Hi! I'm so sorry for the late reply, I must've missed your comment somehow. To answer your question, yes and your example progression sounds pretty cool imo. Although if your looking for a more conventional approach, one thing I just thought of was to get yourself to B major which is the dominant chord in the key of E minor. And then think of that B chord as the Neapolitan chord (major chord built on the flattened 2nd degree) in the key of Bb major. And since Bb is a neighboring key of Eb and you're now in Bb major territory, you can simply use a pivot chord to get yourself to Eb major. I hope this could give you some ideas and lmk if you have anymore questions! :)
Hello, it is a viewer from Taiwan .You mentioned this passage in your video "Now you probably know this as a suspension. There are many terms and rules regarding how you approach this, like suspension, anticipation, and many others. But I usually tend to look at them as different kinds of suspensions because, at their core function, they're all suspensions. " I don’t really understand what it means. Could you provide some examples to explain it? Actually, I don’t fully grasp non chord tones, especially arpeggio anticipation suspension, because they seem quite complex to me.
Hello! I'm sorry for the passage being unclear. I'll try to explain it as good as I can, but if it still is hard to understand, don't hesitate to let me know! So imagine a C major chord going to a G major like the example in the video: let's say the chord change happens and every note moves to either G, B or D. But one of the C notes stays as C for a little while longer after the chord change occurs. Now that C doesn't belong to G major in that context, so it creates dissonance and (traditionally speaking at least) that C feels like it wants to resolve to a tone that belongs to G major (B being the ideal target note in this case). Now this is an example of what is officially regarded as a suspention (a note which is "suspended" throughout a chord change which will "with some delay" resolve by a step to one of the tones of the target chord in a way that's convincing). Now Anticipation is exactly the opposite: imagine if only the C moves to B or D, and all the other C major notes are suspended and will resolve with delay. Now this is why I said I look at all of them as different forms of suspentions. In what we call "Suspention" all the notes move on and then they drag the note that is left behind (which is usually in the melody for a better effect). But in "Anticipation" one of the notes goes ahead early, and then it drags everybody else with it. I hope this could help make it a bit easier to understand. Then again, if any of this is confusing or hard to follow, lmk and I'd be happy to help! :)
Wow, the delaying notes provide an interesting dissonance that eventually gets resolved! I love how suspension can make the listener feel more emotionally connected to the music. Also, which composition program did you use for your examples?
I love both the game and the soundtrack of Skyrim! So much so that the full soundtrack has a permanent place in my music playlist. The music soundtrack from Sid Meier’s Civilisation 6 is also awesome and is also in my music playlist. Games these days have unbelievable soundtracks - the composers, orchestras and choirs are phenomenal.
I'd like to hear what you think of some of the music from the Touhou series. The creator of Undertale said it inspired a lot of his stuff. Since it spans over twenty years of games, here are a few to get a taste Capital City of Flowers in the Sky - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jQAliyNOVUo.htmlsi=cGD3U9aKREeAJ5YO Yukari's Theme: Necrofantasia - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2vjZ1SPAH6g.htmlsi=Ku3ZZPDfu4IB3IwR Marisa's Night Theme: Witches Ball - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-avs0yOwJLKY.htmlsi=gpjqJtMBdKghVQJa Keiki's Theme: Entrusting this world to Idols - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Y0VYKbTSxu0.htmlsi=Mo7F1vdh9o7HEVcN
@@ahmadrezaghasemian No problem. Also forgot to mention, one of the unique things about the Touhou games is that the main line games from 6 onwards are made entirely by only person: ZUN, real name Junya Ota. Meaning that he is solely responsible for all the characters, story, gameplay, and music in every main entry in the franchise.
This music gives me that feeling of an adventure, the beginning, the middle and the end. It makes me so bittersweet for a world and a story that I have not personally experienced
The phrygian is one of my favorites, (and the dom version) it's a great go to scale for improv and soloing, it's a great shape to be in ,you got the natural minor right under it and the lydian right inside it,and the dom version even better for alt cadences, and sub outs for the 5/7,to add sophisticated flavor to music
@@ahmadrezaghasemian btw great content re; one of my favorite scales,and nice composing demo,👍please tell me what think about the double harmonic major,
@mikegeld1280 that scale is amazing! I actually made a video about it a while back. Here's the link if you're interested: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-orI1Tklv5js.htmlfeature=shared
Thank you! And yes, coming soon! Also, I've already made a video about the Double Harmonic scale which is related to The Hungarian Minor. That video might be of interest to you :)
Hi! Thanks for the video! I understand why chords 3 and 5 would be characteristic chords in Locrian (the b5 being very much a characteristic/distinctive note of Locrian), but not so much why chords 2 and 7 would be as well … ? I’m guessing the b2 must be considered a characteristic note (as well as the b5), even though the b2 is shared by Phrygian as well … ?! I mean, I understand that the b2 distinguishes Locrian from the natural minor scale, but it isn’t AS characteristic of Locrian as all the other examples of characteristic notes in this video (because it is shared with Phrygian), right? I suppose the b2 might be considered a ‘secondarily characteristic’ note, in the context of Locrian … ?! Likewise, then, chord 3 (as well as the tonic and 5 chords) in the context of Phrygian would similarly take on ‘secondarily charcateristic’ importance, in differentiating Phrygian from Locrian … ?! Thanks again! :)
That Is actually a very good point! Yes, I think it's more appropriate to call the flat 2nd "a secondary characteristic note" of Locrian since it's also a primary feature in the Phrygian mode. Thanks alot for pointing that out :))
I love how the demonstration uses voices rather than say chords of a guitar or piano. A clearer sense of the movement and interplay is achieved thereby. Also the fact that the parts are within the clef and are relatively close to each other. When examples have clutter or are spaced too far apart the voices become more isolated and the student may miss the relationship between the voices especially the viola (alto) clef and middle or inner voice movements etc. would love to see a video on rhythm and notation. Keep up the excellent work, these are my favorite videos for music theory. Insightful, simply yet masterfully elaborated for students of all degrees of musical experience!
Great video, Ahmadreza. It's so insightful to consider what happens when there are no semitones to cause tension and resolution! You have got me thinking and, using your video as a springboard, I'm now reading about the history of scales, ie modes; modes puzzled me deeply when I first studied music. Now, with the insight from your video, I'm hoping I might actually start to understand them. Ah... I see you have a video on modes too. I will check that out. You know, I think it would be interesting to compose a piece that modulates back and forth between the whole tone scale and major/minor scales; it might dangle the listener between comfort and discomfort - imo this is something that jazz does. (I'm a jazz lover btw.) Also, it would be interesting to combine the whole tone scale with the medieval technique of droning (as done on the bagpipes) to establish a tonic (ie 'home'). This might enable one to create a sense of tension and resolution. I guess you could experiment with droning the same tone throughout the whole piece (as was done in the medieval period) or you could drone with a different note for just a bar (or a few bars) at a time. This sounds like fun research!
Thank you so much! I've also always been intrigued by the subject of modes and the emotions and moods they can so powerfully create! And yes. in many cases, instead of writing an entire piece in the whole tone scale, composers/songwriters tend to use it as a part of a larger piece to get that special effect and flavor where they want it, and as you've said, to achieve that contrast between tension and resolution. You can also go beyond that and use it alongside less conventional modes such as Medieval modes, pentatonic modes, traditional modes of diffrent nations and so on... The possibilities are endless! So yes, it's definitely worth researching :)
Great video! It’s hard for people to understand this concept in music and your video is one of the most concise and easy to understand. I’m sending it to all my music friends!
