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@@BradHarrison Subminor 3rd: C to E ~2/3 tone flat Neutral 3rd: C to E ~1/4 tone flat Supermajor 3rd: C to E ~1/6 tone sharp Major 5th: C to G ~1/4 tone sharp Minor 5th: C to G ~1/4 tone flat
As a french I have to admit that english music courses are the best ... seriously,I've learned so much for free on the internet ... I've never been so happier to be able to speak english :D
I'm Indian, speak Hindi natively, and I share the same feelings for english as you, exact same, the internet does give some amazing free music tutorials
Thank you, really! I’ve always found music theory boring and just preferred to play by ear, but you’ve made me want to learn more about it. I laughed out loud at dub octia the destroyer. Your channel is a hidden gem.
Me, too! Except because I played an instrument in band, I learned to read music; I put forth the effort to memorize certain classical pieces, mostly Chopin preludes and a couple of Debussy's works.
im taking a music theory class in university and it was a 3 hour lecture, i did not understand a single thing. i watched your 7 minute video and it all makes sense now.
Excellent! Glad you found it helpful! This stuff is all so interconnected, it’s easy to get lost, and university profs often expect you to already know this stuff. Good luck with the class!
I'm taking music theory and piano lessons and this video really cleared up some confusion I was experiencing with calculating intervals. Great presentations! Like and subscribed!
That's what I thought, initially, then it dawned on me; I need to speed up. The good thing is he's metronomic precise on all counts, invariably.. I'm adapting
Good vids. Thanks for doing them. (The background music was a little too loud though; distracting; I had trouble hearing what you were saying at times)
Thank you this was very helpful but I’m still confused on why my perfect fifth intervals are always flatter than my 1st note (maybe it’s because I play brass but it’s like this for every chord i try)
1:18 the accidentals hahaahhaha so good i am so glad i found your channel man they have so much useful content while at the same time having the perfect dosis of humor I will definetly use "Dub'Octia: The Destroyer"
I wholeheartedly agree. People interested in music are naturally drawn to listen to music, but when that happens, the listener is distracted from the explained content. Why have it?
It’s a very common feature in these types of tutorial edutainment videos. It can feel a bit stark without some sort of filler. But lots of people complained so it’s not in my more recent videos.
Are diminished 3rds and major seconds the same thing? In terms of the distance between the notes? Also in a major scale wouldn't an augmented seventh mean the 8th? which is an octave? Why then do they have separate terms for these?? Thanks in advance Brad
You’re correct. A major second and diminished third sound the same, are played the same, but look different on the page. Same for augmented seventh and octave. Off the top of my head, I can’t think of a useful context for either. Some intervals are more common than others. Augmented 6 is rare but minor 7 is super common. But they all technically exist! Sometimes humans are just like “what if we did this?” And then we have to give it a name.
@@adikickass84 In most microtonal temperaments, dim3 and maj2 are not the same. For a diatonic temperament, if the temperament is meantone, then dim3 is bigger; otherwise, maj2 is bigger. Same goes with octave and aug7.
Yeah, that part is pretty tricky. Are you familiar with major scales? Intervals don’t make any sense if you don’t know those. Check this out if not. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v44NY4fyxHA.html
@@BradHarrison yeah I’ve almost memorized all the major and minor scales and sense this video I’ve kinda got an understanding of it. I’m just having trouble applying it to figuring out what chord I’m playing.
@@BradHarrison I’m not good at learning one thing at a time. I want to know more than is reasonable for someone just starting to learn this. I’m learning all this theory as someone who’s been producing music for a few years so I kind of already have large ambitions with it. Is there a good exercise I could do to apply intervals? I’m better with hands on learning.
This stuff can be tricky. Are you familiar with major scales and key signatures? Intervals really depend on understanding those. Minor scales help a bit too.
Nope. 5 notes apart equals a fifth, regardless of accidentals. A diminish fifth and augmented fourth sound the same but look different. A Cx to Gbb sounds like a major third but it’s still a fifth on the page.
Just found this channel and it's great that you use the k.i.s.s method, but I've never understood the double flat notation, it's about as useful as notating a C as a B sharp or notating E as a F flat. Your example had C and a double flat A why is it written like that and not just written as C G, a perfect 5th?
Double flats tend to be rarer than double sharps(which are used all the time in minor scales). Imagine a piece in Ab major where the line goes Ab Bb C Db D-nat Db D-nat Db D-nat. You've have to have a flat and natural on every D as they move back and forth. But if you use Db and Ebb, you only need to notate the Ebb(and the D is already flat from the key signature). So it can be useful to reduce extraneous notation, even if it's a bit weir to get used to at first. I agree they're pretty rare in general but they're technically possible and they exist so we give them a name. In many cases, a composer would just default to the "regular" note rather than a double sharp. Nobody prefers them! By the way, E# and similar notes are definitely necessary, far more often than double sharps and flats. You need E# to write a C# major scale or a C# major chord. You might say that Db is preferable but it's a lot easier to transpose from B to C# than it is from B to Db. The more music you play, the more you see this stuff, especially if you get into jazz, musicals, and "contemporary classical" music. Those weird sharps and flats show up all the time. Hope that helps! Good luck!
There are up to 2 semitones smaller called minor and diminished, but there seems to be just one semitone larger (augmented) and not 2? just read the comments its talked about in the second part. Thanks for being through :) really appreciate and admire your work. thanks for the great content. struggled for years with theory, you make it look simple and effortless. Kudos!
Hey! Yeah, glad you figured it out. Raised my two semitones isn’t really a thing. You could call it doubly augmented but I’m not sure I’ve seen that out in the wild. All the best!
Speaking fast 🤕🤕🤕 It's good, I mean I know how to understand and get the point faster even faster than this, but not now... Because now I'm not able because My speed understanding abilities get lowered 4 semitones Because I have Headaches so strong. All I understand is that we can get from the major interval to the minor and to the diminished and to the augmented. And from the perfect interval we can get to the diminished and to the augmented and never to the rest(to the minor, to the major ones). But You don't mention the Steps and intervalic steps!! That's how I can understand better. Because Steps is what matters most!!
Start with note naming and then major and minor scales. You’ll get there. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-exTi3gFBVFU.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v44NY4fyxHA.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-rxaNn1gXg-E.html
..bruh..In the video about major chords u said there is no such a thing called double flat or sharp and now here u are bringing it up and saying its OK. I'm confused >:(
haha. I meant pause if you want to inspect for yourself, to understand and absorb. People sometimes say my videos are too fast, but the pause button works great whenever you need it!
Is it only the English music culture when they confuse terms from different logical categories to make music a nightmare for students? Such as UNISON instead of PRIME?! Fuck FUCK!!!
There are lots of regional differences in language! Aluminum vs almuinium, quaver vs eighth note, si vs ti, maj7 vs 🔼7, half dim vs m7b5. Call it what you like, or whatever your theory teacher prefers. The concepts are what matters.
@@BradHarrison Until it's all so confused, it will confuse the students. Unison is about how two voices are interacting with each other in a horizontal perspective - parallel motion, contrary motion, or they're in unison. Intervals are only about the distance between two notes, in a vertical perspective, and the right term here is PRIME. Music theory in English culture is highly unstructured and frustrating, illogical.
Brad, you left out a pretty important distinction: a Perfect 4th or 5th are "Perfect" because they are in each other's key signature. C to F is a 4 notes apart. F in in the key signature of C, BUT C is in the key signature of F - therefore, it is Perfect! I think you should have also made the distinction that when a Major interval is inverted, it becomes minor (C to A, Major; A to C, Minor) Minors become Majors. Augmented becomes diminished AND they always add up to 9. Major 3rds become Minor 6ths, Augmented 4ths become diminished 5ths BUT Perfect intervals STAY Perfect. They still add up to 9 though.
But.... it's the difference between the frequency of 2 notes. Why is this so ridiculously convoluted? Just set a fixed unit of distance and than name any interval as a multiple of that unit. What in the hell is this complication?
Musicians don’t generally work with frequencies. Our instruments and systems are not set up that way. And getting into ratios of intervals and tuning is incredibly complicated. There are different kinds of major thirds when you consider intonation. Look up equal temperament vs just intonation to start. This system is way simpler. You just have to know your scales(which you should know anyway for a million reasons) and a few definitional rules.
why isn't the half step considered the unit interval, and then just use numbers to express intervals? Can you have an interval that is not a multiple of a half step? @@BradHarrison
Probably a quirk of history, and because tones are more common than semitones in most scales. Regardless, that’s the nomenclature we’re using now. Quarter tones exist but their use is relatively rare. Same with other microtones. We also use cents to measure difference in pitch. There are 100 cents per semitone. They usually come up when talking about “just intonation”. That’s a rabbit hole you may find interesting.
It can be a useful term for communication. Like, “hey, clarinets, flutes. You’re in unison at section B. Listen to each other for pitch and articulation.” Or, “you move from a minor thirds apart to unison, watch out for pitch and don’t be surprised that you’re suddenly playing the same note.”
So is any given major diminished chord call so because we flatter two notes by a semi tone, thus the chord as a whole has been lowered by two semitones?
A diminished triad about be C Eb Gb, the third and the fifth are lowered by a semitone from major. If you also lowered the C to B you'd actually have a B major triad(B D# F#). You can also have a Cm7b5(C Eb Gb Bb) and Cdim7(C Eb Gb A). Hope that helps!
@@BradHarrison Good to actually hear back from content creators! Thanks for replying! Do you happen to have a music theory series that starts at absolute zero for beginners like me?
Not specifically but these videos are roughly in order and they’re going to give you a real good foundation. Good luck! Music Theory videos ru-vid.com/group/PLDaNGknQ_wTh3eXyjB0smdEYSvqa-wJ1_
