Yo I spent half a day looking for "How to know which chord comes after another" and "How do chord progressions work" and found nothing but half hour music theory thesis vids on literally anything except the answer to those two questions, and here this dude explains it properly in 3 mins flat. Thanks so much man!
QUESTION(S) IF THE COMMON ^ OF EACH ARE: TONIC [ I ' III' VI] - 1 3 5 ^ SUBD- [II' IV] - 4 6 DOM-[ V7' VIIhalf dim)] - 2 7^ the III doesnt have a 1 in it but the only ^the three chords share are 3 and 5. ( I dont understand how that works) *SECOND QUESTION: How the degrees are connected to each function. ex. why specifically the chords must share 4 and 6 ^ in order to function SUBDominant(ly)?
00:50 Yeah, but… WHY is D perceived as "not home" and C as "home"? What exactly makes us want to go back home from that D? 01:57 And what about that diminished chord? What's _its_ function?
Home is based off the context of other chords. It doesn't really exist in the real world but is a result of the musical relations with other chords within a progression. Why? Firstly, I'd say it doesn't matter the reasoning shouldn't impact your creativity. That said, relations between chords and the relations of notes within chords are just ratios of frequency. Our brains percieve some pattern of order (though in the real world it may not exist) within the set of frequencies and anticipate the home chord as completing the pattern (or at the very least being a likely next step within a pattern). An analogy might be the pattern 1,2,3,4,5,6,7... chances are your mind wants to finish that with 8, but in reality they are just a list of numbers (there's no reason why 8 should follow and not 10103105) and any meaning is projected onto them by you.
I was just messing around on my keyboard and found a good excerise to demonstrate the concept of purpose from context: Arpegiate between C and C# and try and discern which is happy and sad (if either). Then play A and it's perfect fifth (so E) together again try and figure out the emotion. Add it all together by playing A C E (Amin) and then A C# E (Amaj). Play around and you should really notice the difference in function is a result of context.
It's based on your key/tonal center or what key signature you're starting in. Basically, your "home" is the chord you start and/or end with. All the stuff in between can move away from it, but typically in Western common practice you end on home. There are many exceptions to the rule though.
@@iLex321 I know the theory. What I'm asking about is the explanation behind the theory. The physics of sound and our perception of it that causes it all.
@@bonbonpony from my understanding it's based off of Greek standards of their ideals of beauty and perception of perfect intervalic relationships with mathematics and the effects on harmony and that's what Western and European cultures adopted over time. If you look at other cultures, their tonal system was derived in a different manner so what sounds good and and harmonious to them may not fit what we have been exposed to in our musical culture and vice versa.
The function doesn’t change much in theory. A IV7 chord is still subdominant. However, some chord extensions can create ambiguity. An Em13 (EGBC) has the same notes as Cmaj7 (CEGB), for example.
Excellent work on brevity and conciseness. All-too-many youtube creators are wordy and meander, and they don't know how to consider their audience perspective.
Yo I spent half a day looking for "How to know which chord comes after another" and "How do chord progressions work" and found nothing but half hour music theory thesis vids on literally anything except the answer to those two questions, and here this dude explains it properly in 3 mins flat. Thanks so much man!
Same boat! Like I know what I'm looking for just don't know how to ask
Yea just needed to type Nashville number system would have been much better
Bro i love u this is really more helpful than your thought, specially for us who are doing self taught.
Glad to hear that!
May the god of music bless you
Thanks Jesse. These videos are always interesting.
Great channel for people on the go!
Well done😊
Are functions the same for a minor key? I mean the number of a chord and the function of it. Or the order is different?
I think they are. You just have to adjust what chords youll play because youre in minor (but Im not sure hhahaha)
really wanna know this, like does two sub dominant properties swap with VII (7)?
Thank you for helping me study for my music theory test!
Happy to help!
Thanks Jesse
Awesome video! 👏👏👏
Glad you liked it!
May God be with you
Note to myself: 1:50 chord functions
QUESTION(S)
IF THE COMMON ^ OF EACH ARE:
TONIC [ I ' III' VI] - 1 3 5 ^
SUBD- [II' IV] - 4 6
DOM-[ V7' VIIhalf dim)] - 2 7^
the III doesnt have a 1 in it but the only ^the three chords share are 3 and 5. ( I dont understand how that works)
*SECOND QUESTION:
How the degrees are connected to each function. ex. why specifically the chords must share 4 and 6 ^ in order to function SUBDominant(ly)?
Yeh 3 chord should be a dominant, not tonic
@@callumbrady88 III can be both dominant or tonic if I'm not mistaking
cheers
00:50 Yeah, but… WHY is D perceived as "not home" and C as "home"? What exactly makes us want to go back home from that D?
01:57 And what about that diminished chord? What's _its_ function?
Home is based off the context of other chords. It doesn't really exist in the real world but is a result of the musical relations with other chords within a progression. Why? Firstly, I'd say it doesn't matter the reasoning shouldn't impact your creativity. That said, relations between chords and the relations of notes within chords are just ratios of frequency. Our brains percieve some pattern of order (though in the real world it may not exist) within the set of frequencies and anticipate the home chord as completing the pattern (or at the very least being a likely next step within a pattern). An analogy might be the pattern 1,2,3,4,5,6,7... chances are your mind wants to finish that with 8, but in reality they are just a list of numbers (there's no reason why 8 should follow and not 10103105) and any meaning is projected onto them by you.
I was just messing around on my keyboard and found a good excerise to demonstrate the concept of purpose from context:
Arpegiate between C and C# and try and discern which is happy and sad (if either). Then play A and it's perfect fifth (so E) together again try and figure out the emotion. Add it all together by playing A C E (Amin) and then A C# E (Amaj). Play around and you should really notice the difference in function is a result of context.
It's based on your key/tonal center or what key signature you're starting in. Basically, your "home" is the chord you start and/or end with. All the stuff in between can move away from it, but typically in Western common practice you end on home. There are many exceptions to the rule though.
@@iLex321 I know the theory. What I'm asking about is the explanation behind the theory. The physics of sound and our perception of it that causes it all.
@@bonbonpony from my understanding it's based off of Greek standards of their ideals of beauty and perception of perfect intervalic relationships with mathematics and the effects on harmony and that's what Western and European cultures adopted over time. If you look at other cultures, their tonal system was derived in a different manner so what sounds good and and harmonious to them may not fit what we have been exposed to in our musical culture and vice versa.
For minor scale?
How does the tonal function change with extended chords, with 7th and beyond?
The function doesn’t change much in theory. A IV7 chord is still subdominant. However, some chord extensions can create ambiguity. An Em13 (EGBC) has the same notes as Cmaj7 (CEGB), for example.
Excellent work on brevity and conciseness. All-too-many youtube creators are wordy and meander, and they don't know how to consider their audience perspective.