Just him saying that non-diatonic progressions are nonfunctional harmony, and it's better to think about the color than anything else, just opened my mind. So simple,,yet so big
Actually, he's precisely right because broadly speaking all parallel or relative chords are the same function by which logic all 24 basic triads can be separated into 3 groups where all the chords that are minor third up or down are basically the same function, so there's no change in function when using flat third modulation method like here because practically all of these chords are the same function.
@@RobinsMusic or the "same function". That's why triton substitutions exist. Basically, triton substitutions fall under this category of relative and parallel chords being somewhat the "same" function because chords that are triton apart are relative for a relative chord (a minor third + a minor third equals a triton).
OK. There is a basic concept here sometimes know as "multi tonic systems." This happens when you divide the chromatic scale (12 notes) by any number that will divide evenly: 2, 3, 4, 6. In this case Ryan has divided the chromatic scale by 3 (ending up with major 3rds: C, E G#) and 4 (ending up with minor thirds: C, Eb, Gb, A). This will also work with dividing by 2 (tritone C, Gb; listen to the opening phrase of Debussy's Prélude à l’Aprés-Midi d’un Faune) and 6 (whole steps C, D, E, F#, G#, A#). Shifting the chord root to any of these gives pretty much the same effect because it moves away from the diatonic and leaves the listener in tonal no-man's land. Try it!
I don't know much about music theory this "advanced" (for me it's advanced, idk if it really is). But I just viewed Venus Theorys video on reharmonization. Is this the same? When I compared the changes here to the circle of fifths changes he talked about it was following the rules he presented.
@@inanitas You can start off and just play a chord on each division of the octave. For instance: C major, Eb major, Gb major, A major (and back to C). Then add a short melody such as do re mi fa sol (C D E F G on the C chord). And do the same on each chord (Eb F G Ab Bb on the Eb chord, etc). Then add a second chord C Dm C on the C chord, Eb Fm Eb on the Eb chord, etc.) You can make each phrase as long as you want, maybe 4 bars on the C key, 4 bars on the Eb key, 4 bars on the Gb Key, 4 bars on the A key.. Or pick a song (like the Beatles Yesterday) and play 4 bars in the original key of F, the 4 bars in Ab, 4 bars in B, 4 bars in D. You'll get a sense of how "multi tonic systems" can be used to get a "floating" feeling o never landing or needing to resolve to any key.
@@iamtheimagedoctor Thank you :) I'm not classically trained though and I sadly can't even play an instrument. I make music digitally. But I'll programm it into my DAW and play around with it
Fantastic, very well explained, concise and easy to understand. Really like the fact these videos go to the point quickly and stay on point, it really feels as I’m learning instead of getting ‘entertained’ if that makes any sense.
@@dpwaldman3145 I absolutely agree with you. What you call entertainment or excessive personality, I like to call distraction. This channel is pure gold. Thank you Ryan. You are an educator that is absolutely concise, articulate and adds tremendous value to the art of music. Much appreciated. 👌
hey man, new subscriber here. loved your no bulshit attitude and straight to 1. explaining 2. demonstrating 3. showing probabilities of application of the concept keep up the good work, looking forward to learning from this channel. thanks!
I've been hearing this shift-a-third trick flipping EVERYWHERE and have been searching for a name to attach to it! This video is an excellent explanation and I'll send it to the next person I need to explain the Hollywood Sound trick to
This guy is good. I subscribe to so many music channels (Beato, Neely, David Bennett, Signals, David Bruce, etc etc.) - yes and, Ryan offers great (and well articulated) APPLIED theory. I feel like I can move from his videos right to doing something with them immediately. Bravo, Ryan,
I just want to say thank you for the way you explained it all. I had a problem in school because they made me feel like these are rules with they way they explained it. The way you explained it made me feel more like these are just told to use to explain what I'm doing with my music.
Excellent! I am neither a native English speaker nor having a conservatory degree, maybe can be labled an amateur. But your explanations make me understand clearly in each video. Thank you at the bottom of my heart, dear sir.
Amazing teacher! Sir - you make complicated things understandable so easy for people like me - I was actually reading lots of reference books and articles to understand these simple (actually you made that sooo simple) "how to achieve epic sound techniques" - by teaching in the easiest way. A thousand thanks again.
You could have mentioned that these chord relations are called mediants and submediants. This is the kind of harmony that was developed in the mid 1800:s by Wagner, Liszt, Bruckner and Brahms, along with the theoretic teacher Simon Sechter. So film music has its roots in high and late romantic music and its instrumentation.
It could have just been the use of 3/4 and harp but in the final example I got strong Danny Elfman vibes. The way he uses unexpected chord progressions to create a strong narrative for the actions on screen.
A really good method for expressive,lyrical harmony,from pop songs to symphonic,is the link of parallel (as opposed to relative) major and minor tonic. C Major and C minor share the tonic,but are a minor 3rd apart in key signature. The use of both keys doubles the I/IV/V sets to use; C,F,G/Am,Dm,Em/Cm,FmGm/Eb,Ab,Bb.
Unless you're really good at reading a script, you definitely know your stuff. The presentation in all your videos is smooth and easy to follow. Excellent work!
Great video. Great Explanations! I like your orchestrations in the examples. The last example I experience as discovery or uncovering -- very fantasy-game like. One you could have also mention (which I love) which is an even stronger transition/effect is if you go a tritone away (using minor-minor, or major to major) - it creates either an ominous discovery atmosphere or a wonderous discovery atmosphere -- both terrifying in their own way. John Williams uses this in Indiana Jones when Indiana finds the arc of the covenant --masterful orchestration. Inversions don't matter either, so the counterpoint/voice leading is easy, and lends itself to chromaticism. Happy I found your channel.
I really liked the two examples that used the harp, they reminded me of the track Oversnow from Eric Heberling's soundtracks to Arena And Daggerfall, which makes sense since it has chords moving exactly like this, in a quasi Coltrane-changes major 3rds cycle.
This video is so helpful. I always wanted to try new things apart from the usual chord progression or modal interchange. This is one of the jigsaw to my puzzle. Thank you. Share more ideas like this 👍🏻
Major up to Major: heroic, super happy, bold, royal, light/quirky Major down to Major: magical,mysterious Major down to Minor: dark, unexpected, sinister Minor to minor: dark,strange Minor to Major: mystic, dark folksy (IMO)
The last example could be used well in an 'unhinged' scenario. The colours of happiness within the sad have a very uneasy and false quality. Really interesting.
I cannot believe that I missed this video! Great video Ryan, and just what I was getting into lately! I wanted to ask: could you perhaps make some videos on Kingdoms of Amalur’s great soundtrack? I feel it relates strongly to this video.
That's a great soundtrack and game Paulo. I also commented on the similarity. These patterns seem heavily used by Grant Kirkhope. I'd also like to see a video on it.
Sure, check out Candy Jar on Netflix: ua-cam.com/video/1lXLGwe_DUU/v-deo.html Some others on a variety of streaming platforms are Fire City: End of Days, Skinning, Pastor Shepherd, Miles Between Us. Lots of indie films!
Wow really nice video! Thank you for the tips. I subscribed to your channel and I can see that there is a lot of very interesting content. I'm gonna dive deeper into the orchestration section since I'm trying to improve it on my own
It might be because of the way the roots relate to each other. With root motion by 4ths/5ths or 2nds/7ths you get feelings of very strong functional progressions. If I go from C to Fm it feels like I'm moving to a new level of gravity. But the thirds relationships don't have that so you can change the color and mood without also affecting that sense of ground.
Thanks! Yea I think I made a passing reference to that term in the video, but I think it's a bit abstract and makes it sound more difficult than it really is. Also I think if you're being super strict a chromatic mediant has to share a common tone and be the same type (major to major only), so it wouldn't include something like C major to Eb minor.
@@RyanLeach IMO that’s the best type of teaching, specially when we are talking about informal teaching. Simplifying terms so they are easier to understand but still making a reference to the proper terminology is a great strategy. You are not trying to show off your knowledge, you’re passing it on in a way that is easy to digest for your audience/students, kudos my friend.
I've lately been into secondary dimished so would like an exploration there at some point to add to the secondary dominant video. I'd also be interested in a video on composing beginning / middle / end and what each bit entails.
Okay so how do you ACTUALLY use modes?? Music isn't just Harmony there's also bass movement there's also melody, Harmony supports the melody, so how do you use modes with these out of key chords?
So, there’s always a relation with a tonic? If I insert a chord by a 3rd to other chords in a progression, it won’t be considered as chr mediant?? Thnx bro❤
Hi Ryan, What are some of films, video games, commercials, tec., have you scored ? This is NOT a challenge, just a simple question to give me an idea of your output. Thanks, Bill P.
A great example of an effect similar to the minor to 3rd major is Brittien's "Balulalow" from "A Ceremony of Carols," in which he almost continuously switches between f# minor and F# major, and then adds a jump from f# minor to C major: ua-cam.com/video/1iqFXEbSdjM/v-deo.html The result is a very modal-sounding piece, that also happens to be one of the most beautiful musical work ever created.
Your Gm….Ebm…….Gm…..Bbm progression is very reminiscent of something Bernard Herrman might have written in, for example, Jason and the Argonauts soundtrack.
This would be much easier to follow if you played the chord after you named it, so that those of us who aren't familiar with terminology but have it in their ear already could catch up Consider it a translation job, similar to subtitling, for, uh, the anti-deaf
“This emphasis is not on harmonic movement, but instead color and effect.” Would you say that this is one of the things that sets film music apart from other kinds of Western music?
Great videos, but not reading notes, it would be super helpful if you could show it on the piano keys as well. PS: I do expect to pick up reading notes eventually, but right now I have enough with trying to muddle along on a keyboard lol.
3:25 Technically D & F are VI & VII chords of G mixolydian. I dunno. The rest of the tune could go G - Am - G - C - G - D - Am - Geeeeeeeeeeeeeee for all we know,.
Well technically the Ab/C is not a chromatic mediant because it’s not in root position, and there are theorists saying that changing the mode of the chord (going from major to minor or vice versa) is not a chromatic mediant either…
😬Mistakes I Made Learning To Write Music ua-cam.com/video/LsuXwtRwgWQ/v-deo.html
Just him saying that non-diatonic progressions are nonfunctional harmony, and it's better to think about the color than anything else, just opened my mind. So simple,,yet so big
yea, never thought of it that way but it works.
Actually, he's precisely right because broadly speaking all parallel or relative chords are the same function by which logic all 24 basic triads can be separated into 3 groups where all the chords that are minor third up or down are basically the same function, so there's no change in function when using flat third modulation method like here because practically all of these chords are the same function.
@@Grigoriy1996what about chords that are tritones apart, I think they’re also nonfunctional
@@RobinsMusic or the "same function". That's why triton substitutions exist. Basically, triton substitutions fall under this category of relative and parallel chords being somewhat the "same" function because chords that are triton apart are relative for a relative chord (a minor third + a minor third equals a triton).
@Grigoriy1996 what does it mean to say "function"? Everything you're saying is above my head.
OK. There is a basic concept here sometimes know as "multi tonic systems." This happens when you divide the chromatic scale (12 notes) by any number that will divide evenly: 2, 3, 4, 6. In this case Ryan has divided the chromatic scale by 3 (ending up with major 3rds: C, E G#) and 4 (ending up with minor thirds: C, Eb, Gb, A). This will also work with dividing by 2 (tritone C, Gb; listen to the opening phrase of Debussy's Prélude à l’Aprés-Midi d’un Faune) and 6 (whole steps C, D, E, F#, G#, A#). Shifting the chord root to any of these gives pretty much the same effect because it moves away from the diatonic and leaves the listener in tonal no-man's land. Try it!
I don't know much about music theory this "advanced" (for me it's advanced, idk if it really is). But I just viewed Venus Theorys video on reharmonization. Is this the same? When I compared the changes here to the circle of fifths changes he talked about it was following the rules he presented.
@@inanitas You can start off and just play a chord on each division of the octave. For instance: C major, Eb major, Gb major, A major (and back to C). Then add a short melody such as do re mi fa sol (C D E F G on the C chord). And do the same on each chord (Eb F G Ab Bb on the Eb chord, etc). Then add a second chord C Dm C on the C chord, Eb Fm Eb on the Eb chord, etc.) You can make each phrase as long as you want, maybe 4 bars on the C key, 4 bars on the Eb key, 4 bars on the Gb Key, 4 bars on the A key.. Or pick a song (like the Beatles Yesterday) and play 4 bars in the original key of F, the 4 bars in Ab, 4 bars in B, 4 bars in D. You'll get a sense of how "multi tonic systems" can be used to get a "floating" feeling o never landing or needing to resolve to any key.
@@iamtheimagedoctor Thank you :) I'm not classically trained though and I sadly can't even play an instrument. I make music digitally. But I'll programm it into my DAW and play around with it
Fantastic, very well explained, concise and easy to understand. Really like the fact these videos go to the point quickly and stay on point, it really feels as I’m learning instead of getting ‘entertained’ if that makes any sense.
Thanks so much, it really is my hope that people can take these ideas and put them to use immediately.
I totally relate. I do not go to these videos for entertainment, or excessive ‘personality’. Ryan’s videos are great!!
@@dpwaldman3145 I absolutely agree with you. What you call entertainment or excessive personality, I like to call distraction. This channel is pure gold. Thank you Ryan. You are an educator that is absolutely concise, articulate and adds tremendous value to the art of music. Much appreciated. 👌
hey man, new subscriber here. loved your no bulshit attitude and straight to
1. explaining
2. demonstrating
3. showing probabilities of application of the concept
keep up the good work, looking forward to learning from this channel. thanks!
I appreciate it, I'm hoping people come away with idea or techniques they can actually use.
The minor to minor example nailed the music to Elder Scrolls 2: Daggerfall
This channel is a hidden gem
And all these things is what makes rock music really stand out and sound great!
I've been hearing this shift-a-third trick flipping EVERYWHERE and have been searching for a name to attach to it! This video is an excellent explanation and I'll send it to the next person I need to explain the Hollywood Sound trick to
This guy is good. I subscribe to so many music channels (Beato, Neely, David Bennett, Signals, David Bruce, etc etc.) - yes and, Ryan offers great (and well articulated) APPLIED theory. I feel like I can move from his videos right to doing something with them immediately. Bravo, Ryan,
I just want to say thank you for the way you explained it all. I had a problem in school because they made me feel like these are rules with they way they explained it. The way you explained it made me feel more like these are just told to use to explain what I'm doing with my music.
Excellent! I am neither a native English speaker nor having a conservatory degree, maybe can be labled an amateur. But your explanations make me understand clearly in each video. Thank you at the bottom of my heart, dear sir.
Amazing teacher! Sir - you make complicated things understandable so easy for people like me - I was actually reading lots of reference books and articles to understand these simple (actually you made that sooo simple) "how to achieve epic sound techniques" - by teaching in the easiest way. A thousand thanks again.
Thank you for the kind remarks
You could have mentioned that these chord relations are called mediants and submediants.
This is the kind of harmony that was developed in the mid 1800:s by Wagner, Liszt, Bruckner and Brahms, along with the theoretic teacher Simon Sechter. So film music has its roots in high and late romantic music and its instrumentation.
You should check out 0:30
Thanks Ryan. You made a big subject very graspable (if that's a word) in just a few minutes.
Fantastic lesson. Never thought in this way. Opened my eyes....and my ears!
Amazing and explained very simply. Anyone else here noticed the similarity with the Kingdoms of Amalur: Reckoning game soundtrack?
This is so cool and perfectly timed. God I love UA-cam. Thanks for posting this. It's opened up what I thought was even possible.
wow this actually blew my mind its the piece of the puzzle I've been looking for thank you sir!
The last one was my favourite!
It could have just been the use of 3/4 and harp but in the final example I got strong Danny Elfman vibes. The way he uses unexpected chord progressions to create a strong narrative for the actions on screen.
A really good method for expressive,lyrical harmony,from pop songs to symphonic,is the link of parallel (as opposed to relative) major and minor tonic. C Major and C minor share the tonic,but are a minor 3rd apart in key signature. The use of both keys doubles the I/IV/V sets to use; C,F,G/Am,Dm,Em/Cm,FmGm/Eb,Ab,Bb.
Unless you're really good at reading a script, you definitely know your stuff. The presentation in all your videos is smooth and easy to follow. Excellent work!
Great video. Great Explanations! I like your orchestrations in the examples.
The last example I experience as discovery or uncovering -- very fantasy-game like.
One you could have also mention (which I love) which is an even stronger transition/effect is if you go a tritone away (using minor-minor, or major to major) - it creates either an ominous discovery atmosphere or a wonderous discovery atmosphere -- both terrifying in their own way. John Williams uses this in Indiana Jones when Indiana finds the arc of the covenant --masterful orchestration. Inversions don't matter either, so the counterpoint/voice leading is easy, and lends itself to chromaticism.
Happy I found your channel.
I really liked the two examples that used the harp, they reminded me of the track Oversnow from Eric Heberling's soundtracks to Arena And Daggerfall, which makes sense since it has chords moving exactly like this, in a quasi Coltrane-changes major 3rds cycle.
This video is so helpful. I always wanted to try new things apart from the usual chord progression or modal interchange. This is one of the jigsaw to my puzzle. Thank you. Share more ideas like this 👍🏻
You're very welcome!
When I try to write songs, I get tired of the same 1-4-5 and their relative minors that sound so stale. I want to try new combinations, so I subbed.
Impressive Ryan. Not even John Williams himself could have explained it better... simply, chapeau !!! 🎩🎩🎩
Thank you for this video Ryan I absolutely got so much from this information.x
I *love* this systematic breakdown with concise explanations and examples! And I noticed _Breath of the Wild_ as your desktop background.
The simplicity of the examples is really perfect for showcasing this technique! Thanks for the awesome content!
My pleasure!
Hello, Ryan. For the minor to minor segment (6:00), the sample you gave sounded like "the wolf" theme in Prokofiev's "Peter and the Wolf".
Subscriber # 233 says Ryan is a good teacher who also knows what he's talking about.
Welcome aboard #233
Thank you this is the second video of yours I have watched and both really helped fill in some missing gaps in my music.
Major up to Major: heroic, super happy, bold, royal, light/quirky
Major down to Major: magical,mysterious
Major down to Minor: dark, unexpected, sinister
Minor to minor: dark,strange
Minor to Major: mystic, dark folksy (IMO)
The last example could be used well in an 'unhinged' scenario. The colours of happiness within the sad have a very uneasy and false quality. Really interesting.
Your shirt is giving me life!
Really nice video! Really been liking what you're putting on your channel, hope you continue it!
Thanks, will do!
Ryan, absolutely fantastic stuff, and clearly presented
Great vid!! You should have at least 20x the amount of your current subscribers! Cheers from Argentina, keep it up!
6:20
Minor to major is great for finding a village of fairies in a dark enchanted forest.
I cannot believe that I missed this video! Great video Ryan, and just what I was getting into lately! I wanted to ask: could you perhaps make some videos on Kingdoms of Amalur’s great soundtrack? I feel it relates strongly to this video.
Cool, I don't know that one but I'll check it out!
That's a great soundtrack and game Paulo. I also commented on the similarity. These patterns seem heavily used by Grant Kirkhope. I'd also like to see a video on it.
Bravo, Ryan!
This is some good shit. Very well explained and structured video. Subscribed.
This is very helpful!
Thanks 🙏🌷
Really useful information, thanks Ryan 🙂
well earned sub !
Your content is simply amazing
Thanks!
Awesome, I didnt even know that this was even posible.
Another great explainer video Ryan, very useful!
Thanks Mark, I appreciate it!
Really interesting. Can you mention some of the movies that you have scored?
Thanks
Sure, check out Candy Jar on Netflix: ua-cam.com/video/1lXLGwe_DUU/v-deo.html
Some others on a variety of streaming platforms are Fire City: End of Days, Skinning, Pastor Shepherd, Miles Between Us. Lots of indie films!
muy buen video...muchas gracias.
Wow that minor to minor gave immediate Star Wars vibes
Last example felt like 80% of Danny Elfman's work.
Thanks!
Essential this is using chromatic mediants and double chromatic mediants
What software do you use for the classical music? It’s great
Great channel, it deserves a lot more attention! 👍
Thanks, if you have any ideas on how to make they happen I’ll take them!
Really informative
The major to minor to major gives me Martin O’Donnel halo vibes.
EXCELLENT Video. Thank you.
Thanks, I appreciate it!
Wow really nice video! Thank you for the tips. I subscribed to your channel and I can see that there is a lot of very interesting content. I'm gonna dive deeper into the orchestration section since I'm trying to improve it on my own
Thanks and welcome! If you use Discord come say hello: discord.gg/YCpmQVepu9
@@RyanLeach Thanks for replying! Yep, I already joined the Discord channe, thanks!
Great to find your channel
Welcome aboard!
This is awesome 👏
Brilliant, Thanks!
You're welcome!
So dope!! Thanks man
Thanks, I appreciate it!
A little off-topic, but
6:58 is that a real harp or a vst? If it’s a vst, which one is it?
Phenomenal video! Is there any particular reason why you focused chords that are separated by major and minor thirds?
It might be because of the way the roots relate to each other. With root motion by 4ths/5ths or 2nds/7ths you get feelings of very strong functional progressions. If I go from C to Fm it feels like I'm moving to a new level of gravity. But the thirds relationships don't have that so you can change the color and mood without also affecting that sense of ground.
@@RyanLeach Great explanation!
Excellent video as always! Isn’t this all called chromatic mediants and chromatic submediants?
Thanks! Yea I think I made a passing reference to that term in the video, but I think it's a bit abstract and makes it sound more difficult than it really is. Also I think if you're being super strict a chromatic mediant has to share a common tone and be the same type (major to major only), so it wouldn't include something like C major to Eb minor.
@@RyanLeach IMO that’s the best type of teaching, specially when we are talking about informal teaching. Simplifying terms so they are easier to understand but still making a reference to the proper terminology is a great strategy. You are not trying to show off your knowledge, you’re passing it on in a way that is easy to digest for your audience/students, kudos my friend.
What's another music theory/harmony topic you want to see a video on?
I've lately been into secondary dimished so would like an exploration there at some point to add to the secondary dominant video. I'd also be interested in a video on composing beginning / middle / end and what each bit entails.
@@e7mac693 One thing I quickly realized once I started this channel is that I will never run out of ideas for videos to make!
Great video, but the captions desync at the 2min mark roughly
Weird, thanks for the heads up!
@@RyanLeach sure thing, thanks for responding I appreciate it.
Obrigado, Ryan
De nada!
Okay so how do you ACTUALLY use modes??
Music isn't just Harmony there's also bass movement there's also melody, Harmony supports the melody, so how do you use modes with these out of key chords?
So, there’s always a relation with a tonic? If I insert a chord by a 3rd to other chords in a progression, it won’t be considered as chr mediant?? Thnx bro❤
Everything sounds really john williams😍
Brilliant content!
Thanks!
This opened up a lot of chords for me which is exactly what I was looking for. Love the "insider tip". What else do you have? :)
Thanks! Once I get through this orchestration series I'm sure there will be more harmony ones coming.
@@RyanLeach Excellent! And I LOVE the orchestration series too! So good!!
good vid
Hi Ryan,
What are some of films, video games, commercials, tec., have you scored ?
This is NOT a challenge, just a simple question to give me an idea of your output.
Thanks,
Bill P.
www.ryanleach.com/about
am filipina little english if i learn i join mean if clear explained thank you
Some people just have a gift for understanding harmony and music this guys is a genius
A great example of an effect similar to the minor to 3rd major is Brittien's "Balulalow" from "A Ceremony of Carols," in which he almost continuously switches between f# minor and F# major, and then adds a jump from f# minor to C major:
ua-cam.com/video/1iqFXEbSdjM/v-deo.html
The result is a very modal-sounding piece, that also happens to be one of the most beautiful musical work ever created.
Great video.What are the samples used here?
Thanks! That's NotePerformer in Sibelius.
@@RyanLeach Haha when did it become so good?
Your Gm….Ebm…….Gm…..Bbm progression is very reminiscent of something Bernard Herrman might have written in, for example, Jason and the Argonauts soundtrack.
Yea I totally know what you mean. Seventh Voyage of Sinbad is a favorite Hermann score of mine!
Nice channel!
Thanks!
Danny Elfman tutorial
05:42 Yeah, Howard Shore Lord of the Rings Technique
This would be much easier to follow if you played the chord after you named it, so that those of us who aren't familiar with terminology but have it in their ear already could catch up
Consider it a translation job, similar to subtitling, for, uh, the anti-deaf
Thanks for the tip, I'll try to be more mindful of keeping the talking and playing in sync in future videos!
🔥
new subscriber here ! if you could show us a keyboard to demonstrate chords it will be great !
Absolutely! I've been trying to do that recently. This is an old video for me, I didn't know how to do that yet lol
@@RyanLeach Perfect ! thank you
👏👏👏
Breath of the Wild desktop background?
“This emphasis is not on harmonic movement, but instead color and effect.” Would you say that this is one of the things that sets film music apart from other kinds of Western music?
Hm not necessarily, I think the same could be said of a lot of electronic dance music for just one example
Thanks. What does set film music apart from other kinds of music? Or is that a question that’s too huge for a UA-cam comment? I loved the content.
@@d.harrison1570 Film music must serve the story, but a song on the radio or piece in a concert does not have to
“is sad” literally just a dog
Great videos, but not reading notes, it would be super helpful if you could show it on the piano keys as well. PS: I do expect to pick up reading notes eventually, but right now I have enough with trying to muddle along on a keyboard lol.
3:25 Technically D & F are VI & VII chords of G mixolydian. I dunno. The rest of the tune could go G - Am - G - C - G - D - Am - Geeeeeeeeeeeeeee for all we know,.
Well technically the Ab/C is not a chromatic mediant because it’s not in root position, and there are theorists saying that changing the mode of the chord (going from major to minor or vice versa) is not a chromatic mediant either…
To much theory for my opinion. Lets jump straight to the practise.