Oh man your view count is unjust. You are covering interesting topics with excellent editing, I love your content❤. I hope that your channel will get the numbers it deserves
You just gave a better explanation of negative harmony (inversion) in 10 seconds than I have heard on whole videos about negative harmony. Well done! This was such an informative video
This coloring system would be perfect for the piano roll in fl studio! It already lets you assign colors to arbitrary groups of notes and all that's missing is an option to tie these colors to specific pitches. Like, they could totally add this and it wouldn't even be that hard to implement
Really appreciate the video! Why go for just four first notes? Like you could take de five first notes of a scale for exemple then repeat, or in alternance four and three for exemple? Or even 1, after 2, after 3, after 4, after 5, after 6, after the whole thing, Would it work? What about other scales famillies like melodic minor or double harmonic major? Can you build a "super melodic minor"? Also if you use one quarter tone in your initial structure, like a maqam's tetrachord, would you be able to generate more structures?
Bach is technically considered a part of the rococo period. The "transition" between baroque and classical methods. In fact, he was considered old fashioned during his day. Imagine Duke Ellington, composing big band music in 1990. No one would have cared. Same for Johann unfortunately. :(
I’m also going into ap physics but as a junior and I didn’t understand a single thing that they were talking about 😭 ima try watching other videos before this one bc I think this is a review vid
I don’t get how people take ap classes so early our school doesn’t let you take ap physics till at least junior year. Most ap classes are not even available till then
This was very well done! I've been a fan of processing for a long time / using it for years. I don't often see people making projects with it, with the exception of TheCodingTrain community members. The best part of this video was the presentation, the animations for code blocks appearing was smooth and the script was well written. Bravo!
Nice video! As I listened to the passage it ocurred to me that the chromatic pivot chord can also be heard as a Ger6 in Em (if in an unusual inversion), which stays in the previously established tonal center. Another interesting detail I think smooths the passage is that the top C has a contrapuntal (as 9th of the chord) and tonal (as m6 of E) tendency to resolve down to B (5 of E). However, when it is reinterpreted chromatically as B# it becomes (in view of the whole phrase) a tone which still tends to resolve to 5 (C# in F#), but now from the opposite direction. I feel these kind of fragments illustrate an important reason for the adoption of enharmonic equivalence in our tuning systems, since it allows for such expressive ambiguities!
This treatment is valuable but incomplete, indeed silent on the most important point of all. It only describes the positional relationship between notes as an ordered set treated as a group. It neglects the important point that musical notes are a notation for describing SOUNDS. Each note has a corresponding frequency and wavelength of physical vibration. Most people know that two notes an octave apart are called by the same name, so for example A440 (known as "concert pitch" at 440Hz) and A880 (880 Hz) are both called A. The reason why the fifth interval is so important musically (even neglecting the set-theoretic aspect) is that the fifth above a given note N of frequency f is that it has the frequency 3/2f. There is a physical harmonic resonance in this relationship between frequencies, just as there is for the octave of N at 2f. This has two important physical consequences. A set of objects tuned to vibrate at these frequencies will tend to vibrate sympathetically when one of them is sounded. Also, we have reason to believe that within the complex neural structure of our brains is something equivalent to a phase lock loop, which is naturally reactive to harmonic intervals. This is the most fundamental reason why music "sounds good" to us, and it's the first step in understanding why music is MUSIC and not just some interesting features of ordered sets. Taking a root note N at frequency f, the harmonic sequence begins f (root,) 2 f (octave,) 3/2 f (perfect fifth above root,) 4/2 f (octave,) 5/2 f (major third above root,) 6/2 f (perfect fifth above octave,) and then things start to sound a bit weird. A similar effect happens if we follow around the circle of fifths from the root (f,) fifth (3/2 f,) fifth of fifth (3/2×3/2 f) and so on. The fifth of the fifth is a major second interval, almost. The problem is that in a 12-tone even-tempered scale, each semitone frequency g is a factor of 2^(1/12) ~= 1.0594 greater than the previous one f, whereas the fifth interval by this method, f^(7g) ~= 1.498 f is not quite that of our harmonic method 1.500 f. If we only take a couple of steps, say the fifth of the fifth, it's close enough to fool the phase lock loop in our brain, but the further we carry it, the more audible the discrepancy becomes, hence effects such as the "wolf fifth." In other words, we can only close the circle of fifths right around through all twelve notes if we use 2^(7/12) × f instead of 3/2 f at each step. Starting at A440 (440Hz) we would not use 3/2×440 = 660Hz for the E above concert A, but instead 2^(7/12) × 440 = 659.255. I can understand why the video didn't get into these slightly hairy sound calculations, but hey, we're taking about music, and music is nothing without sound.
