More like: Levels one to three: Popular music Levels 4-7: movie music Levels 8-10: nobody can ever possibly enjoy this because it sounds like absolute trash
Level 1: I've had two years of piano lessons Level 2: I went back to the piano as a teenager Level 3: I got into music school but flunked out. Level 4: Pro musician, Broadway, Opera Chorus, Standard repertoire Level 5: Chopin is God! Level 6: Film Scoring Level 7: What? Level 8: Arvo Part, Taverner, Gorecki, Late Barber, Late Poulenc & I just got out of rehearsal with the Philharmonic... Level 9: I don't really know what you are doing, but I like it. Level 10: Shoenberg, Berg and Webern all came to my first symphony premiere but left early to go practice more.
funny thing is: the deeper you go into complex chord structures, the closer you get to just hitting random notes. same with complex rhythms and odd time signatures. it all just happens in your head, all you're doing is educating yourself to accept the unknown. :-)
The truth of this is dead on. Eventually you become a little Joe Pass about it and you only play the bottom notes, occasionally throwing in the bass note for funsies
not just less and less like Despacito...less and less like music (more and more like noise)...let me go analyze Despacito to find out about chords that really ARE useful
Man the theoretical expansion doesn't compute for the average ear but following everything you're saying and listening to how they change from the original progression is awesome cause even though the chord progressions may not be something that you could use every time you play, you could take something like this and keep it in your pocket for that time you decide to throw everyone for a loop because they aren't expecting you to break their pre-programmed musical ears and expectation. I love this!!! Definitely have to watch it multiple time to fully grasp it all.
🙏🎹👍 Probably the only great music channel with 1 million+ subscribers who actually talks about great subjects like harmony and voice leading. In France, we had Debussy, Fauré, Ravel and Messiaen. Sadly they are not there to talk about that anymore but they were good at it as well :-) Rick Beato, you are the Nadia Boulanger of modern music! Long life to your channel !!!!!
And if ya take the half/whole diminished and add a one-and-a-half anything to it you'll end up in a New Jersey swamp trying to remember who you are and how you got there..
I remember when I was actively investigating and learning every scale, its derivative modes and the resulting chords and harmony. This is great work,it opens one's ears and mind and ultimately widens one's musical horizon and vocabulary. Sure above level 3 not much left for pop music and culture but it gets richer the higher you go and you get to exit your comfort zone. Phenomenal ear expanding work from a grand mentor. Totally useful to me. Thanks Rick.
Thanks for the video I like how you organize it into discrete levels. Similar to how they teach it at Berklee- For me personally (discreetly) I always found it hard to keep track of all that while playing though. I finally got clued in by going to Barry Harris class where he simply approaches all harmony linearly divided into tonic areas and dominant areas so you can instantly color your chords by “borrowing” one from the other. Great when in the heat of the moment! For example: every major 6 is also a minor 7h thus Bb IS Gm. Eb IS Cm etc. So instead of playing 4 things you’re really playing 2. This frees you up to use some “linear” embellishments you can’t even imagine. After 8 years of going every week and having the good Dr. Harris coach me playing for the singers (whip and all!) it’s finally starting to click and feel really free, and sounds amazing if used judiciously. I’ll post a short video on “borrowing” later today cause it’s easier to show it than describe it!
I was talking about the fact that most people other that Adam and I don't have extra keyboards with Meantone, Pythagorean or Just intonation just lying around our studios :)
I'm assuming songwriters (as opposed to film composers or jazz geeks) dropped out after a couple of levels. Don't leave! I certify even the first few levels can yield a hundred new songs! Thanks for keeping it real Rick!
Without a melody on top of the chord progressions, it’s hard to really put any context around how different each new level sounds compared to the last level. By level 5 or 6, it sounds like a completely different piece of music.
Like so many others of your videos, this is one that I will watch over and over again. And like so many others, some of this I knew (maybe from you years ago) and much of it I don't even if I recognize the sounds. You have a way of making something that we might dismiss as "math" back into music. Thanks for another of those videos. Keith
I'm going back and watching this video in small bits in an effort to try and understand all the substitutions. I feel like levels 3-10 each deserve their own video. This is some deep stuff!
@@bug2k4 The Lydian/Maj chord is just a regular Maj7 but with 11#. It’s comes from the Lydian scale built on the larger chord BbMaj13 11#, this is explained by the basics of the Chromatic Lydian Concept of Tonal Organization. And the same goes for the Bb Lydian which is just a regular triad but with 4# which derives from the concept aforementioned.
I used to do a lot of this as a kid...only it was just, “What does it sound like when I press THESE keys at the same time??” No actual awareness of chords or progressions or anything. Watching videos like this makes me wish I had stuck with my studies and gotten more than just a silly Associates degree. This stuff is GOLD, Rick! Keep it up! 👍👍👍
I did an experiment, I read all the comments first then watched the video. Maybe because I played piano in a big band for many years, all the chord extensions/subs, etc. etc. I could hear what was going on through all the levels and the string patch did not bother me at all. Not sure why folks think it is "shrill." It does take time and immersion in dissonant styles of music to hear and also enjoy. I did some reharms that I just found in an old file that I did in my 20s (in my 50s now) and they were more "outside" than I would do now, which was weird to see. Thanks for this video Rick, love what you are doing. Be kind to us out here in the peanut gallery who are learning, it is a pretty steep curve.
Excellent! Harmony- a lesson for humanity... "The diversity in the human family should be the cause of love and harmony, as it is in music where many different notes blend together in the making of a perfect chord." -Abdul-Baha, Paris Talks
We are so incredibly lucky to be able to view these music theory master classes from an outstanding music professor - - from the comfort of our homes. Rick's major graduate school professors at the New England Conservatory include the great composer and conductor, George Russell, who is regarded as one of the greatest composers in the history of jazz, right up there with the likes of Ellington, Davis, Coleman, Monk, Jarrett, you name it (Gershwin, Brubeck, etc., etc.). That is the nature of Rick's pedigree.
if one is trying to capture/ convey the entire spectrum of the human experience these type of modes can sound like: confusion, loss, abject terror, bewilderment, deep and all consuming yearning, anything gut - wrenching, Hans Zimmer in his master class talks about music as question and answer. with these types of progressions, there maybe no answer - or the answer is disguised or hidden. in my life there are complexities that morph into nightmare- ish proportions. in composition if one creates soundscapes that defy convention, by contrast, an earth - shaking hook can be very sonically satisfying and emotionally strong. I really like this stuff and look forward to every episode. thanks Rickster. Ü ♫
Wow. You just showed me WAY more chords and substitutes at my disposal than the teeny-bopper few I once knew! If this doesn't extend my "color palette" I don't know what will! And it came so unexpected. I sort of felt like I found myself watching a master geneticist presenting all the unknown potential species of strange and fascinating creatures that can arise and transmogrify once you apply a few sound DNA tools, just like a good alien would. And so through your clear presentation we can now see that these vibrational alien creatures with alpha-numeric designations can produce quite an amazing expressional range of moods and fab far-out sounds - something that I would love to have in my music! Before watching this video, I never heard these creatures' voices, or knew their exact names, I never knew that they even existed or that I could even conjure them up at my fingertips! So thanks. I'm impressed.
Level 6 to Level 8 were a bit tough to listen to, but that level 9 inner note movement part made me get up and head for the piano. Maybe try adding a melody over the progression next to really show what happens... scratch that, I'm gonna try that out for myself. Excellent video!
Rick, I love the content of this video, this is one which I need to listen to more than once and I probably need a pen and paper for it. Learning the theory is easy (if someone presents it to you), learning what you feel with different interavals/chords is easy, getting those two connected (go for a certain feeling, know immediately which intervals and chords to use) is tough. I speculate that only a lot of repetition and just using it will get you there.
5-10 Ogermann (Two Concertos) or Jerry Fielding (Demon Seed end credits). Nicely done and glad to see someone explain this wonderful legacy of modal harmony
I'm going to have to listen to this several times to wrap my ears and head around it...and that's a good thing. Anyone willing to make a video with melodies atop these progressions?
Because we should be able to apply this in any key, but even allowing for a simpler key could easily be Bb as it’s probably the most common key in jazz.
I love the model mixture when I first learned about that everything changed I started adding chromatics that sounds great rater then weird or off. Composers like Bach used it a lot too if you look at any of the chromatic notes they can almost always be analyzed as mode mixture. Keep up the great content Rick!
Glad to hear a theory of harmony evolved to such a level of genius disharmony . but I''m sure we could spend more time around the happy 1through 4 ! I thought I was so hip when I savored John's, " Everything is got to be the way you want it to-o-o-o-o-o-ooo !"
When we get to the two consecutive 7b5b9 chords, that's where it stops working for me, especially when what we then "resolve" to is a lydian chord...I enjoy spicy chords when doing the thing where you alternate between tensions (dissonance) and releases (consonance). when a b5b9 does not resolve, however, it just sounds annoying to me.
I totally appreciate the effort but I'm just not ready for this. I'm gonna come back to this after doing my theory homework. Keept it up Rick! I really appreciate what you put out and i'll try to support it
this are the things i like seeing explained as it's rather hard to come by any of this if your just a dude with a guitar and no money for school's and what not. please make more vids like this.
I've been wondering when you'd do a video like this again. I initially found subscribed to your channel for all the advanced concepts you discussed so it's good to see them make a return.
The Lydian/Maj chord is just a regular Maj7 but with #11. It’s comes from the Bb Lydian scale built on the larger chord BbMaj13 #11, this is explained by the basics of the Chromatic Lydian Concept of Tonal Organization. And the same goes for the Bb Lydian which is just a regular triad but with #4 which derives from the concept aforementioned. I hope that explains the Lydian stuff. And the Bb Maj 7#5 comes from the same concept but applied to the 3rd mode of G harmonic minor, which is Ionian #5 AKA Bb major but with an augmented fifth.
The fifth level is a variant of the 4th level. An odd one i might add because its weird to do a tritone sub on the ii degree of the scale, but remember it’s still possible. Remember what Jacob Collier says “There no wrong notes, only weak and strong decisions”. The decision of doing a tritone sub on the ii whilst weird, it can be justified by using the concept of tonal grades which are the I IV and V. The ii is related with the IV by two common tones therefore making them belong to the same harmonic group within the major scale (in this case that’d be the sub dominant group) The ii is a modal grade but its related with a tonal grade which is related with the V grade therefore the ii is related with both the IV and V even though it has a different harmonic function than the V. Hence a tritone sub of the ii grade of the scale is possible
Then the contrary motion one is simply using a bass line which descends and a top chord which ascents within the Bb scale to finally resolve to the V chord of G melodic minor (Dm7b6), G is the relative of Bb, i think the minor/major relative part is obvious but it’s necessary to specify nevertheless
The ninth and tenth levels are too advanced for me but maybe at the end of the semester after i learn some 20th century harmony and some more advanced jazz harmony i might be able to explain those really interesting levels
The first 4 or so sounded like they could be pop songs but after that it was sounding more and more like something you would only really hear in a movie or experimental music.
Music theory-ticians (and I include myself in my crosshair) have become like a badly trained statistical algorithm -- we just churn out nonsense extrapolations of logical principles into territory where there is no practical similarity with the circumstances those rules were originally defined by. It ends up sounding like similar sounding chromatic porridge very quickly. In this case, we reach porridge by around level 5. On it's own as homogeneous timbral structures (or description of those structures) the resulting aesthetic sounds very self-similar. Nonetheless, this method can be used to formally define flexible canvases for very beautiful melody or fantastic orchestration. Feels like we're working towards an emphasis on timbral progression that can't really be well defined by musical structure. Enjoyed the video. Cheers.
The diagrams really help a lot to put ti together. It takes me back to my 4th semester of music theory in college. Never really mastered it. But you really made it much simpler to understand when you laid it all out. (Lot's creative potential...)
I am not one for beefs on who know more in music. Music is a Positive . Never should be used as a Negitive. Rick . I for one am thankfull for you sharing this video and appreciated. Man you know your stuff. Ounce you understand the Math or the theory of it . Everything falls into place. Personally, I would like to have heard it without the Synthasizer sound on it. It was getting hard to tell the difference of the blending of your chords. To hear it clearly. Maybe it's me or my sound I'm getting isn't that good. But some points it sounded very hisssy and I couldn't get some of the tonnel changes from one chord to the other. You could hear it after a second. Your chords were on. it's just the connections . Maybe because you were at one point almost yelling what you were doing. It was hard to hear the changes correctly. But I knew exactly what you were doing was right and good. Thanks for that Tutorial. Allways interested in more. Thanks Professor Beato!!
Dang Rick you killin it! This was pretty easy to follow along to and super informative! Most of the time people "explain" this stuff, I feel like I'm watching abstract algebra written across an animated tesseract, but you did it in a way where I can actually go and mess around with these ideas. Thanks Rick!
Man that was cool, I started to get lost but I stopped and re listened to where I was getting lost and focused and everything started making sense. Now I could not be able to tell it back to you but because of everything I am learning I am starting to be able to actually make sense of what you are saying! Love your channel and wish I would have learned from you when I was younger! Thank you so much! P.S. The Cycle of Fifth lesson awesome!
Not sure if I agree with the (that you can use) bit - unless you are a soundtracker, but it's good to know that maybe one day in the future I might be able to access this kind of harmonic depth! I do think you are the best Rick - not personal.
Very informative and useful. I feel that level seven is something that I've heard in some modern Samba music. Expanding my ear again. Thank you for sharing your knowledge.
To the untrained ear (like mine), level 10 (and earlier) sounds like random noises thrown together. Makes me believe you could write progressions that sound just as interesting by throwing together random chords. And based on that, I now feel comfortable continuing to know bugger all theory.
Try listening to each level 1 time a day for 4 days, your ear will begin to recognize the movement/resolution, learn the theory later if you want. Once your ear recognizes the sound your brain may thirst for the knowledge...or maybe it will be happy with recognizing a cool new sound. John Williams will never sound the same again :)
Love it. Now to learn all these chord progressions in all 12 keys. Nice homework. BTW. I took lessons from Clare Fisher 40 years ago and I still practice his harmony.R.I.P.
Thank you for referencing the book again and giving context to each level. Also when he calls a chord a “Phrygian or aeolian chord” what does he mean? I hear people reference chords by using the mode but can’t find a video explaining it.
Very interesting. These are all techniques to produce variations on/of a "simple" chord progression. May I suggest you at some point take an 8 measure phrase based on some of these and then elaborate further by using simple non-chord tones to the progression? That would make, I think, an interesting video in which you could discuss the idea of revision of previously written work in order to get closer and closer to passages that could work in actual compositions.
![How To Write Chord Progressions With NEGATIVE HARMONY [Simple Explanation]](/img/n.gif)
this means war
I meant to add “dedicated to Adam and Nahre” :)!!!!!
Get him Adam Neely
That's hysterical.
😂😂🤜🏼💥🤛🏼
Three levels higher than you
He looks down on you
Level 1: Root Position Triads
Level 2: Substitutes (triadic)
Level 3: Secondary Dominants (2:49)
Level 4: Tritone Substitution (3:23)
Level 5: Different Tritone substitution (3:47)
Level 6: Different Substitutes (modal?) (4:28)
Level 7: Substitute for the ONE chord (6:20)
Level 8: Added note Triads in Contrary Motion (as substitutes) (7:48)
Level 9: Inner Note Movement (9:19) and Modal Mixture
Level 10: Polytonal (11:18) or, chord over chord
Please leave a comment with corrections ;)
This should be top comment tbh.
Thanks, this helps
@@shaggythehybridinglolingog9971 was just about to say. this needs to be tagged to top!
10 Polychords
Hello Rory! Thank you so much for this! It really helps.
Rick “and resolve to Lydian” Beato
Honestly surprised his daughter isn't named lydia
His son is named Dylan, a combination of dorian and lydian...close enough
That was funny
Below Level 5 = Popular Music
Above Level 5 = Movie Music
More like:
Levels one to three: Popular music
Levels 4-7: movie music
Levels 8-10: nobody can ever possibly enjoy this because it sounds like absolute trash
Levels below 1: Popular music.
@@markdavidofficial4274 I disagree.
The more dense hamony just takes getting used to.
Cero Balam and you’ve achieved “non-common” status?
@@markdavidofficial4274 Jacob collier says otherwise but it has to be used tastefully imo
Level 1: I've had two years of piano lessons
Level 2: I went back to the piano as a teenager
Level 3: I got into music school but flunked out.
Level 4: Pro musician, Broadway, Opera Chorus, Standard repertoire
Level 5: Chopin is God!
Level 6: Film Scoring
Level 7: What?
Level 8: Arvo Part, Taverner, Gorecki, Late Barber, Late Poulenc & I just got out of rehearsal with the Philharmonic...
Level 9: I don't really know what you are doing, but I like it.
Level 10: Shoenberg, Berg and Webern all came to my first symphony premiere but left early to go practice more.
funny thing is: the deeper you go into complex chord structures, the closer you get to just hitting random notes. same with complex rhythms and odd time signatures. it all just happens in your head, all you're doing is educating yourself to accept the unknown. :-)
Interesting point.
The truth of this is dead on. Eventually you become a little Joe Pass about it and you only play the bottom notes, occasionally throwing in the bass note for funsies
I expect all you pop song producers to start using this stuff.
@Joe Villa That'll be the day . . .
Okay so the Billboard charts would have come up with a different guide to transcribe and explain the music
They never will unfortunately 😔
Listen to Rick's voice, the more complex it gets the more it sounds like he'll break out into an evil laugh
haha nice one
After a while it started sounding less and less like Despacito.
He probably shoulda kept the original instrumentation.
😂 I wanna hear a Despacito level 10 mashup now.
not just less and less like Despacito...less and less like music (more and more like noise)...let me go analyze Despacito to find out about chords that really ARE useful
I am crying. Funniest comment ever
@@proverbalizer despacito was analyzed here. It was level 1
Man the theoretical expansion doesn't compute for the average ear but following everything you're saying and listening to how they change from the original progression is awesome cause even though the chord progressions may not be something that you could use every time you play, you could take something like this and keep it in your pocket for that time you decide to throw everyone for a loop because they aren't expecting you to break their pre-programmed musical ears and expectation. I love this!!! Definitely have to watch it multiple time to fully grasp it all.
🙏🎹👍 Probably the only great music channel with 1 million+ subscribers who actually talks about great subjects like harmony and voice leading. In France, we had Debussy, Fauré, Ravel and Messiaen. Sadly they are not there to talk about that anymore but they were good at it as well :-) Rick Beato, you are the Nadia Boulanger of modern music! Long life to your channel !!!!!
And if ya take the half/whole diminished and add a one-and-a-half anything to it you'll end up in a New Jersey swamp trying to remember who you are and how you got there..
I like that this was more than one thought and funny. From looking back on unwanted music lesson years passed?
"There's actually a hundred levels, that I could come up with, or anyone could come up with." Thanks Rick, I'll get right on that.
Level 10 is wonderful. Doesn't sound dissonant to my ears. Sounds rich and glorious.
You just taught us all in ten minutes what it takes university three years to waffle through. Thanks again.
I remember when I was actively investigating and learning every scale, its derivative modes and the resulting chords and harmony. This is great work,it opens one's ears and mind and ultimately widens one's musical horizon and vocabulary. Sure above level 3 not much left for pop music and culture but it gets richer the higher you go and you get to exit your comfort zone. Phenomenal ear expanding work from a grand mentor. Totally useful to me. Thanks Rick.
Harmony and Melody are both equally extremely important to making excellent and and memorable music I believe! Really informative as always!
Thanks for the video I like how you organize it into discrete levels. Similar to how they teach it at Berklee- For me personally (discreetly) I always found it hard to keep track of all that while playing though.
I finally got clued in by going to Barry Harris class where he simply approaches all harmony linearly divided into tonic areas and dominant areas so you can instantly color your chords by “borrowing” one from the other. Great when in the heat of the moment! For example: every major 6 is also a minor 7h thus Bb IS Gm. Eb IS Cm etc. So instead of playing 4 things you’re really playing 2. This frees you up to use some “linear” embellishments you can’t even imagine.
After 8 years of going every week and having the good Dr. Harris coach me playing for the singers (whip and all!) it’s finally starting to click and feel really free, and sounds amazing if used judiciously.
I’ll post a short video on “borrowing” later today cause it’s easier to show it than describe it!
“These are the 10 levels of harmony that you can ACTUALLY use”
Checkmate! Adam Neely!
I find this area the most interesting of all the topics Adam and Rick cover.
Joseph Ballerini same here man 👍Both Rick and Adam are a great source for musical knowledge and inspiration!
I was talking about the fact that most people other that Adam and I don't have extra keyboards with Meantone, Pythagorean or Just intonation just lying around our studios :)
Nobody get's the david504 refference lmao
Rick Beato OKAY Rick 😉
This is how I always felt during math classes.
That one quickly turned into Resident Evil soundtrack
Alexander Milovanov right?
I was waiting for Chris Redfield to enter the room
I'm assuming songwriters (as opposed to film composers or jazz geeks) dropped out after a couple of levels.
Don't leave!
I certify even the first few levels can yield a hundred new songs!
Thanks for keeping it real Rick!
This is gold !
Level 10 is like scary,giant,ravishing beauty of the nature. (i dunno how can i describe it in eng.)
I thought there were only 7 circles of hell.
Without a melody on top of the chord progressions, it’s hard to really put any context around how different each new level sounds compared to the last level. By level 5 or 6, it sounds like a completely different piece of music.
Play the original progression over each mode and you'll see.
Like so many others of your videos, this is one that I will watch over and over again. And like so many others, some of this I knew (maybe from you years ago) and much of it I don't even if I recognize the sounds. You have a way of making something that we might dismiss as "math" back into music. Thanks for another of those videos.
Keith
I just play around with the guitar and piano for a hobby, but I really appreciate Rich spreading his wisdom like this.
I'm going back and watching this video in small bits in an effort to try and understand all the substitutions. I feel like levels 3-10 each deserve their own video. This is some deep stuff!
This is the greatest channel! Not all of us were lucky enough to study under George Russell, but Rick Beato delivers so much awesome information!
After level 4 it feels like I’m in a Zelda dungeon trying to find the boss key
LOL
That'd be the lydian stuff :)
@@bug2k4 thats why lydian is one of my favorite modes hahaha
@@bug2k4 The Lydian/Maj chord is just a regular Maj7 but with 11#. It’s comes from the Lydian scale built on the larger chord BbMaj13 11#, this is explained by the basics of the Chromatic Lydian Concept of Tonal Organization. And the same goes for the Bb Lydian which is just a regular triad but with 4# which derives from the concept aforementioned.
I used to do a lot of this as a kid...only it was just, “What does it sound like when I press THESE keys at the same time??” No actual awareness of chords or progressions or anything. Watching videos like this makes me wish I had stuck with my studies and gotten more than just a silly Associates degree. This stuff is GOLD, Rick! Keep it up! 👍👍👍
Yes, other people *have* done videos like this, but I appreciate all the different perspectives! And this seems super practical.
Wow Rick, I am amazed at how little I know. I do know greatness when I cross it’s path. Love your stuff.
I did an experiment, I read all the comments first then watched the video. Maybe because I played piano in a big band for many years, all the chord extensions/subs, etc. etc. I could hear what was going on through all the levels and the string patch did not bother me at all. Not sure why folks think it is "shrill." It does take time and immersion in dissonant styles of music to hear and also enjoy. I did some reharms that I just found in an old file that I did in my 20s (in my 50s now) and they were more "outside" than I would do now, which was weird to see. Thanks for this video Rick, love what you are doing. Be kind to us out here in the peanut gallery who are learning, it is a pretty steep curve.
Excellent! Harmony- a lesson for humanity... "The diversity in the human family should be the cause of love and harmony, as it is in music where many different notes blend together in the making of a perfect chord." -Abdul-Baha, Paris Talks
We are so incredibly lucky to be able to view these music theory master classes from an outstanding music professor - - from the comfort of our homes. Rick's major graduate school professors at the New England Conservatory include the great composer and conductor, George Russell, who is regarded as one of the greatest composers in the history of jazz, right up there with the likes of Ellington, Davis, Coleman, Monk, Jarrett, you name it (Gershwin, Brubeck, etc., etc.). That is the nature of Rick's pedigree.
if one is trying to capture/ convey the entire spectrum of the human experience these type of modes can sound like: confusion, loss, abject terror, bewilderment, deep and all consuming yearning, anything gut - wrenching, Hans Zimmer in his master class talks about music as question and answer. with these types of progressions, there maybe no answer - or the answer is disguised or hidden. in my life there are complexities that morph into nightmare- ish proportions. in composition if one creates soundscapes that defy convention, by contrast, an earth - shaking hook can be very sonically satisfying and emotionally strong. I really like this stuff and look forward to every episode. thanks Rickster. Ü ♫
The jump each level takes in digestibility is staggering. I sat down with my guitar to practice these and my head is spinning!
Wow. You just showed me WAY more chords and substitutes at my disposal than the teeny-bopper few I once knew! If this doesn't extend my "color palette" I don't know what will! And it came so unexpected. I sort of felt like I found myself watching a master geneticist presenting all the unknown potential species of strange and fascinating creatures that can arise and transmogrify once you apply a few sound DNA tools, just like a good alien would. And so through your clear presentation we can now see that these vibrational alien creatures with alpha-numeric designations can produce quite an amazing expressional range of moods and fab far-out sounds - something that I would love to have in my music! Before watching this video, I never heard these creatures' voices, or knew their exact names, I never knew that they even existed or that I could even conjure them up at my fingertips! So thanks. I'm impressed.
Level 6 to Level 8 were a bit tough to listen to, but that level 9 inner note movement part made me get up and head for the piano. Maybe try adding a melody over the progression next to really show what happens... scratch that, I'm gonna try that out for myself. Excellent video!
Rick, I love the content of this video, this is one which I need to listen to more than once and I probably need a pen and paper for it. Learning the theory is easy (if someone presents it to you), learning what you feel with different interavals/chords is easy, getting those two connected (go for a certain feeling, know immediately which intervals and chords to use) is tough. I speculate that only a lot of repetition and just using it will get you there.
Mind blown once again. Thanks to YOU, Nahre Sol, Adam Neely, and Sound Field, it's becoming a permanent state of mind. Thank you again!!
5-10 Ogermann (Two Concertos) or Jerry Fielding (Demon Seed end credits). Nicely done and glad to see someone explain this wonderful legacy of modal harmony
A pretty intense 15 min there.Literally a spectrum of Cool, read left to right.
Level 9 was so pretty, i am so excited to dive into modal interchange
I'll have to use this at the next blues jam. 😢
I can imagine faces of "feeling" pentatonic three-notes-phrases guys.
Blues jams lol so much fun 🤣
I'm going to have to listen to this several times to wrap my ears and head around it...and that's a good thing. Anyone willing to make a video with melodies atop these progressions?
Lvl 1-3, can be used in pop music. Lvl 4-5 jazz, however the rest I can imagine as a background in movies. Lvl 10 blew my mind, literally!!!😁
Great lesson! Q: why not do this in key of C? Was there a reason for using B flat as you key? Thanks and respect!
Geordie McCallum I was thinking the same thing. I would have loved this in C major. Maybe for Brass / Woodwinds instruments ? I don’t know :)
Because we should be able to apply this in any key, but even allowing for a simpler key could easily be Bb as it’s probably the most common key in jazz.
Because people like to take shortcuts in C Am etc.
Because there are four left hand spread triads in the key of Bb that are G, C, F and Dm in the key of Bb.
I really liked this version of the “levels of harmony”. Great theory and chord function information. Well done, Rick! 👌🏻
Awesome content, Rick...you always amaze me with your musical knowledge...thank you so much!!! 💗💗💗
Thanks Shauna!
I came back to this after college level theory and it’s making a bit more sense now
I love the model mixture when I first learned about that everything changed I started adding chromatics that sounds great rater then weird or off. Composers like Bach used it a lot too if you look at any of the chromatic notes they can almost always be analyzed as mode mixture.
Keep up the great content Rick!
yes but is not. it's for avoid augmented intervals.
My nose started bleeding around level 6 👍🤧🤘 Cheers Rick!!
By level 6 it’s sounds like you are going to hell 😂😂😂
Ten steps to hell
Highhhwayyy to helll
Getting strong 1st Resident Evil (1996) vibes...
Definitely less pretty
Hahaha!
B E A U T I F U L !!! 5 years of school brilliantly reduced to 14 and something minutes 👏👏👏👏 maestro.
Glad to hear a theory of harmony evolved to such a level of genius disharmony . but I''m sure we could spend more time around the happy 1through 4 ! I thought I was so hip when I savored John's, " Everything is got to be the way you want it to-o-o-o-o-o-ooo !"
my brain dropped off from head.... I need time for Understand this. This Sound, this harmony is so beautiful. Tks man!!
2:00-2:50 blew my mind. Never knew this was a thing, and it’s wonderful! Now I’ll get back to the video :)
Best in a long time. Will have to see it some times more!! Thank you!
Wow! This video really has a lot of information, I'm going to play this one over and over. Thank you Rick!
When we get to the two consecutive 7b5b9 chords, that's where it stops working for me, especially when what we then "resolve" to is a lydian chord...I enjoy spicy chords when doing the thing where you alternate between tensions (dissonance) and releases (consonance). when a b5b9 does not resolve, however, it just sounds annoying to me.
I totally appreciate the effort but I'm just not ready for this. I'm gonna come back to this after doing my theory homework. Keept it up Rick! I really appreciate what you put out and i'll try to support it
And on today’s Everything Music, all 60 pages of the second half of chapter 1 in the Beato Book! 😂😂😂 Love it.
this are the things i like seeing explained as it's rather hard to come by any of this if your just a dude with a guitar and no money for school's and what not. please make more vids like this.
I've been wondering when you'd do a video like this again. I initially found subscribed to your channel for all the advanced concepts you discussed so it's good to see them make a return.
Level 1-4:"Ok that makes sense"
Level 5-10:"Excuse me wtf"
The Lydian/Maj chord is just a regular Maj7 but with #11. It’s comes from the Bb Lydian scale built on the larger chord BbMaj13 #11, this is explained by the basics of the Chromatic Lydian Concept of Tonal Organization. And the same goes for the Bb Lydian which is just a regular triad but with #4 which derives from the concept aforementioned. I hope that explains the Lydian stuff. And the Bb Maj 7#5 comes from the same concept but applied to the 3rd mode of G harmonic minor, which is Ionian #5 AKA Bb major but with an augmented fifth.
The fifth level is a variant of the 4th level. An odd one i might add because its weird to do a tritone sub on the ii degree of the scale, but remember it’s still possible. Remember what Jacob Collier says “There no wrong notes, only weak and strong decisions”.
The decision of doing a tritone sub on the ii whilst weird, it can be justified by using the concept of tonal grades which are the I IV and V. The ii is related with the IV by two common tones therefore making them belong to the same harmonic group within the major scale (in this case that’d be the sub dominant group) The ii is a modal grade but its related with a tonal grade which is related with the V grade therefore the ii is related with both the IV and V even though it has a different harmonic function than the V. Hence a tritone sub of the ii grade of the scale is possible
Then the contrary motion one is simply using a bass line which descends and a top chord which ascents within the Bb scale to finally resolve to the V chord of G melodic minor (Dm7b6), G is the relative of Bb, i think the minor/major relative part is obvious but it’s necessary to specify nevertheless
The ninth and tenth levels are too advanced for me but maybe at the end of the semester after i learn some 20th century harmony and some more advanced jazz harmony i might be able to explain those really interesting levels
Tony Banks eats this every morning for breakfast - Thanks Rick for always inspiring greatness!
The first 4 or so sounded like they could be pop songs but after that it was sounding more and more like something you would only really hear in a movie or experimental music.
Wow. Really in depth stuff! But after level 5 I was back in algebra class staring out the window thinking WTF, I’m never gonna use this stuff!
Very good video. Love the _visual_ effects. Gorgeous voicings, once again!!! ♥
How someone can get to this level of understanding is staggering.
i feel so happy that i know all these topics and chords
Great Rick! You always open my ears to things that I never would have considered.
Music theory-ticians (and I include myself in my crosshair) have become like a badly trained statistical algorithm -- we just churn out nonsense extrapolations of logical principles into territory where there is no practical similarity with the circumstances those rules were originally defined by.
It ends up sounding like similar sounding chromatic porridge very quickly. In this case, we reach porridge by around level 5. On it's own as homogeneous timbral structures (or description of those structures) the resulting aesthetic sounds very self-similar.
Nonetheless, this method can be used to formally define flexible canvases for very beautiful melody or fantastic orchestration. Feels like we're working towards an emphasis on timbral progression that can't really be well defined by musical structure.
Enjoyed the video. Cheers.
Thanks! Great lesson. I will review (several times) and look it up in the book for further study.
Level 7 is huge in K Pop.
At Operating Level 8, you actually meet Xenu.
I was trying to imagine Unchained Melody over the chords. Just started to giggle at around Level 5. Thanks Rick! :-)
I feel like this is a troll. I'm going to proceed in my head as if it is. Well played
Haha!!!!!
I'm taking this as confirmation lol
You blew my mind on level 2. I never thought of a vii chord as having a dominant function. I don't understand why we are doing level 5
This is divine. It inspires me to make some chord-oriented detroit techno
killer video Rick. I eat this sort of thing up!
Amazing video!!! Can't wait to play around with these levels for harmony :)
The diagrams really help a lot to put ti together. It takes me back to my 4th semester of music theory in college. Never really mastered it. But you really made it much simpler to understand when you laid it all out. (Lot's creative potential...)
I am not one for beefs on who know more in music. Music is a Positive . Never should be used as a Negitive. Rick . I for one am thankfull for you sharing this video and appreciated. Man you know your stuff. Ounce you understand the Math or the theory of it . Everything falls into place. Personally, I would like to have heard it without the Synthasizer sound on it. It was getting hard to tell the difference of the blending of your chords. To hear it clearly. Maybe it's me or my sound I'm getting isn't that good. But some points it sounded very hisssy and I couldn't get some of the tonnel changes from one chord to the other. You could hear it after a second. Your chords were on. it's just the connections . Maybe because you were at one point almost yelling what you were doing. It was hard to hear the changes correctly. But I knew exactly what you were doing was right and good. Thanks for that Tutorial. Allways interested in more. Thanks Professor Beato!!
#6 to #10, very Holdsworthian! Love it!
Dang Rick you killin it! This was pretty easy to follow along to and super informative! Most of the time people "explain" this stuff, I feel like I'm watching abstract algebra written across an animated tesseract, but you did it in a way where I can actually go and mess around with these ideas. Thanks Rick!
WE LOVE YOU, RICK!!
I didnt even understand half of it, but it was super interesting :D This man is legendary
Man that was cool, I started to get lost but I stopped and re listened to where I was getting lost and focused and everything started making sense. Now I could not be able to tell it back to you but because of everything I am learning I am starting to be able to actually make sense of what you are saying! Love your channel and wish I would have learned from you when I was younger! Thank you so much! P.S. The Cycle of Fifth lesson awesome!
Thank you so much Mr. Beato!
Thanks for your work!
Not sure if I agree with the (that you can use) bit - unless you are a soundtracker, but it's good to know that maybe one day in the future I might be able to access this kind of harmonic depth! I do think you are the best Rick - not personal.
Very informative and useful. I feel that level seven is something that I've heard in some modern Samba music. Expanding my ear again. Thank you for sharing your knowledge.
I may have to return to this video's second half when I get into composing for film!
To the untrained ear (like mine), level 10 (and earlier) sounds like random noises thrown together. Makes me believe you could write progressions that sound just as interesting by throwing together random chords. And based on that, I now feel comfortable continuing to know bugger all theory.
If you have an undeveloped ear I would imagine they do all sound random. Improve your ear and they won’t. I promise!
Try listening to each level 1 time a day for 4 days, your ear will begin to recognize the movement/resolution, learn the theory later if you want. Once your ear recognizes the sound your brain may thirst for the knowledge...or maybe it will be happy with recognizing a cool new sound. John Williams will never sound the same again :)
Love it. Now to learn all these chord progressions in all 12 keys. Nice homework. BTW. I took lessons from Clare Fisher 40 years ago and I still practice his harmony.R.I.P.
Awesome!
Thank you for referencing the book again and giving context to each level. Also when he calls a chord a “Phrygian or aeolian chord” what does he mean? I hear people reference chords by using the mode but can’t find a video explaining it.
A flat major seven suspended two over G flat five
really sounds like I should invest in the Beato Book haha
Very interesting. These are all techniques to produce variations on/of a "simple" chord progression. May I suggest you at some point take an 8 measure phrase based on some of these and then elaborate further by using simple non-chord tones to the progression?
That would make, I think, an interesting video in which you could discuss the idea of revision of previously written work in order to get closer and closer to passages that could work in actual compositions.
That rug really ties the room together Rick!