This was a video of major importance to me. Every minor detail was covered and nothing was diminished. I feel my skills have been augmented perfectly. Thank you.
I never even put together that subtracting an interval from 9 equals it's inverted interval. I really love using intervals such as 6th's over major chords, that relationship to it's relative minor is so cool. I would've never thought there's such elegant math going into stuff like this all those years ago, it's just crazy how many relationships there are.
The minus 9 idea was really cool. So many tricks to make it easier. Even when you have an excellent grasp on these intervals. Nice job Tomasso (if I spelled that right). I always run into musicians who are weak on this concept. It really helps your chord voicing capabilities.
@@Chris_Robot you are not alone Chris, this whole interval thing, well, I don't just feel like I hit a stop sign, I feel like I came to the stop but when I looked both ways I found nothing but jersey barriers, do not pass go, no $200,, just stuck, I'm with you, WTF, frustrating, why can't I at least grasp the concept???? I've tried, I have several books that cover the subject that I keep reading over and over and zip, nada, but the importance of it isn't escaping me. I guess I'm going to skip it for a while, and come back to it later, save this video, I'll do likewise, and if you get that epiphany, drop me a line, I'll do the same. Good luck bro....
This video was perfect. I’ve been watching a lot of videos on interval naming and none of them are as well structured and clearly organised as this, thank you so much for this.
This has been one of the most (because of your other videos) important lessons that I have received. It cleared so much from the hard fogginess that is MT. Thank you! I am a better musician because of your lessons
Great video. Key to learning is understanding the terms and definitions. Then the relationship can be understood. Who hasn’t sat in class when the instructor assumes the terminology is known and everyone is thinking “WTF is this guy saying?”
I know intervals, should I watch this? It's Tomasso Zillio, of course I'll learn something new. I was not disappointed. Thanks as always for your time and knowledge.
I would just like to say that I have never heard of you or watched your videos before. But I IMMEDIATELY subscribed and liked the video after I saw your intro. I hadn't even watched the video yet, but I thought to myself "With an intro like THAT, this guy has GOT to be good!". And I was right :D Oh, and also thank you for the video. It really helped me understand what I was stuck on.
I'm just a beginner but I really enjoy learning and I'm sure that most of this I will never use but I sure enjoy just knowing what it's all about. I'm a carpenter and I would get a tool that could do 10 different things now I would never use it for more than one usually but I wanted to know all about the 10. That's the best analogy I could come up with. The funny thing is I understand just about everything you've taught me up to this point this is your third lesson from beginning and it all makes sense to me. It's logical... I'm pretty sure I'll never use this but if I ever needed to I know I could refer back to one of your lessons and it would all come back to me. As most people say about theory "you'll never use it" and I probably won't but it's good to know for me. Anyway after all of that I just want to thank you because you do make it easy for me to understand and if I can get it I think most people could easily.... if they want to do it. Thank you very much I certainly appreciate your time and effort that you put into this.
There are goofy dim and aug intervals but you got the enharmonic equivalents that you actually see in chord names. I also add to that the chord interval names, such as a b9 for m2, #9 for A2, etc and also 11ths and 13ths
Sonatina is a short piece in Sonata-allegro form, which is essentially a way to organize two (or more, for a full Sonata-allegro) themes in a piece of music. I may do a video about it.
This is much easier in English than in German. We have 4 different names for ‚B‘ (H, hes, B, Bb) and the intervals have complicated names: Prime, Kleine/Große Sekunde, kleine/große Terz, Quarte, übermäßige Quarte=Tritonus=verminderte Quinte, Quinte, Sext, Kleine/Große Septime, Oktave... in prime school most kids struggle with those names xD
So how do I know what intervals go together for certain moods/colors/emotions. Like if I want a sad yet happy sound and ultimately sad. Like someone that wants to smile but forgot how to. Would I start with some 1 3 5 arpeggios and then go to some minor intervals then back to major intervals and end it on a perfect to bring it back home? I really want to write a masterpiece so I am taking in every little note and detail I just don't know what intervals to use to create the moods i want Alsohow do I use the augmented 4th in playing joe satriani uses it alot and how do I do it. How do I know what intervals to start with before I hit the aug 4th and what do I end with after I hit the aug 4th to make it sound good.
Please can you, Tomasso, or anyone, explain to me how many sessions make up the Complete Chord Mastery Course. I'm very interested but not clear how much it will cost to complete the course. I understand that I can pay for 2 sessions per month but for how many months is not clear. Thanks.
I am no expert I am no beginner , I could to grasp most of the details yet I happen to not follow 10:54. I mean whats the deal with having variations when we are moving 3H.S. By the way , awesome video. I happened to reach here as I was going through reddit. Kudos.
Honest question, no disrespect: Why is it that everywhere i look musicians teach about the construction of the hammer without explaining why the need of a hammer happened in the first place... if i am going to teach a kid about a hammer i wouldnt start first explaining why its center of mass has to be around 4/5 of its length, or what kind of alloy the head is made of. I would start by explaining the possibilities of connecting pieces of wood to make a structure, and how whoever came up with the hammer then proceeded, out of a need, to develop the hammer, and how it can be used with the nail. Every time i try to learn about how someone in the past tried to make a system for music, i get the impression whoever is teaching is starting by telling me about the specifications of the materials and schematics of a hammer, and as a beginner i dont even know what a nail is.
Here is the analogous in music: there are things that we call notes. When you put notes together, you can make things we call scales and chords. By putting together scales and chords, you can make music. Playlist for you: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-WSB3iIkDy7o.html
@@MusicTheoryForGuitar i appreciate the effort, but i am a very logical and critical person, and as a novice in music i cannot separate the parts of the explanation that are purely conventional from the parts that are derived from purpose. For example, if i invite you to learn about my fictitious nature walk group and i say you need a hat, high boots, a necklace and a walking stick to be part of the hike, you would assume the walking stick is for walking, the hat is for the sun cover, but you will probably not guess the boots are for snake bites and that the necklace is just a useless convention adopted by the group. What i am trying to say is, every nomenclature and system you present raises up about 20 questions in my mind to why precisely are they like the way you say they are, for instance why isnt there more or less notes, why stop at b sharp and not have a b sharp + , why separate notes into scales, are these concepts linked to natural measurable things or are they just arbitrary like concepts that formulate for example the rules of a game, painting techniques or a religion.
@@MusicTheoryForGuitar it is my understanding that notes are sound waves of a certain frequency, so music comes from something measurable, the arrangement of those notes are arbitrary to whoever plays them, and the perception of quality is subjective to the listener. For instance, in drawing, which is a subjective art form that creates an illusion in the viewer's perception, there are some components, such as perspective techniques, and shadowing techniques that are spawned out of the direct correlation of how nature behaves with light, therefore i can realize that these particular techniques or systems aren't something arbitrarily made up by theorists, i cannot, for example edit the system to say that shadows in a drawing are darker towards the light. The main difference is, when a beginner is being thought about shadowing a drawing of a sphere, it is explained why the shadow is rendered like that, or when the beginner is thought about perspective it is explained why the system uses a grid originated from the horizon line. When it comes to music theory, even in beginner explanations, all i feel like is i am being shown systems but i have no idea of their usage or what they are trying to represent in that particular configuration of the way they were made. To illustrate my point, if i was teaching about poetry forms, i would explain that a haiku uses 3 lines, a sonnet uses 14 lines, but i need to make clear that these specifications aren't determined by something naturally objective, they are conventions, so the system that dictates the amount of lines in a poem form were made up by theorists that subjectively preferred it that way, which is unlike the system used to develop a rhyme, a rhyme is an attribute of a poem that cannot be subjectively inserted, it follows a systematic prerequisite that is derived from the natural sounds of syllables, therefore its an objective part of the theory or art form. Now, there are subjective preferences to how and where rhyme patterns are inserted in the poem, and systems are developed from this subjective way to configure rhymes, all i need is to know why the system was made, what its trying to do or prevent, and where the system links up with the objective nature of rhyme. I can discern that if a write a four line haiku it cannot be called a haiku, but i want to know why someone perceived that a haiku should subjectively have 3 lines. In music theory i can't even start discerning which parts of the theory were determined subjectively or objectively, and having an explanation as to why the system was constituted in that particular way would help me understand the purposes behind the system, and why and how this tool was created. I hope this can explain somewhat of how my mind struggles to make sense of the begginer part of the music theory explanations. Thanks for your patience.
So your question is: what is science, and what is artistic form. My answer is that if you put too fine a point on this distinction, then you will never learn to make music. And I know this sounds flippant, but I've seen too many people spending months/years on this and unable to put even a few chords together. Ultimately in music, everything is form - that is, there is no rule you can't break. Even the notes (non-western cultures do not divide the octave into 12 parts. And even western music has a few dozen different ways of doing it). A better question is: what music do you like? And then find out what conventions/concepts/ideas/forms take you to that music. The above works if your aim is to learn how to write or play music. If your objective is to talk about music, the answer is different.
Fredrick Goh if you invert a perfect interval it becomes another perfect interval, while major intervals invert into minor ones and vice versa. It’s about symmetry in the scale :)
The name "Perfect" goes back to Pythagoras and the earliest musical theory. Perfect intervals consist of simple whole-number ratios and were recognized as being mathematically perfect. It was also recognized that the fifth (and it's inversion, the fourth) was the most consonant and stable interval and is (essentially) the first prominent overtone of the harmonic series. So, in another sense, it is an expression of the perfection of God and the natural world (math and physics).
It is called humor. It is something people used to do, back when they had fun..when kids played outside while they were growing up, rode bikes without helmets, without single mommy watching them. Before the soyboys, when kids played tackle football on the weekends in parks. When boys and girls went on dates. Before this nightmare world started in 2001.
I can't tell you how much this helped me for on of my classes that was giving me trouble with understanding the difference between minor and diminished intervals. Thank you so much!
Can you force a Diminished 2nd by playing the accidental Chords III and iv in any major scale??? e.g E G# B F Ab C (In C major) I guess The G# and Ab would be a Diminished 2nd in theory.
I really like the sound of learning how I can apply these intervals but the problem I face is that although I can totally follow all the lessons you've given, (having purchased a synth in november and understanding theory enough now to structure diminished flourishes to change key like in your previous videos), I'm not sure if 'complete chord mastery' would be for me if it is aimed for people learning on guitar..
It may or may not, depending on your goals. I do have some keyboard players taking the course. Write me at tommaso@musictheoryforguitar.com and let's figure it out.
You stumbled on the right channel. He is a fantastic teacher. I also recommend Jake Lizzio on his Signals music studio channel. Both are good at breaking things down into digestible portions. Tommaso is better for me, but we all learn differently. Even my wife, who is a high school teacher says he is exceptional in conveying information. Good luck on your guitar journey. It's my 20th year and I still learn new things all the time.
Yea, you seriously landed on the best channel for learning theory on guitar. Also, for learning particular licks and chords used by a ton of different players, check out: _Late Night Lessons_ with David Brewster. He also writes columns for Guitar Player magazine. Lovely man like Tommaso is. These two are my favorite channels for guitar.
We must be connected someway because I was literally just delving into Intervals and inversions in my music theory study and BOOM guess what Tomasso's new video is about? Lol thank you very much for your consistent involvement in our progress. I look forward to all your videos!
The confusion is simply due to the error that the music theory people made with the actual term 'interval'. A music interval isn't really a 'distance' at all. It is actually a 'span'. As mentioned at 2:02 ----- the 'span' is three major scale notes. So the word should be called a span. Under the assumption that the LOWER of the two notes (being compared) is treated as a 'root' note of a major scale ----- then a major third 'covers' (spans) a TOTAL of THREE major scale notes. The word 'interval' actually needs to be scrapped permanently. If they really wanted to use the word 'interval' properly, then the "distance" between the first note and the last note for a major third is actually TWO ---------- ie. for example, the third note is a 'distance' of TWO major-scale notes from the first note. Also - don't use words such as 'between'. Just use the word 'span'. Now ----- as for minor third ------ it will be necessary to just define it to be a modified version of a major third ...... ie. a major third that is cut down by 1 semitone. So - if we check out the 'span' between two arbitrarily chosen notes --- such as E and F#, then the lower note is E. And the span (when assuming E is the root note of E-major scale) that covers E and F# is two major notes (of the E-major scale, with E being the root note). That is, E and F# is a major second. But ------ for E and F (not F#), we have a minor second. If using the word 'interval' ----- I have no problem with measuring 'intervals' in terms of 'semitones' --- because there appears to be no confusion by having distances measured between notes in terms of the number of semitones. Eg. a 'distance' of 1 semitone gap between two notes ---- is a minor second, while 2 semitone gap results in major second. 3 semitones ---- gives minor third. 4 semitones --- major third etc.
Hello 4151, I was glad that someone completely explained so well about music interval. you are full of yrself coming up with you "Span" theory confusing everyone. Arrogant!
@@rightview2010 It's not a span 'theory'. It's a technique that conveniently aligns with the 'numbers'. In general that is. In terms of semitones, yes - for sure, the number of semi-tones 'between' (and including) the two note pitches can be directly mapped to a 'distance'. But when we get into talk about thirds and fifths etc, then the 'distance' quantity goes out the window. For example, in C major scale. C,D,E,F,G etc, the major third interval C to E 'spans' three notes, C, D, E. So counting C, D, E is 1, 2, 3. So this 'span of notes' method will make it convenient and easy to interpret the words 'major third'. If one was counting a 'distance' in terms of the note number. Then 'C' would be the reference, and 'D' would be a distance of 1 from C. And E would be a distance of 2 from C. So counting distance clearly does not lead to anything workable in terms of the number '3'. And when we have three notes, the 'distance' between C and E in C major is not 3 in terms of number of notes. It would be a 'distance' of 2 notes. I wasn't being arrogant. You're the one that conjured the 'arrogance' thing. I'm just being sensible, and also helpful. And I also know exactly what I'm talking about. I'm highly intelligent, and absolutely confident in myself and my own abilities. And most important of all, I love music, music theory, composing, and playing piano.
Thank you so much for your videos. I didnt understand one thing though... At 10:58 you said that calling it D sharp implies no other notes in between, but i think if that were the case then why would it be under the category of 3 half steps?
I'm having trouble when you say by different contexts you can you explain to me how it's would be made on different contexts like explaining on a furture video because everytime when you say in context I don't know what you Mean by that
Why do you use the # and b symbols for the diminished and augmented intervals sometimes, and use the aug. and dim. abbreviations other times? I usually call the tritone interval a sharp 4th or flat 5th because I see people use the # or b symbols. Was I supposed to be calling them augmented and diminished the whole time?
You can use # or b. "sharp" simply means "add a half step" and "flat" means "take away a half-step" so you can use them to indicate augmented and diminished too. In fact some people use 'flat' to indicate minor too (3 = major third and b3 = minor third).
I've seen d used for diminished and A for augmented; thus, a tritone would be either an A4 or a d5. (Maybe the # and b for interval notation is a jazz thing?) I also seem to recall seeing doubly-diminished and doubly-augmented intervals somewhere, perhaps in my exploration of papers about quartal harmony. (I'm not sure whether Tommaso will be covering quartal harmony later, but these chords are very easy to play on guitar, because the guitar is tuned in fourths.)
@@christopherheckman5392 I think maybe the point of my comment was missed. I know there are different symbols one can use to denote augmented or diminished, and that in essence it is the same as flatted or sharpened. But I've never seen the # symbol and said "augmented". Like for example, a E7#9b5 chord. I would call that an "E seven sharp nine flat five chord", not "E seventh augmented second diminished fifth". It doesn't matter if it's a scale degree, a interval, or chord tone, if I see a "#" I say "sharp" and a say "flat" when I see "b". I'm not say it's wrong to do otherwise, I was just shocked to know that there was an otherwise. For me personally, I know "minor second" is correct for the degree a half step above the root. But it still drives me nuts. I always call it the "flat second" or "flat two" . This makes so much more sense to me. Only the phrygian mode contains this as the 2nd degee, and is a minor mode. (Locrian is a diminished mode to me). In fact, the M2 to me should just be a second.
As one of your failed students, I have to say I DID understand this! This was a clear, concise explanation that I could understand! Thank you Sir! I hope you are well...
13 years ago I picked up guitar and was stuck in scales and intervals and wasn't making much out of them. Today i'm trying to learn chord science to apply it in electronic music, I think we should unite too.
been trying to learn theory for years and of all the channels I've dug through, your videos have been the easiest for me to digest. I'm working through the music theory map and plan on studying the course soon, too! :) thanks for making these so consistent, thorough, and organized, they're a huge help.
It’s just an easy way to figure out what an inverted interval is. So for an example: C going up to D is a major 2nd (in the key of C); if instead you invert it (flip it upside down) and go from D all the way up to C then it becomes a minor 7th (in the key of D). So 9-7=2 and 9-2=7. Major flips to minor and vice-versa; perfect stays the same; augmented inverts (flips) to diminished and vice-versa.
6:00 Is extremely interesting. People have been writing in lliterature for some time that they are not the same but never elaborating on why. It makes perfect sense what you are saying though. If you're listening to a chord progression you're expecting the sound to be within a certain key and to just put a completely wrong note in there doesn't make any sense, however to put a slight twist on an expected note might. So the frame of reference you read the note in is important even if the actual note is the same we see it differently because we're not in the business of analysing individual frequencies in isolation, we're looking at it in the context of making music.
after yrs of trying to understand intervals this is definitely the most thorough tutorial of them all on youtube I would always get confused. I would just make sure to know all the names of the notes on the guitar and how half steps work before watching this. Amazing Tutorial🔥🙏🙏
And very nice to see you too. I recognise that face and that accent! I didn't know that you had a RU-vid channel! I know the basics of intervals intervals but picked up a few new things. Thanks for the vid.
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