posting this video! Over the years I've watched many a "diatonic chrods" video, usually in C major, but they always use triads and leave me with many questions. Your use of diatonic 7th chords and deep dive into the "whys" has answered so many of those questions, and led to some more questions I'm excited to learnt he answers to. For example, I now get that the iii chord is a tonic functioning chord, and the I7 (C,E,G,B) *contains* the iii (E,G,B), which must be why it sounds so stable. Eureka moments abound!
Hands down one of the Best videos on progressions 🔥🔥🔥
Amazing lesson ! Thank's a lot. You're explaining musical theory in a very simple and pedagogical way ! Please keep going on like that !
This was very good and informative. I subscribed and look forward to more!
Thanks Myles. Really enjoyed the content and your presentation style. Learnt a lot.
Extremely well done!
great session mate, thanks for sharing your knowledge.
EDIT (May 2023): I've closed the Patreon page. I'm now working with a new model that is better aligned with my personal values and hopefully will help enable me to spend more of my time making useful stuff for everyone:
Everything I make from now on will be freely offered. No more paywalled content. I'm trying to make this work with nothing but a tip jar and a dream: Ko-fi.com/MusicWithMyles
If you find my content valuable, please consider donating. Even just a dollar is super helpful if a lot of people are pitching in. Also, feel free to ask me any music question along with your donation and I'll be sure to reply! And if you're broke, just sharing my stuff around helps a ton too :D
And thank you so much for watching, everyone 💙🙏
-Myles
P.S. If there are any particular types of content you'd like to see from me in the future, let me know in the comments!
Very good lesson. Thanks a lot!!😍
One of the best music theory lessons on UA-cam. Thanks!
you are so blessed for doing this.... Blessed by the universse
thanx for posting this!
Thanks a lot for this, it was really helpful. Subscribed ;D
Dude keep it up!!
that's really cool information! Liked and subscribed sir!
Ty so much man this video is very helpfull
This was Excellent! I've been looking for an explanation about tendency tones. Tonic Subdominant and Dominant concepts you explained really well also.
Very useful video lesson!!! Thank you very much!!!!!
you are the man!
Bro. I love you for this.
Great work Myles....keep up the good job.
Hello music people on UA-cam, my name is Luuk Swinkels. I am a young classical composer who wants to share his music to the world. It would be absolutely amazing if someone would listen to one of my own compositions or arrangements. (sorry for the advertisment if you dont like it)
you guys are fucking awesome! thanks for this
thanks for the lesson :)
Great lesson! Moving from the I chord to the iii chord is small change, a bit like treading water, and it can be justified as moving from one tonic chord to another. But (as someone with little understanding) it makes sense because the two chords share two tones. Likewise, ii to IV share two tones, and is subdom to subdom. And vi to I same story, tonic to tonic is also sharing two tones. But the interesting case, to me, is the iii to V transition -- it is tonic to dominant, which according to your explanation should be experienced as a great development of tension, yet this pair also shares two tones, so that is a bit surprising.
Amazing explanation!
Great lesson! Would love to see an explanatory video on this topic.
Thanks a lot man, I was looking for this information long time.
Hello music people on UA-cam, my name is Luuk Swinkels. I am a young classical composer who wants to share his music to the world. It would be absolutely amazing if someone would listen to one of my own compositions or arrangements. (sorry for the advertisment if you dont like it)
holy shit - this open new worlds for me :) ... great video!!!
Superb!
Very cool video! I naturally have a pretty good ear for music and I like to write a lot of music that changes keys or hits notes out of scale. It "sounds" good, but I don't necessarily understand why, so I'd love it if you could do a lesson on why and when hitting notes/chords out of scale can sound good.
Thanks for sharing! I might have to read your reply a few times to grasp it all, haha.
I have noticed I can use melody to "smooth" out a transition from one chord to another if it sounds a bit awkward on its own.
I think I get what you're saying with the modes and using chords as "their own key". One key change I tend to do a lot: If I'm playing vi to iv in the key of C (A minor to F Major) I like to transition from A minor to A#/Gb Major. Even though it's not in scale, I suppose it works because it changes it to sounding Phrygian. However, I take it a step further and often times treat that A#/Gb Major like my new iv, and then go to D minor as my new vi.
That's just a basic example, but I LOVE unique chord progressions (when they work) and I've developed an ear for going to notes that are unexpected, but quite pleasant. I will look into some of the things you suggested as I am interested in understanding why it works; it may even open my mind up more to new possibilities. Thanks again for the reply!
you sir, are a wizard
More non-functional harmony please!!!
I was actually specifically thinking about that maj7 thing throughout the video, wondering if anyone would ever explain it, haha. Fantastic work.
Aun sigo esperando su siguiente obra maestra.
This video is fantastic.
Great way to spend an hour. cleared up a ton!
I was very sad that I couldnt follow tthe live stream. thanks a lot for uploading :)
very good leson!
thanks!
I LOVE IT
More lessons pleaseeeeee
More of theseee
Great video
This was such an Ah-Ha video for Me. Please make more of them. Thanks
I wish I knew anything about anything in this video. I just like Native Construct
Love how midway through this there was a preset ad for people who can't construct chord progressions
. love your clip. in Phrygian mode there is not a dominnant chord because of the b7
can the b2 be used as the leading tone to 1 and therefore
can bII chord be a dominant chord?
modal interchange video was bomb. i'm trying to learn jazz theory on my own and i'm glad to find this finally relatable discussion about chord functions. it's been a grey area for me for the looongest time. love how you jus take your 52 minutes where most try to get everything down in under 20
great lesson. if you do another one, could you explain the flow of tension in a more complex chord progression and get into the tendencies of notes outside of the scale?
albert vandrejer yes, now we’re talking!
Wow 🤯
Thanks for this very basic but informative video. Question: What happens to the harmonic tensions when we use scale modes? Lydian uses a #4. How does that change the relationships? Is the #4 still subdominant, like the 4 in Ionian? (the major scale)
I know it's been 4 years but the answer is almost surely no. The subdominant sound has a characteristic sound that could probably be explained by the fact that you're going down the harmonic series, and the 4# isn't on the harmonic series. BUT, in diatonic descending/ascending fifth sequences, it somehow sounds fine, so idk. Maybe it just depends on how you look at it
REAPER!!! YES!!
I forgot to mention that I’m 41 years old. I was going to go to Berkley, but I had children and just stayed home with them. I love that music is not only an art form, but also a science and math form. Only God could make something so beautiful. Where do you actually do your live lessons? Would love to sit in on them. You are amazing. I’d definitely send my kid to you.
more lessons pls
You have two version of dolphin in your task bar. Melee?
you make brillant videos!
This is amazing. I need to remember this. Hence this comment.
Great video, finally someone does this topic justice. But do the way that chords are voiced affect the melodic tendencies of certain degrees? Why does the supertonic tend more to the tonic that the third? Isn't it closer to degree 3? How could one determine the tendencies of the tones in other scales/modes? This is a very interesting topic.
Myles - Is that Faster Melee I see?
Great video, I knew this but somehow I never think to use it, prolly cuz i'm stupid.
I think the best way, personally for me not sure about everyone else, is to make those shorter videos (Modal interchange video) but also create a longer video (such as this one) to finish explain to people who don't understand and need more explaining and reasoning to all of it
Aweosome contents
When you explain why the scale degree 5 can sound stable or unstable (28:30) couldn't that be generalized? Isn't the most stable degree (1) less stable when it's played over F (assuming C major scale) and unstable when played over G? Isn't the stable 3 less stable when played over G? If so, why the 5 deserved a special mention? My question would really be: How does the theorization of tendency tones accommodates the relation melody/harmony? I would solve this thinking that there is a "main center of gravity" (the tonality) and "movable satellite centers of gravity" (the chords). Is there something like that?
Perfect 5th intervals are PURE TONES.....The 4th.. F is also a perfect 5th intervals
when Inverted..or from Octive descending to 4th
LEADING TONE the half steps. (3 into 4)..(7 into 8)
It's actually the SECOND arpeggio into the ROOT of the next chord.
But that's basic....example...Augmented chord..the #5 into 6...
or when descending...b2 into 1.....b7 into 6....ect
That's why Blues or Jazz guitar players use alot of PASSING/OPTION/Grace note.
In other words...you can play whatever INTO the whatever the next note
is..lol
When/if you learn other PARALLEL scales....Harmonic minor...Melodic minor
Warp in the A aeolian/relative/Natrual minor..with a LEADING TONE
G#......Harmonic minor...it's going to change the E min into E7
G# is the second arpeggio of the E major/E7...the G# wants to pull you into
the TONIC/OCTIVE/ROOT...
The process simply continue...F#, G# = Melodic minor....A min, D7, G7
D#, F#, G# = Lydian b3.....B7 into E Maj or Maj7..
You are correct...it can be whatever TONE CENTER degree within the 12 degree..
and whatever color chord tones....
No...its' not all going to be stable....it's not suppose to,
Music is a game of tension and release
Play something unstable into something stable..visa vera.
Music Theory will actually make more sense if you learn the rest of
these parallel scales....You can play whatever chord progression you want..
it just ..a bit challenging playing with band members that's drunk or high half the time..So you make it simple..and do three chord progressions.lmao
KEYS are just pitch...the key of C Major has the same interval as G major..
it's just in a different PITCH
Here are the list of scales...
Major scale = half step between 3/4....7/8
It's easier to PUSH UP from the Natural Minor...
In other words from A minor to A MAJOR
Basically....maj7....than maj6 , maj7........#4, Maj6, maj7
b3, b6, b7 =Natural minor
b3, b6 = harmonic minor
b3 = melodic minor
b3, #4 = Lydian b3 or IV mode of Harmonic MAJOR
b3, b5, b6 = harmonic minor b5
b3, b5 = melodic minor b5
b2 ,b3, b6 = Harmonic minor b5
b2, b3 = melodic minor b5
b3 #4, b5 = Double harmonic minor
Also learn to PUSH down from MAJOR to minor....reverse the process.
From C MAJOR to C minor
b6...Harmonic MAJOR.....( Ab)
b3 melodic minor ( Eb)
b3, b6..Harmonic Minor ( Eb, Ab)
Then shift these notes up or down in the melodic minor and harmonic minor
#4
b5
b2
9 DIATONIC SCALE...with 7 modes each = 63 modes.
Mode are the samething as FULLY extended chord...
In other words...chord.mode COLORS...
Its not rocket science...different intervals...will create different sounds.
63 modes are better than 7....yes????
Most people will only learn the Harmonic minor and Melodic minor
I recommend learning the Harmonic MAJOR also...it's more common than you think.
4 scales = 28 modes...at a minimum
Harmonic Major = b6.....the b6 is the second arpeggio Ab ( F min) into G.
B is the second arpeggio of G B into C....make sense????
The melodic minor is actually just a DORIAN with a LEADING TONE ( maj7)
If you play D dorian progression as I, IV, V......D min. GMaj , A min
The leadining tone is C#....C# into D......So it's just D min, G maj, A7.
The only note that changed is the C# from A b3 to A maj3.....the extend b7 remains
the same..hense...A7 ( 1 ,3, 5 b7)
or you can play it D min/Maj7.....G7.....A7
It's actaully COMMON for this type of modulation..you're still in C MAJOR/A minor
but to get different sounds...You're simply are going to play D Dorian with a Leading tone or A natural minor with a leading tone ( A harmonic Minor)
Shift the G# or the C#.....If you shift both up....maj3 and maj7....you're left with b6.lmao
Whalla...A Harmonic MAJOR
Keys are just pitch...transfer it to A melodic minor....G ...E or whatever Minor
key you wish to Vamp/sub/modulate.....A min...D7....G7
You're run into the ( N6) harmonic minor b2 or melodic minor b2...every now
and than....it's helpful you assist you to cycle down to the b keys..
F....Bb...Eb....ect
You can also use it for CADENCE...Bridges...ect to make songs more interesting
1..........2..........3...4.........5............6............7...8
Notice those notes listed in parallel scales Ive listed.
b2, b3, b5, ,b6, b7........The 5 black keys on the piano.
The circle of 5th isnt going to teach you to play these scales..
All the circle 5th dose it...help you play the major scale in 12 different pitch.
You dont have to learn all it in oneday or a month....
But it's simple enough for you to grasp....if it's not a secret.lol
There's other scales...These are just the DIATONIC (7 notes) scales.
The major/minor scale is just ONE out of NINE.
You had to start somewhere...IT"S ALSO YOUR REFERENCE POINT.
@@oneeyemonster3262 I understand it as a fractal. It's interesting because there are a lot of fractals in nature and music is not less.
y no more videos!? love ur content!
love how dude still reads comment so often
29:59
that's pretty much the beginning of the brazil's national anthem
plz use piano layout visual to display along with the notation staff
at 43:00 you said that the 6th scale degree that is part of the IV subdominant is a unstable pitch. But the VI is labeled as tonic. Why is this 6th scale degree unstable? I thought it was a homebase one. Thanks for your videos! this one is pure awesome and the modal interchange one even more!!
It would be cool if you make one talking about writing progressions in the different modes but mixed with this stuff, is very difficult for me to write for example in Dorian or Lydian and have a good tension/release ratio and keeping the mode feel at the same time.
Sry for my crappy english, I hope you understand me :) Thanks again and gj!!
give them pitches some stability
pitches love stability
:D
27:49 i like that u accidentally played man who sold the world
can you do a video on the stability and tendencies, in minor, also maybe melodic minor/harmonic minor or chromatic so we cna figure out the rest ourselves? tys great channel!
Hello music people on UA-cam, my name is Luuk Swinkels. I am a young classical composer who wants to share his music to the world. It would be absolutely amazing if someone would listen to one of my own compositions or arrangements. (sorry for the advertisment if you dont like it)
You can do this in any scale, not just c major. At least I think
these functions (1, 3, 6 = tonic - 2, 4 = subdominant - 5, 7 = dominant) also can be used to other modes and scales?
In a different key could these same exact chords be interpreted differently? Like a dominant in one key, but tonic in another?
at 33.33 I am hearing a different voicing from what is written: GDFBD
"Is stability subjective?"
I would add that the frequencies of unstable notes are more dissimilar to the frequencies of stable notes, so there's a physical explanation for why notes feel a certain way.
Is this on twitch? or what stream site is this?
👍
This was amazing, thank you very much! There is a long road ahead of me until I can really incorporate this into my writing though.. You really have to know this stuff by hearth to really effectively use it.. Maybe I should start to learn how to read sheetmusic, so I can get a better visualisation of this whole thing :D
you should use lower case roman numerals for minor chords so its easier to visualize
great vid tho
Why is it that when in the key of C Major, going from VII-7 (b5) to III-7 doesn't sound like it resolves? Despite it going from dominant to tonic? I've tried this with both of the other tonics and they relieve the tension that the dominant brings just fine.