Love you @TairyuShakuhachi Though I checked the comments before video, I think you should re-upload the video with this correction edited in. There were a few other things you could've subtracted; parts where you quickly say a few Japanese terms (seems like you're assuming everyone practices Japanese-styles of music (and therefore know the terms).You could do videos for Japanese-learners and musicians, and put those on your Patreon. Also, there's a stutter at 3:34 which to some may sound like you're uncertain (and therefore unverified) to be teaching, however I know you're well educated in music theory and could tell just from this video. Within the mastery of your craft, you have great potential to bridge worlds (bringing Japanese people to the realisation of their ancient and sacred culture, as well as bringing people in general to the beauty of *music itself*) Music like any language, is one to be mastered. Keep up the good work, Shawn, it is mastery which allows one to speak confidently about the subject after-all, which I for one, believe you have achieved the ability for. Much Love, Karl カール
I've been looking deeply into japanese music theory of late and was suprised at how scarse videos on this topic was. This was super helpful! Thank you so much, I'm excited for the next installment!
Great great great video! Everytime I've looked up information about traditional Japanese music and scales it always felt confusing and I never was able to really grasp how things actually worked, but the way you've brought the knowledge through understandable communication and plausible sources has made me understand it, thank you! Already subscribed and I'll surely be browsing the rest of your content!
You know the thing is is that I felt the exact same way many years ago. So once I was able to grasp all the material myself and after translating all of the documents I decided that I should make that Content. Because there are less and less people who are doing traditional Japanese music I have a fear that some of this information has the chance of being lost forever. So this was just one of many.
@@ForgiaG I will be doing a lot more in the future mainly with the music surrounding the Shakuhachi but I have plans of running an entire Japanese music history series that goes through a variety of ensembles. Thank you again for subscribing and stay tune for all the future content.
Very interesting. Someone now needs to research pitches since it was not in 12 tone equal temperament until recently (12 TET was strived for in classical period with comma systems, then perfected around 1900 with tuners in Europe). There is more to the story in terms of intervals in the old music.
@@TairyuShakuhachi I also heard the Koto was tuned with Pythagorean system. Hard to say if various regions of time periods tweaked it with a comma like system. As you probably know, but some others reading this will not: Pythagorean tuning is by fifth to fifth. Very common for string instruments hundreds of years ago, since if you only have a few octaves, then the actual octave notes are close. The only way to tune in Just Intonation is to always play in one key, as in Raga music which sets a drone and then seeks perfect pitch.
@@ShakuhachiSpirit My next video is on the 12 note system in Japan. Perhaps I will do some research for a future video on tuning in general within Japan but I think you will enjoy Japanese Music Theory Part II
@@TairyuShakuhachi Thanks - keep me posted. I am indeed fascinated by the ability of Shakuhachi to play just intonation with a drone and I have a sense that the Japanese were masters at listening to pitch before western colonization. The old recordings are not 12 TET - But they are amazingly precise and coherent.
Hello, great video but I didn't quite understood the "jumping" and "connecting" process to create our scales How do we know when we use the one or the other ?
Basically only one variation ever uses it. But the way to know if you have it right or not is if the final note of the second tetra chord is also the same as your starting. Basically the scales after one tetra chord will always jump to the next note and never connect.
Hello - really like your video and it's super useful - but just wanted to clarify something... I've seen your pinned comment, but prarobinson is also wrong as it isn't a tetrachord - as a tetrachord needs to have four notes in it (regardless of whether it's based on the 4th)
@@calvinleung4187 if you take it as in being four parts but it’s not in four parts, in three parts. So it is based on the fourth. It’s a difficult issue because I’m translating from Japanese to English.
But Bach lived before the classicists formulated their funny rules :v Anyway it's amazing to have someone on youtube tackling this topic, time to binge :)
The prohibition of parallel fifths and octaves existed a good 200+ years before Bach was born. And the "rules" of functional harmony always existed during the CPP, they just weren't properly codified until around the mid-19th century.
Hi. I came here for solving a questions for my Music History homework. I need to learn the pentatonic scale and compose a song on this in only 20 days for an exam. I decided to compose a Japanese-inspired Mexican son called "Sones de Sumire" which I will dedicate to Natsuki Deguchi, my favourite actress. Do you think that koto would adapt to the fast rythms of a mexican son composition like the "Son de la Negra"? I have fear of errors that would cost me my qualification and my status. Please, help! I will be very thankful. Kano, from Mexico
Also the example you used for the folk song mode is supposed to include A C D E G - but the example had no E but F instead - please can you explain this
It would be the "set" which makes it sound like its scale. within gagaku there are three types of scales, Ritsu, Ryo, and Chukyoku, these three all use the same notes within their respective modes (Banshiki, Oshiki, Hyojo, Sojo, and Doyo)...and what makes pieces different is when they shift tonal centers. In my second Japanese Music theory Series I talk a little bit about this with the 12 tone system of Japan.
VERY THEORIC AND TOTALLY USELESS FOR THE GENETAL PUBLIC, THE MAJORITY OF THE VIDEO IS A MUMBO JUMBO OF MUSICAL NOTES BY THEIR "LETTER"... TOTALLY MEANINGLESS UNLESS YOU ARE A MUSICIAN IS LIKE DESCRIBING COLORS WITH WORDS INSTEAD OF SHOWING THE COLORS THEMSELVES... LIKE THE COLOUR MAUVE WITH FUSCIA TONES.. 🤔 😝 😝 😝... 😬
![{Transition Chords} & Contemporary Japanese Music - [Kashiwa, Kondo, et. al.]](http://i.ytimg.com/vi/OsCHcAe3GNQ/mqdefault.jpg)
But 'tetra' means 'four', so isn't it a tetrachord because it's based on the 4th?
Correct. I must of written it unclearly when speaking. Thanks for the comment and clarification
Love you @TairyuShakuhachi
Though I checked the comments before video, I think you should re-upload the video with this correction edited in. There were a few other things you could've subtracted; parts where you quickly say a few Japanese terms (seems like you're assuming everyone practices Japanese-styles of music (and therefore know the terms).You could do videos for Japanese-learners and musicians, and put those on your Patreon.
Also, there's a stutter at 3:34 which to some may sound like you're uncertain (and therefore unverified) to be teaching, however I know you're well educated in music theory and could tell just from this video.
Within the mastery of your craft, you have great potential to bridge worlds (bringing Japanese people to the realisation of their ancient and sacred culture, as well as bringing people in general to the beauty of *music itself*) Music like any language, is one to be mastered.
Keep up the good work, Shawn, it is mastery which allows one to speak confidently about the subject after-all, which I for one, believe you have achieved the ability for.
Much Love,
Karl
カール
I've been looking deeply into japanese music theory of late and was suprised at how scarse videos on this topic was. This was super helpful! Thank you so much, I'm excited for the next installment!
I have made about 8 of them, check them out on my channel. :-)
Incredible music theory resource!
Thank you! I hope to make a few more.
Great information i was looking up information on hirajoshi scale and i learned so much more! thank you!
Being very experienced in historical european musiv theory, I find it very fun to learn about historical japanese music theory!
Its interesting stuff and this is just the tip of the iceberg. More to come!
@@TairyuShakuhachi Sounds great!
Extremely helpful video series
@@DaniMusiX :-) thank you
This is excellent! Thank you for this!
;-)
Great great great video! Everytime I've looked up information about traditional Japanese music and scales it always felt confusing and I never was able to really grasp how things actually worked, but the way you've brought the knowledge through understandable communication and plausible sources has made me understand it, thank you! Already subscribed and I'll surely be browsing the rest of your content!
You know the thing is is that I felt the exact same way many years ago. So once I was able to grasp all the material myself and after translating all of the documents I decided that I should make that Content. Because there are less and less people who are doing traditional Japanese music I have a fear that some of this information has the chance of being lost forever. So this was just one of many.
@@ForgiaG I will be doing a lot more in the future mainly with the music surrounding the Shakuhachi but I have plans of running an entire Japanese music history series that goes through a variety of ensembles. Thank you again for subscribing and stay tune for all the future content.
Very interesting. Someone now needs to research pitches since it was not in 12 tone equal temperament until recently (12 TET was strived for in classical period with comma systems, then perfected around 1900 with tuners in Europe). There is more to the story in terms of intervals in the old music.
There is a lot of research on that actually. It seems from what I have read that Japanese perhaps used a system close to the Pythagorean system.
@@TairyuShakuhachi I also heard the Koto was tuned with Pythagorean system. Hard to say if various regions of time periods tweaked it with a comma like system.
As you probably know, but some others reading this will not: Pythagorean tuning is by fifth to fifth. Very common for string instruments hundreds of years ago, since if you only have a few octaves, then the actual octave notes are close. The only way to tune in Just Intonation is to always play in one key, as in Raga music which sets a drone and then seeks perfect pitch.
@@ShakuhachiSpirit My next video is on the 12 note system in Japan. Perhaps I will do some research for a future video on tuning in general within Japan but I think you will enjoy Japanese Music Theory Part II
@@TairyuShakuhachi Thanks - keep me posted. I am indeed fascinated by the ability of Shakuhachi to play just intonation with a drone and I have a sense that the Japanese were masters at listening to pitch before western colonization. The old recordings are not 12 TET - But they are amazingly precise and coherent.
Wow, very interesting. Thank you for sharing.
You’re very welcome
This is gold Tairyu San !
;-) it’s an interesting thought.
thank you for this!
You’re welcome
Hello, great video but I didn't quite understood the "jumping" and "connecting" process to create our scales
How do we know when we use the one or the other ?
Basically only one variation ever uses it. But the way to know if you have it right or not is if the final note of the second tetra chord is also the same as your starting.
Basically the scales after one tetra chord will always jump to the next note and never connect.
WOW this is exciting
I thought you’d like this. Can’t wait
Hello - really like your video and it's super useful - but just wanted to clarify something...
I've seen your pinned comment, but prarobinson is also wrong as it isn't a tetrachord - as a tetrachord needs to have four notes in it (regardless of whether it's based on the 4th)
@@calvinleung4187 if you take it as in being four parts but it’s not in four parts, in three parts. So it is based on the fourth. It’s a difficult issue because I’m translating from Japanese to English.
But Bach lived before the classicists formulated their funny rules :v
Anyway it's amazing to have someone on youtube tackling this topic, time to binge :)
Correct. And the classicist got everything from bachs late writings
The prohibition of parallel fifths and octaves existed a good 200+ years before Bach was born. And the "rules" of functional harmony always existed during the CPP, they just weren't properly codified until around the mid-19th century.
Hi. I came here for solving a questions for my Music History homework. I need to learn the pentatonic scale and compose a song on this in only 20 days for an exam.
I decided to compose a Japanese-inspired Mexican son called "Sones de Sumire" which I will dedicate to Natsuki Deguchi, my favourite actress.
Do you think that koto would adapt to the fast rythms of a mexican son composition like the "Son de la Negra"? I have fear of errors that would cost me my qualification and my status.
Please, help!
I will be very thankful.
Kano, from Mexico
Koto will do just fine.
Also the example you used for the folk song mode is supposed to include A C D E G - but the example had no E but F instead - please can you explain this
@@calvinleung4187 if it was E G it would be the Ritsu Mode, F is the folk
8:48 in mode, miyakobushi scale
@@Ignacio-mm1pk yes 🙌
Thank god I’m finding it
Tetra means four and so a tetrachord, in the west, at least, has four note: C D E F, for example.
@@nigelhaywood9753 please note the pinned comment
🙏
🙏
8:41 bookmark
A good bookmark to have!
Hi, does these japanese mode have a colour note like those in the church mode? For example the #6 is what make dorian sounds like dorian.
It would be the "set" which makes it sound like its scale.
within gagaku there are three types of scales, Ritsu, Ryo, and Chukyoku, these three all use the same notes within their respective modes (Banshiki, Oshiki, Hyojo, Sojo, and Doyo)...and what makes pieces different is when they shift tonal centers. In my second Japanese Music theory Series I talk a little bit about this with the 12 tone system of Japan.
@@TairyuShakuhachi thanks for the reply. Will definitely check out the other video.
VERY THEORIC AND TOTALLY USELESS FOR THE GENETAL PUBLIC, THE MAJORITY OF THE VIDEO IS A MUMBO JUMBO OF MUSICAL NOTES BY THEIR "LETTER"... TOTALLY MEANINGLESS UNLESS YOU ARE A MUSICIAN IS LIKE DESCRIBING COLORS WITH WORDS INSTEAD OF SHOWING THE COLORS THEMSELVES... LIKE THE COLOUR MAUVE WITH FUSCIA TONES..
🤔 😝 😝 😝... 😬
Well, the title of the video does say "JAPANESE MUSIC THEORY."
This was awesome, thank you.
You are very welcome. Don’t forget the other 6 parts afterwards!