Folk Music 01:30 Circle of Fifths, 03:45 Parallel C major/C minor 05:15 Prokofiev Romeo and Juliet 06:00 Stravinsky Rite of Spring - 07:00 Jimi Hendrix Chord E7#9 07:45 Major Minor Duality 08:25 Chromatic Circle 10:00 Tritone Relations 11:10 Dominant/Subdominant groups 13:00 Pitch Axis 14:15 Cadence Sets (3 groups of 4 chords each) 17:15 Beautiful Chord Progressions to try out at 18:00 Harmonic Wheel 22:00 Tonnetz 24:40 Smells like Teen Spirit by Nirvana 29:20 Giant Steps by John Coltrane 30:00
There's a nice way to use color that turns out to be a compelling metaphor to the primary and secondary colors in color theory: C, A, F#, and Eb are yellow notes; G, E, C#, and Bb are red notes; and B, Ab, F, and D are blue notes. Major and minor triads can be given the secondary colors of orange, purple, and green based upon the mixing of their constituent notes. These secondary colors correspond to the S, T, and D functions. This coloring has been called "Metaharmony" by Tom Glazebrook, who uses it in the context of the teachings of Barry Harris, but one could use it for Axis theory as well. They're isomorphic.
I'm currently learning Bartok's 2nd violin concerto. There was something so oddly satisfying about it and this video explains a lot. In just the first phrase, the major minor duality is present. One of my favorite composers.
I have "consonant tastes" and when I first heard Bartok's string quartets, I fell in love with his music, and I could not tell you why, this will help me. Thank you for posting this.
I think one useful thing to note is how the three possible transpositions of the octatonic scale perfectly reflect these three axes. Starting on C with the half/whole (C, Db, Eb, E, F#, G, A, Bb) mode we can see that we can play C, Eb, F# and A (both major and minor). All of them can also be played as dom7, 7b9/#9, min7, halfdim, dim7, m6 etc. If you transpose the scale up a semitone you will have the Dominant axis and down a semitone the Subdominant one. This can help create coherent melodies using this harmonic wheel.
Now that I think about it... when you mix the 4 notes of any axis with those of another axis you will get a mode of the octatonic scale. T (C Eb F# A) + D (G Bb C# E) = the scale above T (C Eb F# A) + S (F Ab B D) = the half/whole mode of the C octatonic scale. This could have fascinating implications if used correctly!
@@jacoponeroneproietti8529 Thanks for the comments. Yes! It's remarkably fluent in that way (and links wonderfully with NRT if you are familiar). I cover a little of the fluidity here... ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-WL69sIswU_w.html
@@miltonline Oh I didn't see that one. Will check it out immediately! Thank you for your content, you're the only theory channel that has made my brain melt recently (and that's a great thing ofc)
I had a dream last night that I was speaking to a professor about music and the heroes journey. He started to give me a lecture on Bartok just before I woke up. So I found this video today and I have to say that I really love how you explain it and makes sense. Also, the song you created at the end is so cool I love how you showed the practical application and I can’t wait to create my own composition using this method. Thank you so much for making this video.93
While writing progression that incorporate an oscillation between those axis groups is fun and can be quite useful, the use of the terminology of tonic, subdominant and dominant for them is vestigial.
New sub! Amazed at the depth of Bartok, always wondered how he pulled off what he did! Just thought he was some kind of demented mad genius but this clearly shows more genius, less dementia. 😉 I’m curious, seeing as Bartok is all about dissonance - any fans of VOIVOD here?
I've been acquainted with Bartok's harmonic substitution system for many years (for example, the chords of my piece "TAQA' TIME", present here in youtube, came from me applying this system to the basic chords of "Mary Had a Little Lamb"), ... Yet your presentation here is absolutely super refreshing!!... (specially with the Nirvana & Coltrane examples at the end)... ABSOLUTELY SUPER BRILLIANT!! BRAVISSIMO!!
Thank you so much for that work of art/genius. Totally blew my mind. I am new to music theory, so forgive my ignorance, but I have a question. I can imagine Bartok composing using this system, well because he obviously did, but do other people consciously do that? Or is it that it just sounds good? The part of your lecture that blew my mind the most was when you showed how “Teen Sprit” used the Bartok (is it cadence?) system. So, I began looking at some of the music I have been learning, and holy shit, it follows the Bartok cadence too! I have been trying to learn “Baby I’m a Fool,” by Melody Gardo, on guitar, for a few months now. Its pretty difficult for me, because the chords are pretty weird, but I love the sound, so I've been plugging away at it. Another thing I always thought was weird about her song was the chord progression itself, but I just kind of thought, “must be the jazz.” Then, after I watched your video I went through and looked at the chords, and god-almighty its Bartok! Here are “Baby I'm a Fool,” guitar chords: Ab6 Subdominant F#6 Tonic G6 Dominant Ab6 Subdominant F#6 Tonic G6 Dominant Ab6 Subdominant Abadd13 Subdominant Bbm7 Dominant Eb9 Tonic Ab6 Subdominant Ebm7 Tonic Ab7 Subdominant DbMaj7 Dominant Dbm Dominant Ab6 Subdominant And it even has the Major-Minor equivalence! Now I get it! Thank you! But I guess I am wondering If this is a thing people who write songs do on purpose, or is it that they are just doing what sounds good, and it just so happens that Bartok’s system explains it? Which sounds implausible now that I say it, but I just don’t know. Anyway, thanks again!
Many thanks for the comments and questions. (Ironically for me to say) but one would be wary of seeing all music through one filter. If you do so then any progression can be seen as either fitting or deftly avoiding said system. Bartok's system wasn't even articulated clearly by him (but one of his students) and if true it emerged organically rather than 'top-down' and there is much much more to his music than this framework. The Nirvana thing was intended for fun, and to show how it might be used to create all sorts of progressions in any style, and the connection to jazz harmony is compelling. The piece you mention however seems to be best met with the harmonic devices of standard jazz. I have lots of material on this which I intend to share when/if there is any time in the world! Many thanks for watching :)
I am absolutely MINDBLOWN from this concept, definitely worth the 30 minute watch. I have a question though, could you use this to analyze chords with modal interchange?
Thanks for the comment. No musical system is complete, and this concept as beautiful as it is - is but one way of looking at tonality. That said it could happily accommodate modal interchange in that - for example - in C such modal interchange chords as bII and bVIIm (from Phrygian), bVII (from Aeloian/mixolydian) and III (from Augmented Lydian) would belong in the Dominant group. II7 (from Lydian), Ivm (from Phrygian) would belong to the Subdominant group. bIII (Aeolian) and bV (Locrian) would belong to the tonic group. (If that's what you mean!)
@@miltonline Yeah that’s exactly what i was referring to! I’ve been analyzing songs that I love that use a lot of modal interchange after I had watched the video and it made understanding their function much easier. Though, you mention there are other ways of analyzing such progressions with modal interchange, I’d love to know what they are
Sometimes I find the cursor hard to follow with my eyes when youre making gestures. Maybe you could try one of those yellow circles around your cursor?
Thank you! It's Gyermekeknek (For Children) Sz. 42: Volume 2 - XII. Romance - "I Know a Little Forest" - the beautiful melody is taken from a recording and transcription Bartok conducted himself in November 1907 of a Slovakian girl (Matilda Kolárová) in then North-west Hungary.
i can barely hear any of the musical example from 14:58 onwards. is that a sound issue my end?! except for a few bars, the entire piece was silent, although i could hear all the voice over. feel like i'm missing something
Isn't the sharp 9 different than the flat third in tuning and function? The flat 3 is the third note in the scale and the sharp nine is an altered 2nd. The altered 2nd is higher in pitch than the flat 3. To have a major 3rd and a minor 3rd in the same chord is to imply two keys at once, which is not the same as having a sharp 9 and major 3 together, because in that case it isn't bi tonal, you are not expected to hear 2 different thirds at once, but rather a 2nd and a third. I only play in pythagorean tuning, so enharmonically the spelling matters when it comes to tuning. Is Fb fair game in the dominant group coming from C major? You would hear and have a difference in pitch between the E note in the C triad and the Fb note in the Fb triad. Is that going to sound bad? Does this theory account for spelling and tuning differences with spellings, or is this just something invented for equal temperament? The comma differences may limit which enharmonic versions you can go to without it sounded like your music suddenly went out of tune. Any thoughts? In any key having a limited number in each group may be necessary, but not sure.
Good questions! So I don't believe it's helpful to have any one fixed perspective.And yes, sharp 9 has a different implication than a minor 3rd. In some cases a sharp-nine is an appropriate perspective (for example if it is voiced higher and is used as an additional colour on a clearly major context).. Other perspectives/approaches might imply a minor 3rd (for example the Prokofiev chord with an A major chord over a C natural bass)
Hey Milton! I have come again and again since last year to use what you explained and I think I have an idea to unravel what you can't conceptualize for these wierd cadences between E and C that you call Goldfinger. When you concatenate the notes (E G# B and C E G) but understand the G# as an Ab it could be understood as an incomplete Harmonic major scale C D E (F) G Ab B. What do you think? Maybe it is more about your other video about octatonic scale?
What about 7th chords? Would we just change the dominant group chords from major to dom7-s with their relative min7 chords? Or would we also use dom7 chords when moving from a sub dominant group to dominant group? And what about half and fully diminished chords? How do those fit into axis theory?
Each group contains 4 major and 4 minor chords, 4 dominant 7, 4 minor 7, 4 half diminished and 2 of the 3 possible diminished chords. This is covered in the later videos. Thanks for watching!
It’s short for ‘’hexatonic pole’ so called because those 2 chords each make up 3 of the 6 notes of a hexatonic scale (in this case C Eb E G G#/Ab B). It’s included in NRT as it is a close voice leading with no shared notes (each of the notes move by just one semitone). Video on the topic in the pipeline…cheers!
@@miltonline Thanks. I've never heard of these terms, although I'm familiar with the basic concepts. I don't know what the abbreviation NRT stands for either. If you're going to do another video about these things then hopefully I'll be able to take advantage of that to clear up these queries. I've read most of Lendvai's book so I am familiar with the Axis Theory and have been using it for a while. In fact I was using it before I consciously knew what it was.
