The Key to Parallel Minor Scales
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- Опубліковано 9 вер 2024
- Hi! My name is Mateo, I'm a professional musical theatre composer, splitting my time between Toronto & NYC right now.
Every Thursday on this channel, I post a video analyzing the music theory behind some of the great Broadway musicals of all time! In the past, I've analyzed works by Sondheim, Jason Robert Brown, Pasek & Paul, Jeanine Tesori, and Stephen Schwartz, just to name a few.
Every Sunday on this channel, I post a video update of the progress I'm making on my writing projects, so you can follow along with the process as I create new musicals from scratch.
And every Tuesday on this channel, I post a video like this, clarifying one often-misunderstood music theory concept.
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Thank you! I'm a sight reader who's deficient on his theory!
The difference between major and minor is intuitive, perhaps not with every human but close to it. But why does theory go further than that? Why do parallel and relative scales matter?
Great question. The simple answer is this: music affects us by subverting our expectations. In the case of major and minor scales, switching between the two of them almost always creates a big emotional response, because the ear isn’t expecting it. In my opinion, learning the parallel and the relative relationships just makes it easier for composers to know which scales it’ll be easiest to switch to!
I'm relieved you didn't take my comment as criticism. Musical theory is such a leap because all that dry information doesn't say why people respond the blues, are inspired by a musical theatre anthem, and are moved to tears by a ballad. You know that and a hundred times more, and your enthusiasm elevates musical theory. You're not expounding on aeronautical engineering, you're building a beloved aircraft or sailboat that will ply the skies or seas.