Still one of my favorite composers too. I love his violin concertos. I taught myself to read music by buying the sheet music for them in the 80's and it really helped a lot. I still play sections of a couple of them, though I no longer remember the entire concertos.
NOTE at 0:57 I write "G" on a C augmented chord and I should have written "G#" instead! Ask any question in the comments and I'll answer in video! :-) 00:00 Intro 00:06 Is C F# G a Lydian triad? And can you explain different triads like E locrian? etc. 02:31 Would it be possible to avoid parallel fifths when playing two adjacent chords one scale step apart while still trying to keep a voice leading. For me, it does not seem possible to do a I-ii, IV-V or bVii-i in invoice leading without using parallel fifths. 07:09 Can this improve my finger style more drastically than just practicing a finger style song? 07:43 What century is the augmented sixth chord from? It sounds and functions like a dominant, but hey, call it whatever you want.
Any videos or tips on playing pentatonic major? Modes, penta minor, or exotic scales I'm okay at, but my penta major is too simple or not working. (Shrug).
@@EarleMonroe I know it's a small thing. But I couldn't focus for the first several minutes just thinking about that # missing from the G. He probably could add video image or comment tagged in the the video timeline at point. LOL. Yes, he just forgot to place the sharp after he mentioned it. 😄
shillinger simplifies this and rotates his chords 135-351-513 to avoid this and the samething can be done for extended harmonies. though a system is only good if your in a rush to orchestrate, our ears are always better. good video.
Question from a subscriber. What are the most common modes used in a traditional Japanese music? Sorry for the unusual question. When ever I worked with Japanese musician I could NEVER reverse engineer the way he makes melody and chords. As if they have (secret) pentatonic modes we in the West are not aware of. Very frustrating!
Traditional Japanese music doesn't really use the modes. If you want to get really technical, it doesn't really have a concept of "key" or "scale" distinct from "tuning" either. For example, you sometimes hear about the "hirajoshi scale" but hirajoshi is really a method of tuning the strings of a koto, so saying a tune is played "in hirajoshi" is more like saying something is played "in drop D" rather than "in D minor". Plus, these tuning methods don't line up exactly with Western 12-tone equal temperament so "secret [scales] we in the West are not aware of" isn't too far off the mark.
There are tons of pentatonic scales you can create. I was actually just describing in detail a method you can use to find those and another pentatonic. But you can use the same method through different diatonic modes to find even more. Also, you can invent your own. One day I decided the Major pentatonic could use a Major 7th interval instead of the 6th. And so I Played it. And it was good. lols I'll paste my other comment here.. _"What I mean is, say you play A minor pentatonic 5th fret, and then move each note up a diatonic step within the A minor Aeolian mode. the very next scale you get is one of the Japanese modes._ _It would be (7th fret position, still two notes per string) B, D, E, F, A , B, D, E, F (
If the parallel fifth happens in more complex contexts (non-triad chords, clusters, going out of key) you can use them pretty freely. Bonus points if you expose them as a giant middle finger to "no this is actually forbidden" nerds.
(1) 0:57: You said G# and wrote G. (2) Since there are diminished and augmented 3rds, you could consider CFG (1 #3 5) and CDG (1 bb3 5) to be triads as well. (3) 4:42: I thought about your solution (an inversion of some type), but I've been on a Schillinger kick recently, and I came up with a solution where the C chord is re-voiced as CEEG (double the E instead of the C), which goes to DDFA. There's (sort of) a parallel 5th, but it's farther apart, but on the other hand, all voices move by step.
2. C-F is a 4th. C-E# is an augmented 3rd. Not the same thing - but that's a REALLY long explanation. Same for C-D (vs C-Ebb) 3. Your solution still has a parallel 5th between bass and soprano, and on top of that you also double the 3rd (something that is best avoided in most situations).
@@MusicTheoryForGuitar Otherwords, you can't deceive the ears by deceiving the eyes on paper. Plus the time period focus on 5ths, 3rs and smooth voice leading by minimizing large leaps and avoiding that hollow consecutive perfect 5th and p8 sound. ( I think) 😄
Why do people assume that I don't know Schillinger (or Barry Harris, etc) :-) Of course Schillinger had his own theories. For instance Schillinger avoids completely the problem of parallel 5ths because he permits them :-) But at the same time, he FIRST treats the voice leading solutions that do not produce any parallel 5th or questionable doubling - and only then he treats ALL the POSSIBLE solutions (that does not means he recommends them, BTW). The one I show in the video, in Schillinger parlance, would be a counterclockwise transformation for instance. You have to remember that Schillinger died before being able to editing his notes and the book was put together by editors that are clearly missing the point (just read the hilarious notes...). And they also took out of the exercises... which are the most important thing. So there is a lot left unsaid there that someone with a thorough background in music theory can see. And Schillinger is a very advanced read ;-)
@@MusicTheoryForGuitar I mentioned it because I'd been thinking more along Schillinger's lines, and that's why I doubled the 3. Frans Absil is a UA-camr who has put some Schillinger videos online, and showing how you can use the system to make interesting music.
Thanks for sharing the knowledge!
Studying J.S. Bach's music, it's components and the rules of counterpoint and voice leading can remedy many questions.
Still one of my favorite composers too. I love his violin concertos. I taught myself to read music by buying the sheet music for them in the 80's and it really helped a lot. I still play sections of a couple of them, though I no longer remember the entire concertos.
NOTE at 0:57 I write "G" on a C augmented chord and I should have written "G#" instead!
Ask any question in the comments and I'll answer in video! :-)
00:00 Intro
00:06 Is C F# G a Lydian triad? And can you explain different triads like E locrian? etc.
02:31 Would it be possible to avoid parallel fifths when playing two adjacent chords one scale step apart while still trying to keep a voice leading. For me, it does not seem possible to do a I-ii, IV-V or bVii-i in invoice leading without using parallel fifths.
07:09 Can this improve my finger style more drastically than just practicing a finger style song?
07:43 What century is the augmented sixth chord from? It sounds and functions like a dominant, but hey, call it whatever you want.
When did chord's come into existence? Woodwinds? Pian
Any videos or tips on playing pentatonic major? Modes, penta minor, or exotic scales I'm okay at, but my penta major is too simple or not working. (Shrug).
Did you purposely avoid putting the Sharp# on G for the C augmented chord C,E,G# or did I miss something?
@@iluvjazz7 I was going to comment the same. It's an oversight. The C-aug should definitely have G# instead of G natural.
@@EarleMonroe I know it's a small thing. But I couldn't focus for the first several minutes just thinking about that # missing from the G. He probably could add video image or comment tagged in the the video timeline at point. LOL. Yes, he just forgot to place the sharp after he mentioned it. 😄
What about distance modulation like C major to F# major is this possible?
Sure: ua-cam.com/video/Ketz56m5QtU/v-deo.html
Why avoid, embrace it and say you're inspired by medieval organum xD
There's nothing wrong with parallel 5th if you like that sound. I personally like to have the option.
I always learn something from your videos. Great content! Shalom
shillinger simplifies this and rotates his chords 135-351-513 to avoid this and the samething can be done for extended harmonies. though a system is only good if your in a rush to orchestrate, our ears are always better. good video.
True. Schillinger also accepts parallel 5ths in many situations.
You guys should consider utilizing the community and shorts features to grow your audience. Love the channel, keep up the good work!
I often hear "voice leading", I'm some what of a beginner with music theory, what is a "voice"? I feel like this is assumed knowledge.
There you go :) ua-cam.com/video/KBdgTofTnEA/v-deo.html
@@MusicTheoryForGuitar : I love how you have so much material you can answer most question with a link. lols
@@MusicTheoryForGuitar Thanks, I must have missed this video :D
Why does the parallel fifth sound bad in the orchestral situation??
ua-cam.com/video/DzeAsD99FBA/v-deo.html
Thank you so much for these lessons!
Question from a subscriber. What are the most common modes used in a traditional Japanese music? Sorry for the unusual question. When ever I worked with Japanese musician I could NEVER reverse engineer the way he makes melody and chords. As if they have (secret) pentatonic modes we in the West are not aware of. Very frustrating!
Have you seen this yet? :) ua-cam.com/video/7o8zKMrj9P0/v-deo.html
Traditional Japanese music doesn't really use the modes. If you want to get really technical, it doesn't really have a concept of "key" or "scale" distinct from "tuning" either. For example, you sometimes hear about the "hirajoshi scale" but hirajoshi is really a method of tuning the strings of a koto, so saying a tune is played "in hirajoshi" is more like saying something is played "in drop D" rather than "in D minor". Plus, these tuning methods don't line up exactly with Western 12-tone equal temperament so "secret [scales] we in the West are not aware of" isn't too far off the mark.
There are tons of pentatonic scales you can create. I was actually just describing in detail a method you can use to find those and another pentatonic. But you can use the same method through different diatonic modes to find even more. Also, you can invent your own. One day I decided the Major pentatonic could use a Major 7th interval instead of the 6th. And so I Played it. And it was good. lols
I'll paste my other comment here..
_"What I mean is, say you play A minor pentatonic 5th fret, and then move each note up a diatonic step within the A minor Aeolian mode. the very next scale you get is one of the Japanese modes._
_It would be (7th fret position, still two notes per string) B, D, E, F, A , B, D, E, F (
@@MusicTheoryForGuitar Thank you a million! I should have watched old videos first. :)
@@MusicTheoryForGuitar Good video to study. Glad you mentioned it.
Have you yet figured out a general rule of thumb as to when parallel 5ths 'clash' or sound 'off' and when it sounds good?
If the parallel fifth happens in more complex contexts (non-triad chords, clusters, going out of key) you can use them pretty freely. Bonus points if you expose them as a giant middle finger to "no this is actually forbidden" nerds.
In the 70s we were extremely successful with a band utilizing parallel fifth with 2 lead guitars playing melodies... 😁
ua-cam.com/video/JuxDXqGxSek/v-deo.html
FDA approved 🤘
HAHAHAH!!!! :)
(1) 0:57: You said G# and wrote G.
(2) Since there are diminished and augmented 3rds, you could consider CFG (1 #3 5) and CDG (1 bb3 5) to be triads as well.
(3) 4:42: I thought about your solution (an inversion of some type), but I've been on a Schillinger kick recently, and I came up with a solution where the C chord is re-voiced as CEEG (double the E instead of the C), which goes to DDFA. There's (sort of) a parallel 5th, but it's farther apart, but on the other hand, all voices move by step.
2. C-F is a 4th. C-E# is an augmented 3rd. Not the same thing - but that's a REALLY long explanation. Same for C-D (vs C-Ebb)
3. Your solution still has a parallel 5th between bass and soprano, and on top of that you also double the 3rd (something that is best avoided in most situations).
@@MusicTheoryForGuitar Otherwords, you can't deceive the ears by deceiving the eyes on paper. Plus the time period focus on 5ths, 3rs and smooth voice leading by minimizing large leaps and avoiding that hollow consecutive perfect 5th and p8 sound. ( I think) 😄
@@MusicTheoryForGuitar (1) Yes, it should have been spelled CE#G and CEbbG. (2) Schillinger had his own theories.
Why do people assume that I don't know Schillinger (or Barry Harris, etc) :-) Of course Schillinger had his own theories. For instance Schillinger avoids completely the problem of parallel 5ths because he permits them :-) But at the same time, he FIRST treats the voice leading solutions that do not produce any parallel 5th or questionable doubling - and only then he treats ALL the POSSIBLE solutions (that does not means he recommends them, BTW). The one I show in the video, in Schillinger parlance, would be a counterclockwise transformation for instance. You have to remember that Schillinger died before being able to editing his notes and the book was put together by editors that are clearly missing the point (just read the hilarious notes...). And they also took out of the exercises... which are the most important thing. So there is a lot left unsaid there that someone with a thorough background in music theory can see. And Schillinger is a very advanced read ;-)
@@MusicTheoryForGuitar I mentioned it because I'd been thinking more along Schillinger's lines, and that's why I doubled the 3.
Frans Absil is a UA-camr who has put some Schillinger videos online, and showing how you can use the system to make interesting music.