After 30 years of music playing, I’m amazed by the content of this channel. You have a so good comprehension of music it is allways delightful to hear you. ❤
Great video. Thank you specially for adding the modal theory fundamentals section. I would love a full video dealing with the differences in the paradigm when composing Modal Music VS Tonal Music
HI, why in the Jazz Standard you use Locrian n13 in ii V7, and not locrian? natural 13 not sounds always good..Thank You! I use Mapping Tonal Harmony :)
You mean in minor? I agree, Locrian n13 is not always the best choice, we have discussed this point many time when deciding what would be default chord-scale for a ii7b5. We let the theory win in this case (locrian n13 being the 2nd mode of Harmonic minor), but there's also natural minor which should be considered (and my ears also like the locrian scale) It's a good point, I will actually look into it and at least add the chord-scale as an option in the iim7b5. Thanks!
I followed everything but the part about categorizing the chords on Modal Tonic, Cadential and Non-Cadential. I'm just not sure of the justifications behind those categories. Some questions so I can understand this better: 1. Why is the v minor a Cadential Chord if it shares one tone, while the iv minor isn't? B 2. If we carefully use the tritone on the iidim (and thus we allow its use), why does it make sense to categorize the iidim as a Cadential chord just because it doesn't share any tones with the Modal Tonic? Why is the iidim equivalent to bVII as Cadential chords in Modal but not in Tonal Music in minor scale? In Tonal Music iidim is Subdominant, and bVII can be seen as dominant, so their functions are completely different. 3. It doesn't make sense to me that the bIII and iv are grouped together as non-cadential when they are so different, bIII sharing two tones and being very similar to i, specially if i7 was used right before it. Considering that, bIII may be considered an extension of the Modal Tonic, instead of a non-cadential chord. I believe voice-leading and voicing/inversions are a very important part in deciding the function of a chord, specially when it comes the analyzing the harmonic structure of a whole piece, and here it seems the pitches are being valued most than everything else (and in some ways not in a consistent manner). I'm asking this because I'm trying to learn, not to try to be annoying or anything. I want to understand how this way of thinking works exactly.
1. It’s not that the vm is cadential because it shares only 1 tone (other chords also share 1 tone with the modal tonic). The vm may be seen as a cadential chord because it creates that vm - i (having only one tone in common with the 1 chord helps-that was the point we were trying to make. 2. It’s all about the bass moving laterally rather than circularly. In Tonal music, everything is about resolving the leading tone, the tritone, and using circular motion on the bass. 3. That’s why we call them non-cadential. We are not trying to group them together by similarities between them. It’s what they are not.
@@mDecksMusic I see. Thank you for your time and answers. Looking forward to more videos about Modal Theory! This was a fantastic way to start learning how to think about modes in a more sistematic way.
Hi, I have the mapping final harmony pro app and have purchased the extra lead sheets. Is there any way to show the sing melody on the lead sheets as all I see are target notes etc, but I can’t see an option to show the melody?
I can hear this being great, but as a newbie a little more explanation would help a lot, you say avoid doing this and that, and don't do things, but you don't explain why.
