Music Creators! Are you looking to unlock your inner artist? You're in the right place.
Meta Mind Music is a channel dedicated to help you compose awe-inspiring music, create professional quality productions & finish mind blowing mixes in your home studio.
My goal is to help you level up your skills with practical & technical trainings on all things music & audio but more importantly I also focus on the philosophical & creative side of the art such as developing your unique sound, understanding creative psychology & mastering YOUR process.
My name is Alexandre Joyal (you can call me Alex) and I'm super stoked to dive deep into the magical world of music production with you.
►► Discover how to create more music, finish radio-ready releases and unlock your inner genius by learning How To Master The 3 Secrets Of The Creative Process: www.metamindmusic.com/masterclass
I can't tell you how many scores of videos i have watched to try to figure out what i wanted to invest in that wouldnt lead to a severe case of G.A.S. i don't mind spending money but only if my research has managed to calm the band of monkeys flinging poo around my brain. You are the first person to describe the exact feeling i get when trying to make music in a DAW - YUCK! I dont know how anyone can find that enjoyable. Part of it is that i was a programmer for 25 years and don't want to stare at a screen anymore. But the other part is you lose the fun of playing an INSTRUMENT! I grew up playing piano and drums so i know that joy. You really went into great depth to explain that Push truly IS an instrument and can be just as fun to master like any other instrument, which then goves you the freedom of expressing what you feel. And you identified the advantages you gain by doing it in the digital space: you dont have to remember the cool stuff you came up with, replay it, then transfer it to your daw. It's all pretty much of a piece in the Push. Anyway, I could go on and on about how fantastic this video was, but mostly I want to express my gratitude for your intelligence, your teaching ability, and your generosity in sharing this. Now i begin the process of saving up for this device while having the peace of mind that I've made the right decision.
My preferred approach for "printing out"/recording an arrangement is to setup all your clips first. Arrange them in the session view option in Push with each scene (horizonal lane) being a progression of your track (e.g. 1st scene is the intro etc). Once you have your scenes how you want them, press shift + record to record into arrangement view and click the play button alongside each scene/horizontal lane according to the progression you want. You can also tweak effects, levels etc for transitions, builds etc as you go (or you can add these in the arrangement in Ableton Live afterwards). I guess your approach is more tailored to live performance/production which makes sense...
Alternative analysis of progression 1 "Innocent Love:" key of D, 4-1-6-5, super basic, same progression as so many bland overproduced tracks form the last decade. I really tried to hear this in lydian, but the four inescapable chords of pop are too deeply embedded in my brain.
Liked & subbed.Guitar is my main instrument.Recently picked up a 61 key keyboard.Played keys on & off for yrs.This connects some Dots for me.Few years ago I bought a Guitar Wheel.You can spin the wheel for what chords work in what key.Has the same thing on the flip side for keys.Never knew a study had been done for chord emotions.Thank You for all you're showing on your channel. Best Regards.
I think giving the progression chords 1 beat each is kinda like introducing the color palette. If you were to change the duration of the chords and rhythm, i recon the perception of the progression would also change. I think this is instructive as a way to expand possibilities, but I'd like to see how rhythm and duration helps to accentuate how the progressions hit
I strongly endorse and underwrite this comment. 🙌🙌🙌 And combining this suggestion with those about using a "more dynamic instrument" that allows for better velocity or volume control would elevate everything you're doing here. Keep it up! We need this stuff.
I did not feel like this video was useful at all. There is so much more to creating emotion in music than choice in chord progression. It is only one factor and not even close to the most important.
I mention this in the video - it’s an impossible task to capture all the nuances and variables that contribute to the emotion of a piece of music. Timbre, tempo, arrangement, harmony, melody, sound design, instrumentation, context… the list is endless. That’s not including how we label feelings with concepts - which everyone could be doing slightly differently. I chose chord progressions since I think it’s a single element that can help display what CAN create emotion. If you disagree with my interpretations - that’s totally cool. If it’s not for you, it’s not for you✌️
I find it hard to judge the emotional impact of these progressions because 1. The piano sound is too percussive 2. Many of the chords are in a too low octave. Number one makes everything somewhat aggressive, number two makes it hard to hear the chords clearly. For a subject likes this you should have been aware if this.
Work your way up in the industry to an assistant tech and prove yourself and if you’re lucky you’ll find an A1 audio technician that will take you under his wing. Nothing will ever compare to real world real time experience and on the job training from a guy that’s already climbed the mountain.
For those of you that went nuts trying to follow-up (like me), between the weird square pad and the slow-refresh keyboard that lacks the C1-octave, here's the summary: 10:47 - #1 Innocent Love - Key: G - Progression: I - V - IIIm - II - I - Ch. w/ extensions: Gadd9 - D5(add9) - Bm7 - A - Gadd9 - Tricks: Make the "III" a "minor 7 chord"; For the "II", borrow the "Lidian chord" (Lidian sharps the IV! So C jumps to C#); For the rest, add "9s" for bright. 13:44 - #2 Beautiful Sorrow - Key: Am (eolian) - Progression: Im - Vm - VI - IVm - VI - Im - IVm - IVm - Im - Ch. w/ extensions: Am(add9) - Em7 - FMaj7 - Dm9 - F - Am7 - Dm7 - Dm7(add11) - Am(add9) - Tricks: Make the "VI" always "major", the rest keep all minor. For the "IVm" in the middle, add extra-dissonance with both the "7" and the "9" for climax. 16:36 - #3 Victorious Triumph - Key: Am (eolian) - Progression: Im - Vm - VII - IV - V - III - VII - IV - Ch. w/ extensions: Am7 - Em7 - G - D5 - C/E - CMaj7 - G - D/F# - Tricks: Avoid "9s". Play with the chord inversions. Borrow the last "IV" chord from Dorian. 19:31 - #4 The Mysterious Epic - Key: D major (mixture with Frigian) - Progression: I - III - bII - I - Ch. w/ extensions: D - Fadd13 - EbMaj7 - D - Tricks: Start major, but borrow "bII" and "III" major chords from Frigian. 21:37 - #5 Meditative Bliss - Key: B - Progression: I - I - IV - II - I - VIm - VIm - Ch. w/ extensions: Badd2 - B - Eadd9 - C#add9 - F#add2/A# - B - G#m - G#m7/F# - Tricks: Stay in the "I" an extra measure at the beginning, and the same for the "VIm" at the ending. Play with different bass notes. Use the "9s" a lot. 25:17 - #6 Hateful Plot - Key: Cm - Progression: Im - IIIm - Im - IIIm - Im - bIVm - bVIIm - #IV - Im - Ch. w/ extensions: Cm/Eb - Ebm - Cm - Ebm - Cm/E - Em - Bbm - F#m - Cm - Tricks: Make all chords minor. Go back and forth between the "Im" and the "IIIm". At some point create a dissonance with a bass out of scale, after which you to jump out of the scale. (Cm/E > Em). 27:24 - #7 An Amusing Classic - Key: E - Progression: I - V - VIm - I - VIm - I - V7 - I - Ch. w/ extensions: E - B - Am - C#m - E/G# - B7 - E - Tricks: Go back to the "I" frequently. Use the dominant at the end. 29:37 - #8 Existential Dread - Key: - - Progression: - - Ch. w/ extensions: Am/C - Fm/C - Am/C - Cm - Adim - Fdim - Cdim - Fdim/B - Tricks: Use the minor third (C) as a pedal tone in the bass. First half use minor chords, second half use diminished chords. 32:02 - #9 Endless Ascension - Key: - - Progression: - - Ch. w/ extensions: Gm7 - Am7 - Bm7add11 - Dm7add11 - Gm7 - Am7 - Aadd6 - Fadd2/C - Tricks: Keep most chords "minor 7", and add the 11s for extra brightness. 35:21 - #10 World Domination - Key: G (Hungarian minor scale) - Progression: I - bV - b IIIm - V - Ch. w/ extensions: GmMaj7 - EbMaj7 - BbMaj7(b5)- Eb7 - Tricks: Keep most chords "Major 7"
Thank you this is the information that I lacked. What mode and showind the chords number as an overview. There was to much fokus in the video of showing futuristic matrix keyboard with colors.
I agree with the too much AI comment, the background is crazy distracting, it's driving me crazier, and stop saying yo please, that's like what the '80s?
Guess what? The problem isn't a word that the author of the video says that most likely did not bother anyone else if they even noticed it. You should take as much time as it took you to send your negativity through the interwebz to the author to do a lot of self reflecting and ask yourself WHY does this bother me? And WHAT is actually driving you crazy...because if it truly is an animated background and the word YO, then perhaps instead of being rude and disrespectful and spreading negativity...might I suggest you stick to BOOKS instead of RU-vid videos? I am completely serious. Also, you might want to survey your friends and family and see how many agree that you might have some control/domination issues that you might want to work on. A polite, well mannered, and well adjusted person would just thank the video creator for all the knowledge they shared instead of focusing on things that YOU do not like. Good luck!
@@derekcarneyi agree people are just complaining to complain at this point its really not that deep im looking at my keys the entire time following the examples he gives to try for myself not getting annoyed by ai
Valence isn't a measurement of the type of emotion, it's specifically refers to how pleasant or unpleasant the physiological response is being interpreted in the context of the environment & situation. Valence and arousal are the closest we get to consistent & measurable variables when it comes to emotions. Although there's a lot of functional value to using labels like "happy, sad, etc.", they take the science back to the pre-Darwinian biological essentialism way of conceptualising emotions that Paul Ekman has been selling (notably to Disney/Pixar) for decades. That is when he's not selling his totally legit "how to detect liars via facial microexpressions" courses to airport security and government agencies, with no adverse outcomes at all, besides all the pseudoscience.
Thanks for this Alex. I never played any of these games, and enthusiasts for their music, life my friend Alberto, always seemed a bit weird, especially when bits in my music ‘reminded’ them of something in Mario. ‘No way’. But your analysis makes the composers’ skill very evident. Thanks.
These are the videos that sum up my thought process and explain how I think in terms of music and connection of life and frequency! I’m into all this philosophical and spiritual / frequency vibe stuff.
This is very good video especially if you take in account how big this topic is. Would be cool if you make series of videos where you take each "emotion/ sub emotion" and make more examples I think all those people who write that its too complicated or they can't imagine would help them to see it better
Thank you for this video, the voicing are beutiful. 🥰 I have a question, In progression 1 you are using slash chords with D in the bass, but in your example G is in the bass for all your voicing (/G) and the progression is 1 Major, V major, iii minor and II major (lydian). Doesn't that make the progression in G = G, D, B min and A. The chords listed in the progression 1 one example appear to be, I Major, V major, iii minor, II major or G,D,Bmin,D. It appears as if the II chord replaces the V chord. I can see that II Chord (A) is inbeded in the last chord (D -referenced in your progression as DMajor add 4), is this why you refer to the 'DMajor add 4" Chord as a II chord? Also in reference to the slash chords, it's my understanding that the note on the right side of the slash is the bass note. If this correct then would it make sense to refer to all these chords as "/G" since G is in the bass on all your voicing. It's apparent you know your voicing inside and out, I'm trying to catch up to your, so any help would be appreciated, Curious minds want to Know🙂. Thank you for this wonderful video, I'll be dissecting it with pleasure and incorporating your lesson into my musical life. Your fan...K ,
12:31 I feel like this progression just sounds like IV I vi V in D Major rather than G Lydian. I don’t think it’s doing much to tonicize G but I guess it’s in the context… I think a few of these are different voicings and colors of common progressions
