You're seriously one of the most brilliant people. Not only do you teach extraordinarily well, but you have the brightest personality. We need more people like you! 👏🏻
My favorite use of the Chromatic Mediant is actually for modulation, since my favorite way to modulate is to pick up the entire piece and drop it back in transposed up a minor third. I "came up with" the technique by accident solely because of the mathematical properties it has. Basically, I was doing a song and wanted to cycle through modulations until I returned to the original key. I was going to do it by modulating up by 4 semitones three times, but decided to try modulating just three semitones instead (which would give me four modulations before returning to the original key). Happily, I discovered it sounded amazing to do that. Before that trick, I would often modulate to the five chord via the "five of five" technique (so to modulate from C to G, you throw in a D major first sort of thing), but modulating up a minor third didn't require any setup of the dominant or to throw in a leading tone, etc. I loved it because you could play something 100% diatonic and then instantly modulate on a repeat and it adds a burst of energy to it with a sort of surprise modulation out of the blue.
I'm new to music theory, and your idea sounds interesting. I think your explanation was clear (well done!). Just to be sure I am following you, would you mind explaining further, by coming up with a 4 chord progression, and then tell me what the chords would be, after you transposed them. Please.
Can you please explain how you are able to instantly modulate to the minor third? If you’re going from C major to Eb major I would think you would in fact need some bridging chord. Or you could use the diminished chord with dominant function which is the same in both c major and Eb major if that’s what you’re referring to.
Dear Guy, I wrote it many times, but I need to wrote one time again: you are the most inspirational channel about music, learning and sensing it in the right way, good feelings, positivity, humor and many more things, on UA-cam and all the rest!!! Thank you immensely for your contribution to the beauty of this world, Stay safe, and again (did I say it jet?...): THANK YOU!! Christian R.
I learned this in college when I got my music degree --- but somehow hearing you describe it, it makes more sense -- I hadn't thought about using the minor versions of the chromatic mediants....very cool -- as always -- thanks again, Guy
The first I ever heard of this was in music school studying 16th century counterpoint and the cross-relations used by Carlo Gesualdo (d. 1613). He used chromatic mediants frequently and occasionally wildly. Such techniques were not used again until the late 19th century.
My favorite quote: "All this sounds vaguely sort of fantasy-esque, doesn't it. Yes, there's a good reason for that..." [me, expecting a detailed explanation] "...that's how it works." Thanks for the vid, Guy. It's a great, condensed reminder for those of us who have gotten a little fuzzy with their theory.
de al motte once wrote: Mediants in Cmaj 1. degree. 2 common tones > Eminor > Aminor 2. degree 1 common tone > Emmas > Eb maj > Amman > Ab maj 3. degree. no common tone > Ab minor > Eb minor which shows the relation between the chords and makes using and composing eioth them a bit more logical...
Interesting! I have always categorized (relative to a "C" tonic) Eb major (bIII) and Ab major (bVI) as being from the parallel minor (C minor), or "modal interchange." And E major (III) or A major (VI) as being "stripped-down" triadic versions of E7 or A7--functioning or non-functioning secondary dominants (V7 of vi and V7 of ii, whether or not they "resolved"), respectively. Leaving only Ebm (biii) and Abm (bvi) as "chromatic mediants" (those specific two being the super common eerie/spooky "film score" moves--especially in a minor key). But I see what you mean, a third on either side of the tonic, being some form of "mediant,"and if it has an illegal note, "chromatic." Thanks for covering this badass topic! LOADS of these (biii and bvi) in Thomas Newman's amazing SKYFALL score, btw!!
I just have to say that you are, by far, one of my most favorite people o come watch for musical instruction and guidance. I am nearly 100% self-taught and have thus far managed to learn a great deal of music theory and even produce several instrumental tracks on the various major platforms. I play most instruments well enough, especially if I program them to my midi pads via my DAW (LOL) but lately have been working on developing my piano and notation skills. ...Any time I come across a concept that I struggle to grasp, I generally look to see if you have provided a lesson or video on it, as my very first step. Thank you you, for both your very obvious passion for the subject on which you speak, but also for simply being willing to share what you know. Too often, it seems as if knowledge is hoarded. Later days. ♥
Jeez... thank the lord (so to speak). I can't tell you what a relief it is finding your channel, Guy. I've been considering the most concise way to explain the harmony of Kurt Cobain's songwriting to students and, after endless Reddit threads and music theory forums teeming with academics furiously trying to out-intellectualise each other in ever more ridiculous ways, I've finally stumbled across someone who actually has the intent of transferring his knowledge to others in a concise fashion. I love how you distilled this down to it's simplest form so eloquently - thank you!
Finally, someone who can actually explain in detail, and a way I can actually understand. subscribed just because of that. ha-ha. been watching guitarists try and explain this to me and it was..... irritating to say the least. KEEP UP THE GOOD WORK MAN. it's appreciated more than you know,
Hi Guy! I really like when you cover music theory topics such as this one, short and sweet. I feel many who cover these topics do so with much verbiage, so much that's it's easy to get lost. As a person who's well-trained in theory, I haven't forgotten that many are not well-trained. This is a good presentation to dispense information on chromatic mediants in just a few minutes. It also happens to be one of my favorite ways to harmonically explore a melodic theme.
This is the best presentation I have seen Guy do. Often he loses himself with waffle and I get irritated and bored but this was great. More of the same please, Guy, you have all you need to engage your audience stick to this style; it works well.
since those chords are not exactly "stable" as major or minor chords, they are indeed used, but more as a "secondary dominant" function, which is a different function than "chromatic mediants", which, even though are chromatic, are quite "stable" chords, compared to the ones you mentioned :)
Hi! Nice material, but...still not much about using it, maybe some chord progression examples? Are chromatic mediant chords most often used chromatic chords in music when going out of the diatonic box? Is it most often used way of modulation? How about leading melody with those chords? How about extending those chords? Thanx anyway Guy!
Isn't the opposite of "diatonic" notes "non-diatonic" notes rather than "chromatic" (which refers to the possible use of all twelve tones as a resource)? In other words, don't we say that G# is a non-diatonic note in the key of C major?
@@jurt3nland From Groves: In melodic and harmonic analysis the term ‘chromatic’ is generally applied to notes marked with accidentals foreign to the scale of the key in which the passage is written.
in Sweden we call the Mediant, the "Dominant Parallel". The logic behind it is the same as relative minors/majors. And the 2nd chord (for example Dm in C) is called a SubDominant Parallel. Because we are complicated... :) Personally I prefer the numbers (roman numerals), like how they do it in the states.
I think of The Doors "Light My Fire" which has the Am to F#m use of the Chromatic Mediant, which creates the "moody" feeling. Thanks Guy for the lesson!
The reason as far as i know for 6 being known as submediant is because the mediant is mediating the Tonic and Dominant, the submediant mediates the Subdominant to Tonic, hence inheriting the sub prefix
I love to improvise using nothing but chord progressions by the third. It gives you a lot of freedom not only regarding what the tonal center of the song is, but I also find that the melody is less constrained by the chord progression, or vice verse. For instance, an F natural in the melody over a D major chord usually works just fine.
Hi there, if you ever get time I would like to know why augmented or diminished chords are not considered when discussing mediants? For example from C, Ab augmented is a major 3rd away and even shares a common tone of C so does this not still fulfil the criteria of a mediant chord? After all, C and Ebm share none, so my question is can't any chord type that can be achieved a major or minor third away (in either direction) from the root be considered a valid mediant? I totally get that there was a conservative approach to this and that it relaxed a little over time but I can't find any info that discusses why dim and aug chords cannot be part of the concept. I'd really appreciate your thoughts on this if possible. Thanks. Adam
Hi Guy, great video al always! During my music study I also learned about replacing the main I, IV and V chords by using one of the 3 other chords that you get when created a diminished 7th chord on the I, IV and V step. It gives even more freedom to break out the classical chord progressions! I like especially the tritones alternatives. Maybe interesting to make a video over as well?
Nice video Guy. I actually learned about this a long time ago when I studied privately with composer/orchestrator Jack Smalley. Although I don't recall him using the chromatic mediant terminology. I do have 2 questions though. 1) In one of the examples in the video you go from Cmaj to Emaj. Would Emaj still be considered a chromatic mediant if the next chord in the progression is Amin? Wouldn't that then just be a V of VI? 2) If you went from Cmaj to Amaj to Fmaj, would Fmaj be considered a chromatic mediant in the key of A major or the IV chord of C major, or does it depend on the melody and/or rest of the progression?
Thank you for your explanation. Are mediants chords defined diatonic or chromatic only from a major scale? Because if we start with the c minor scale the E flat and A flat chords are in the scale of c minor. 🎶
I like how you explained this, very clear! But still, I would love to have seen more implementations of this. Maybe even examples from famous pieces. I have that same issue with modes. I get what they are but don't know how to implement them...
very nice explanation. It's called 'chromatic' because it's additional 'colour' to the scale. Been trying to find a review of Noire, but can't find one. Have you reviewed it? I have a feeling it will speak to you.
Hey Guy Thanks!!! Now all I have to do is try to make them sound good on guitar, it is so alien sounding trying to sneak these chords into a progression. I just will them into place until they start to make sense, it is literally like trying to learn a new language. I still have a very thick C major accent
Thank you so much Guy! This video was extremely educational and so well delivered. I’ve been watching your videos for a year but this one is by far the best :)
My reaction to some of the comment that i have read: I think free inspiration and casual things happening in music can be a way, but he other (imo better) way is to understand the relationship between things, that was built up in hundreds of years of composing and testing what sounds convincing and expressive, without be just random. This is called History and Culture (in this case "western Culture" because we speak about tonality). Tonality is a Cultural achievement that we should learn, protect and care for it. Guys shows us this principles in a very inspiring way, imo. :-)
so, to make it really easy: any chord with the note that is either 3 or 4 semitones above or below the nominal tonic/root as the lowest note, and also includes at least one note not in the arbitrarily defined scale of the nominal tonic/root. Yep, definitely easy ! :)
Some of this stuff actually makes sense if you ignore the strictly technical - probably more accurate - terminology and definitions. I go for the quick dirty and actually comprehensible version.
@@ThinkSpaceEducation Hm. Either they changed the description or I know more theory now. It actually makes sense. I'll go with the latter because it makes me feel better.
Well, now I have a new meaning for chromatic, which caused me to look up the word chroma, which means color or tone as in skin color or tone, or paint color/tone, etc. Hmmm, then added "tic" to it and that lead to, referring to gradation or steps of color or tone, which lead to the chromatic scale in music being all twelve tones of a musical scale, which then lead back to this video of the chromatic mediant and a new meaning, which leads of course to Stiff Drink Time.......Great little video :)
Hi Thanks for the video! Out of curiosity - is there a way to indicate you are playing a chromatic mediant in terms of composition i.e. I ii iii e.t.c. Also what is to keep us from doing variations of the Maj/ Min for example- could you use a chromatic mediant with a diminished chord? or better yet a dominant like C- E7? Also does a chromatic supertonic -/ sub tonic- leading tone exist? Thanks!
Interesting topic for my Jeopardy game show preparation. I do have a QUESTION - I have noticed some sort of DAW controlling advice on your left in the video. I'd love to know exactly what it is. Thanks so much and keep the videos coming ... I continue to be wildly entertained while learning alot!
But why the particular fuss over chromatic mediants? What about chromatic dominants or chromatic tonics? Is it just that we've given those different names?
This is a great lesson! Thanks so much! Quick question, how would I go about this in a minor scale? How about in modes? etc. Would it all be the same process of going from the root of the minor scale or mode and doing the same 3 and 4 interval counts up and down the scale as you did here? Lastly, which scales can I NOT do this in? Thanks! :)
You've made sooo many helpful videos on music.. Can u make one on how to make music without knowing music theory? (I know the importance of learning music theory, even if you'll make this video, I'll not stop trying my best to understand music theory, just asking the video tho)
I'm not Guy, but yes there are. Same rules apply - the roots are a major or minor 3rd away from the tonic (in your case, A), and at least one note isn't part of the (minor) scale. So in A minor: F major and C major are *diatonic* mediant chords, and F minor, F# minor, F# major, C minor, C# minor and C# major are all *chromatic* mediant chords
So to put it simply, is the purpose of a chromatic mediant just to have more chord relationships to arbitrarily choose from and they dont necessarily "go" in specific places?
Fantastic video. Short, fun and filled with excellent clear information. I absolutely love when I get to learn some music theory that sheds a light on a subject that was previously a dimly lit pot hole filled path and now is a nice well lit carpeted hallway. :D
Chromatic does not mean "not in the scale" . A chromatic scale is an octave with all the 12 different tones in it. Moving tones chromatically up or down is moving them a half step at a time.
Depends on context. Sometimes it refers to the chromatic scale, but in this case it's being used as the opposite of "diatonic," which (more or less) means "in the scale."
Well, the point I'm trying to make is that people who just heard the term chromatic may wonder what it has to do with music and then they hear it's used to describe the notes not in the scale. It's another matter for people who really have a good grasp of this. Then it's just a little stretch of the imagination and we get it. It's a bad primer though and the paint will peel off eventually so why not do it properly, if you're serious about your channel? Don't waste people's time with bad information.
"Is G# in the scale of C Major?"
Finally! A music theory question I can answer! :D
Hard questions first!
@@ThinkSpaceEducation Somebody needs to ask the hard questions.
But is A flat in the key of C major? XD
@@jensjensen4038 I believe it isn't, though I can never be sure
@@jensjensen4038 how about C flat? ;)
You're seriously one of the most brilliant people. Not only do you teach extraordinarily well, but you have the brightest personality. We need more people like you! 👏🏻
Here, here!
God I wish I had him as a theory teacher what a god
FYI, another similar music theory channel is Implied Music.
Guy......YOU are an excellent teacher and wonderful composer. Thank you for all of the help! Doug G in LV
thank you
My favorite use of the Chromatic Mediant is actually for modulation, since my favorite way to modulate is to pick up the entire piece and drop it back in transposed up a minor third. I "came up with" the technique by accident solely because of the mathematical properties it has. Basically, I was doing a song and wanted to cycle through modulations until I returned to the original key. I was going to do it by modulating up by 4 semitones three times, but decided to try modulating just three semitones instead (which would give me four modulations before returning to the original key). Happily, I discovered it sounded amazing to do that.
Before that trick, I would often modulate to the five chord via the "five of five" technique (so to modulate from C to G, you throw in a D major first sort of thing), but modulating up a minor third didn't require any setup of the dominant or to throw in a leading tone, etc. I loved it because you could play something 100% diatonic and then instantly modulate on a repeat and it adds a burst of energy to it with a sort of surprise modulation out of the blue.
I'm new to music theory, and your idea sounds interesting. I think your explanation was clear (well done!).
Just to be sure I am following you, would you mind explaining further, by coming up with a 4 chord progression, and then tell me what the chords would be, after you transposed them.
Please.
Can you please explain how you are able to instantly modulate to the minor third? If you’re going from C major to Eb major I would think you would in fact need some bridging chord. Or you could use the diminished chord with dominant function which is the same in both c major and Eb major if that’s what you’re referring to.
Dear Guy, I wrote it many times, but I need to wrote one time again: you are the most inspirational channel about music, learning and sensing it in the right way, good feelings, positivity, humor and many more things, on UA-cam and all the rest!!! Thank you immensely for your contribution to the beauty of this world, Stay safe, and again (did I say it jet?...): THANK YOU!! Christian R.
YOu are very welcome thank you
Please keep doing these. The format is so easy to absorb and the knowledge sticks!
Was reading online for these answers and needed something in black and white to explain it and knew I'd find it in video form. Perfectly done, thanks.
I learned this in college when I got my music degree --- but somehow hearing you describe it, it makes more sense -- I hadn't thought about using the minor versions of the chromatic mediants....very cool -- as always -- thanks again, Guy
You're welcome Linda!
The first I ever heard of this was in music school studying 16th century counterpoint and the cross-relations used by Carlo Gesualdo (d. 1613). He used chromatic mediants frequently and occasionally wildly. Such techniques were not used again until the late 19th century.
Right, I'm having a composing sesh later this evening, I will deliberately lob in a couple of chromatic mediants in your honour.
My favorite quote: "All this sounds vaguely sort of fantasy-esque, doesn't it. Yes, there's a good reason for that..." [me, expecting a detailed explanation] "...that's how it works."
Thanks for the vid, Guy. It's a great, condensed reminder for those of us who have gotten a little fuzzy with their theory.
Lord of the rings soundtrack by Howard Shore as well as other things I’m sure
Thank you, that is very useful indeed! Really would like to see more of these short videos on advanced music theory topics
OK!
de al motte once wrote:
Mediants in Cmaj
1. degree. 2 common tones
> Eminor
> Aminor
2. degree 1 common tone
> Emmas
> Eb maj
> Amman
> Ab maj
3. degree. no common tone
> Ab minor
> Eb minor
which shows the relation between the chords and makes using and composing eioth them a bit more logical...
You missed one. The Ab#5.
Interesting! I have always categorized (relative to a "C" tonic) Eb major (bIII) and Ab major (bVI) as being from the parallel minor (C minor), or "modal interchange." And E major (III) or A major (VI) as being "stripped-down" triadic versions of E7 or A7--functioning or non-functioning secondary dominants (V7 of vi and V7 of ii, whether or not they "resolved"), respectively. Leaving only Ebm (biii) and Abm (bvi) as "chromatic mediants" (those specific two being the super common eerie/spooky "film score" moves--especially in a minor key). But I see what you mean, a third on either side of the tonic, being some form of "mediant,"and if it has an illegal note, "chromatic." Thanks for covering this badass topic!
LOADS of these (biii and bvi) in Thomas Newman's amazing SKYFALL score, btw!!
I kinda think u jumbled this a bit mate ,I followed it though, and now I know why the 6 is sub mediant ,bravo ty
Chromatic Mediant I got a cream for that, it cleared up in a few days.
Lol.
You stole my home! Ha!
Ha ha ha....
Recovery is often hastened if you are prescribed a tonic. I'll get my coat...
@@martifingers no sugar in mine yes I prefer a diettonic
You're a great teacher, Guy. Thank you for the great videos! Love you buddy!
Would augmented and diminished chords +/- a Major / Minor 3rd from the tonic also be considered chromatic mediants?
You may call them chromatic augmented/diminished mediants, if you like.
I just have to say that you are, by far, one of my most favorite people o come watch for musical instruction and guidance.
I am nearly 100% self-taught and have thus far managed to learn a great deal of music theory and even produce several instrumental tracks on the various major platforms.
I play most instruments well enough, especially if I program them to my midi pads via my DAW (LOL) but lately have been working on developing my piano and notation skills.
...Any time I come across a concept that I struggle to grasp, I generally look to see if you have provided a lesson or video on it, as my very first step.
Thank you you, for both your very obvious passion for the subject on which you speak, but also for simply being willing to share what you know. Too often, it seems as if knowledge is hoarded.
Later days. ♥
Jeez... thank the lord (so to speak). I can't tell you what a relief it is finding your channel, Guy. I've been considering the most concise way to explain the harmony of Kurt Cobain's songwriting to students and, after endless Reddit threads and music theory forums teeming with academics furiously trying to out-intellectualise each other in ever more ridiculous ways, I've finally stumbled across someone who actually has the intent of transferring his knowledge to others in a concise fashion. I love how you distilled this down to it's simplest form so eloquently - thank you!
Really awesome tutorial. First time hearing such a clear explanation of chromatic mediants.❤
Finally, someone who can actually explain in detail, and a way I can actually understand. subscribed just because of that. ha-ha. been watching guitarists try and explain this to me and it was..... irritating to say the least. KEEP UP THE GOOD WORK MAN. it's appreciated more than you know,
Hi Guy! I really like when you cover music theory topics such as this one, short and sweet. I feel many who cover these topics do so with much verbiage, so much that's it's easy to get lost. As a person who's well-trained in theory, I haven't forgotten that many are not well-trained. This is a good presentation to dispense information on chromatic mediants in just a few minutes. It also happens to be one of my favorite ways to harmonically explore a melodic theme.
This is the best presentation I have seen Guy do. Often he loses himself with waffle and I get irritated and bored but this was great. More of the same please, Guy, you have all you need to engage your audience stick to this style; it works well.
Presumably Edim, Eb dim, Adim, Ab dim, E+, Eb+ etc would also count as chromatic mediants?
Also curious about this
since those chords are not exactly "stable" as major or minor chords, they are indeed used, but more as a "secondary dominant" function, which is a different function than "chromatic mediants", which, even though are chromatic, are quite "stable" chords, compared to the ones you mentioned :)
Yup - but Im not sure they work as well - Francisco is right. Play them -if they work for you go for it
Hi! Nice material, but...still not much about using it, maybe some chord progression examples? Are chromatic mediant chords most often used chromatic chords in music when going out of the diatonic box? Is it most often used way of modulation? How about leading melody with those chords? How about extending those chords? Thanx anyway Guy!
Gotta love how excited this guy sounds when talking about his stuff 👍
Isn't the opposite of "diatonic" notes "non-diatonic" notes rather than "chromatic" (which refers to the possible use of all twelve tones as a resource)? In other words, don't we say that G# is a non-diatonic note in the key of C major?
yes
Both are fine
@@simonpassmore no. chromatic is just wrong in this context whilst non-diatonic is the precise term
@@jurt3nland That's okay, both make sense. G# is both a chromatic and a non-diatonic note in the scale of C
@@jurt3nland From Groves:
In melodic and harmonic analysis the term ‘chromatic’ is generally applied to notes marked with accidentals foreign to the scale of the key in which the passage is written.
Never heard about that before but it is a nice addition to the tools we can use to make music, thanks for this brilliant video! 🙏
It works great
in Sweden we call the Mediant, the "Dominant Parallel". The logic behind it is the same as relative minors/majors. And the 2nd chord (for example Dm in C) is called a SubDominant Parallel.
Because we are complicated... :)
Personally I prefer the numbers (roman numerals), like how they do it in the states.
If it sounds good it is good....even in Sweden :)
@@ThinkSpaceEducation that's true :)
Excellent explanation, thanks, Guy!
I think of The Doors "Light My Fire" which has the Am to F#m use of the Chromatic Mediant, which creates the "moody" feeling. Thanks Guy for the lesson!
Thanks so much Guy. I like the way you throw in some theory stuff to chew on a while without intimidating the people.
This was a really fun and straightforward tutorial to watch, how did I not know this channel?
The reason as far as i know for 6 being known as submediant is because the mediant is mediating the Tonic and Dominant, the submediant mediates the Subdominant to Tonic, hence inheriting the sub prefix
Also works with dimished chords or augmented? Like E°,E+,Eb°,Eb+,A°,A+,Ab°,Ab+?
That was fun! Thanks, Guy. I'd love to see more videos like this!
I love to improvise using nothing but chord progressions by the third. It gives you a lot of freedom not only regarding what the tonal center of the song is, but I also find that the melody is less constrained by the chord progression, or vice verse. For instance, an F natural in the melody over a D major chord usually works just fine.
Hi there, if you ever get time I would like to know why augmented or diminished chords are not considered when discussing mediants? For example from C, Ab augmented is a major 3rd away and even shares a common tone of C so does this not still fulfil the criteria of a mediant chord? After all, C and Ebm share none, so my question is can't any chord type that can be achieved a major or minor third away (in either direction) from the root be considered a valid mediant? I totally get that there was a conservative approach to this and that it relaxed a little over time but I can't find any info that discusses why dim and aug chords cannot be part of the concept. I'd really appreciate your thoughts on this if possible. Thanks. Adam
Hi Guy, great video al always! During my music study I also learned about replacing the main I, IV and V chords by using one of the 3 other chords that you get when created a diminished 7th chord on the I, IV and V step. It gives even more freedom to break out the classical chord progressions! I like especially the tritones alternatives. Maybe interesting to make a video over as well?
Would Augmented (III+) or diminished (iii*) not be considered chromatic chords? For example, (E Augmented) or (em7b5).
Nice video Guy. I actually learned about this a long time ago when I studied privately with composer/orchestrator Jack Smalley. Although I don't recall him using the chromatic mediant terminology. I do have 2 questions though.
1) In one of the examples in the video you go from Cmaj to Emaj. Would Emaj still be considered a chromatic mediant if the next chord in the progression is Amin? Wouldn't that then just be a V of VI?
2) If you went from Cmaj to Amaj to Fmaj, would Fmaj be considered a chromatic mediant in the key of A major or the IV chord of C major, or does it depend on the melody and/or rest of the progression?
Could you apply the same idea to other chords ? Chromatic Supertonic? Chromatic Dominant ?
Thank you for your explanation. Are mediants chords defined diatonic or chromatic only from a major scale? Because if we start with the c minor scale the E flat and A flat chords are in the scale of c minor. 🎶
I like how you explained this, very clear! But still, I would love to have seen more implementations of this. Maybe even examples from famous pieces. I have that same issue with modes. I get what they are but don't know how to implement them...
very nice explanation. It's called 'chromatic' because it's additional 'colour' to the scale.
Been trying to find a review of Noire, but can't find one. Have you reviewed it? I have a feeling it will speak to you.
Exactly the lesson I needed today as I work on this game score. Thanks Guy!
Glad to help
Fantastic Guy! I have struggled to explain this to our students! I'm just going to direct them to this in future! Thank you for being so inspiring.
Hey Guy Thanks!!! Now all I have to do is try to make them sound good on guitar, it is so alien sounding trying to sneak these chords into a progression. I just will them into place until they start to make sense, it is literally like trying to learn a new language. I still have a very thick C major accent
Thank you so much for this stuff. It is otherwise a difficult topic to get through, I wasted two hours on it prior to finding your video
Thank you so much Guy! This video was extremely educational and so well delivered. I’ve been watching your videos for a year but this one is by far the best :)
so which chord do you play AFTER a chromatic mediant? You go back to diatonic harmony you came from? Or are you now typically in a new key?
Thank you very much for your tut. I also liked very much your dog passing in your garden (min 3).
Question for Guy (or anyone who knows). How do you get that keyboard to show playing notes on the screen? (Cubase 12 Pro)
When you say the third should be at the bottom are you excluding inversions? Or is it very literal?
Excellent ! Thanks so much, very often use with film music.
Does anyone know what app Guy uses to show his keyboard on screen like that?
This is a brand new one called Midiculous gospelmusicians.com/midiculous/
@@ThinkSpaceEducation thanks, Guy!
I had no idea about this... That's gorgeous!
Its fun to play with
Brilliant! Thanks Guy
Brilliantly explained, I think I can now actually remember it! Thank you 🙏
My reaction to some of the comment that i have read:
I think free inspiration and casual things happening in music can be a way, but he other (imo better) way is to understand the relationship between things, that was built up in hundreds of years of composing and testing what sounds convincing and expressive, without be just random. This is called History and Culture (in this case "western Culture" because we speak about tonality). Tonality is a Cultural achievement that we should learn, protect and care for it. Guys shows us this principles in a very inspiring way, imo. :-)
Thank you
so, to make it really easy: any chord with the note that is either 3 or 4 semitones above or below the nominal tonic/root as the lowest note, and also includes at least one note not in the arbitrarily defined scale of the nominal tonic/root. Yep, definitely easy ! :)
I tried reading the Wikipedia entry on this... It didn't go well.
Some of this stuff actually makes sense if you ignore the strictly technical - probably more accurate - terminology and definitions. I go for the quick dirty and actually comprehensible version.
@@ThinkSpaceEducation Hm. Either they changed the description or I know more theory now. It actually makes sense.
I'll go with the latter because it makes me feel better.
You're right though, sometimes a good rule of thumb or a feel for something is more important than a strict definition.
@@ThinkSpaceEducation and that's why we love what you do! Keep up the excellent work... my music theory knowledge expands with every video!
Very nice explanation. Would these chords with an augmented 5 also be considered chromatic mediants?
Well, now I have a new meaning for chromatic, which caused me to look up the word chroma, which means color or tone as in skin color or tone, or paint color/tone, etc. Hmmm, then added "tic" to it and that lead to, referring to gradation or steps of color or tone, which lead to the chromatic scale in music being all twelve tones of a musical scale, which then lead back to this video of the chromatic mediant and a new meaning, which leads of course to Stiff Drink Time.......Great little video :)
The color of the music! Nice insight :)
Indeed, these chromatic mediants should help us add more color to our compositions ;)
Hi Thanks for the video! Out of curiosity - is there a way to indicate you are playing a chromatic mediant in terms of composition i.e. I ii iii e.t.c. Also what is to keep us from doing variations of the Maj/ Min for example- could you use a chromatic mediant with a diminished chord? or better yet a dominant like C- E7? Also does a chromatic supertonic -/ sub tonic- leading tone exist? Thanks!
This was such a helpful and straightforward video. Thank you!
So the Nobody Knows You chord progression is a kind of chromatic mediants? Thanks for the info.
Interesting topic for my Jeopardy game show preparation. I do have a QUESTION - I have noticed some sort of DAW controlling advice on your left in the video. I'd love to know exactly what it is. Thanks so much and keep the videos coming ... I continue to be wildly entertained while learning alot!
I always confused the mediant and sub mediant and it never made sense why they were called those. Now after 30+ years of piano it makes sense!
Thanks so much guy... Time to go make a tune
Go for it
Guy, how on earth do i develop your wonderful attitude? I wish to have your lovely outlook on things and your lightness.
This was SO useful, thank you!
But why the particular fuss over chromatic mediants? What about chromatic dominants or chromatic tonics? Is it just that we've given those different names?
How does the upper harmonies of those work? Is there any theory behind it or is this just triad stuff and you go from there?
One more of your incredible videos I enjoyed and learned from. Thank you Guy Michelmore!
I can’t see the picture. Only your logo on the right side bottom. Should this be without video?
This is a great lesson! Thanks so much! Quick question, how would I go about this in a minor scale? How about in modes? etc. Would it all be the same process of going from the root of the minor scale or mode and doing the same 3 and 4 interval counts up and down the scale as you did here? Lastly, which scales can I NOT do this in? Thanks! :)
Thanks for that. Let's implement thid in our tracks now ....
Go for it
You've made sooo many helpful videos on music.. Can u make one on how to make music without knowing music theory?
(I know the importance of learning music theory, even if you'll make this video, I'll not stop trying my best to understand music theory, just asking the video tho)
When you look at famous film music like Howard Shore's Farewell To Lorien for example, it's about 80% chord progressions in thirds.
Very good!! Well explained, funny as always and simply useful to start trying it out!
excellent explanation for the theory of these chords!
cheers Guy. Is there such a thing as a Chronatic Mediant of Aminor?
I'm not Guy, but yes there are. Same rules apply - the roots are a major or minor 3rd away from the tonic (in your case, A), and at least one note isn't part of the (minor) scale.
So in A minor:
F major and C major are *diatonic* mediant chords, and
F minor, F# minor, F# major, C minor, C# minor and C# major are all *chromatic* mediant chords
Channeling my inner Elfman. Thanks, Guy
mote of this kind of stuff is what youtube needs
A really great video Guy - thanks.
Great sounds.
Fantastic lesson guy!
Great explanation, no messing. Liked & subbed, thanks
Well explained! Love the cut of your jib by the way.
Thanks for sharing your precious knowledge with us ... Respect from india 🙏
So to put it simply, is the purpose of a chromatic mediant just to have more chord relationships to arbitrarily choose from and they dont necessarily "go" in specific places?
Thankyou for the jaunty ''can do'' style.
Fantastic video. Short, fun and filled with excellent clear information. I absolutely love when I get to learn some music theory that sheds a light on a subject that was previously a dimly lit pot hole filled path and now is a nice well lit carpeted hallway. :D
Now THAT was very useful. Thanks Guy!
Wouldn't the same concept apply to all non diatonic chords? Like CMaj to F#maj. Is that less useful?
Could you do one on minor chromatic mediant? Your explanation is clear
lovely explanation. Thanks Guy! :)
Happy to help
Chromatic does not mean "not in the scale" . A chromatic scale is an octave with all the 12 different tones in it. Moving tones chromatically up or down is moving them a half step at a time.
It can also mean not in the scale, when you use it as an adjective.
Depends on context. Sometimes it refers to the chromatic scale, but in this case it's being used as the opposite of "diatonic," which (more or less) means "in the scale."
Picky, picky.
Well, the point I'm trying to make is that people who just heard the term chromatic may wonder what it has to do with music and then they hear it's used to describe the notes not in the scale. It's another matter for people who really have a good grasp of this. Then it's just a little stretch of the imagination and we get it. It's a bad primer though and the paint will peel off eventually so why not do it properly, if you're serious about your channel? Don't waste people's time with bad information.
I thought chromatic meant colourful
Very nice explanation as usual, thank You
Watched the first ten seconds and immediately liked and subbed! Love it :)