Thank you, this video really helped me a lot! As a new student of composition I have always been very confused about how to use set theory, even though I have read several books about it. But this video provided a fresh perspective and taught me how to use it in my work. Look forward to more videos like this:)
As an experienced composer of over 2 decades, I found this video interesting. I love listening to how others think and feel in regards to their process.
Wow thank you! Just what I needed. There's fantastic video's on analysing music through set theory, but not many that describe the process of building a piece of music out of it - you've provided a real pointer for me! :D Infact, please make more of these, I'm super eager to see more behind your process!
To everyone who commented on this video: Thank you very much for your comments and please accept my apologies for approving your comments so late. I didn't know how the comment approval process worked on UA-cam and I thought I would receive an email every time a comment was made and since I didn't receive any, I never suspected that there were comments pending approval. I also regret that I have never continued with this series but, as you can see on my channel, I'm starting over from scratch. Thank you all once again!
Muchisimas gracias por crear este video! Acabo de aprender que existe una cosa que se llama "set theory" en la musica y este video me enseñado MUCHISIMO mas
Perhaps the one point which we might differ is inversion equivalence as well as chord equivalence. It is this reason that I find myself in dispute with Riemannian and Neo-Riemannian theories as a tool set for composition. However, it is interesting how you explain how minor goes to major as well as vise versa as it relates to various transformations.
Why wouldn't a 6-note set be able to be transposed with the guitar + flute? 9:33 Guitars have multiple voicings for each chord, but is there a problem with moving the order of the notes around in set theory?
It's not that it's not possible. I just thought it would be too difficult to find compelling voicings that produced all the notes in the set. It's a matter of personal taste. Depending on the set, I've found that some arrangements of the notes as a chord are more convincing than others; some even very unpleasant for my ears. On the piano that's easy to solve, but on the guitar it's something else. I doubt that there's a six-note set for which it is possible to find voicings that produce all the notes in the set and also alternate all of them on the lowest string (although I cannot rule this out). I just wanted to avoid the dilemma of having few options, and not liking any of them.
I'm very glad that you liked it. In fact, since this video never had a sequel, I plan to make a series that explains in more depth the basic concepts related to set theory and what advantages it offers when composing.
Great video, am really interested in music written using set class theory. Am wondering if you have another videos explaining composition aspects of set class theory.
Thank you, this video really helped me a lot! As a new student of composition I have always been very confused about how to use set theory, even though I have read several books about it. But this video provided a fresh perspective and taught me how to use it in my work. Look forward to more videos like this:)
As an experienced composer of over 2 decades, I found this video interesting. I love listening to how others think and feel in regards to their process.
Wow thank you! Just what I needed. There's fantastic video's on analysing music through set theory, but not many that describe the process of building a piece of music out of it - you've provided a real pointer for me! :D Infact, please make more of these, I'm super eager to see more behind your process!
To everyone who commented on this video: Thank you very much for your comments and please accept my apologies for approving your comments so late. I didn't know how the comment approval process worked on UA-cam and I thought I would receive an email every time a comment was made and since I didn't receive any, I never suspected that there were comments pending approval. I also regret that I have never continued with this series but, as you can see on my channel, I'm starting over from scratch. Thank you all once again!
Beautiful thank you
wow I'm hooked now!
Excelente propuesta, explicación y obra! De alta calidad, seguiré atento a este canal! Mi admiración desde Bolivia!
Muchísimas gracias, Zoran!
This is a great work.
Gracias Maestro, un excelente video y una excelente iniciativa!!!! Un abrazo desde Colombia
Muchisimas gracias por crear este video! Acabo de aprender que existe una cosa que se llama "set theory" en la musica y este video me enseñado MUCHISIMO mas
look forward to upcoming videos in this series!
This is great ❤️
Que buena explicación maestro!!!! soy compositor también. Lo felicito por so labor pedagógica y su excelente obra
chevere Antonio, esto serà muy útil!
Perhaps the one point which we might differ is inversion equivalence as well as chord equivalence. It is this reason that I find myself in dispute with Riemannian and Neo-Riemannian theories as a tool set for composition. However, it is interesting how you explain how minor goes to major as well as vise versa as it relates to various transformations.
Awesome video!
This is so awesome! Waiting for the next part....
Why wouldn't a 6-note set be able to be transposed with the guitar + flute? 9:33 Guitars have multiple voicings for each chord, but is there a problem with moving the order of the notes around in set theory?
It's not that it's not possible. I just thought it would be too difficult to find compelling voicings that produced all the notes in the set. It's a matter of personal taste. Depending on the set, I've found that some arrangements of the notes as a chord are more convincing than others; some even very unpleasant for my ears. On the piano that's easy to solve, but on the guitar it's something else. I doubt that there's a six-note set for which it is possible to find voicings that produce all the notes in the set and also alternate all of them on the lowest string (although I cannot rule this out). I just wanted to avoid the dilemma of having few options, and not liking any of them.
Very informative! I'll have to experiment with this in my own music! :)
I'm very glad that you liked it. In fact, since this video never had a sequel, I plan to make a series that explains in more depth the basic concepts related to set theory and what advantages it offers when composing.
Great video, am really interested in music written using set class theory. Am wondering if you have another videos explaining composition aspects of set class theory.
So.. when is the next video?
This is great! When are the next parts coming out?
This is a circular definition : “A set is collection of items” (5:14). Not good.
You're absolutely right!