No such thing as a "bad" interval. A maj7 sounds pretty dissonant in isolation, but throw in a maj3 and you've got a beautiful maj7 chord. It's just ✨ context ✨
The E7#5#9 chord at the end was a nice addition, for me it made the song go from nice but overlookable, to something i had to learn how to play instantly. Nice video!
Very informative! But also, as a lover of all things spooky from Portishead to Bitches Brew, I love this interval. I see how this is something you'd want to avoid if you're making 'lofi beats to chill and study to', and this is great advice for someone looking for that kind of mass appeal. Personally though, this kind of dissonance is necessary for the kind of tension and mystery I like in music.
Thank you Jaron for your videos! The quality is amazing ~ Everything is so clear and perfectly explained even I can understand with the very little knowledge I have. 💪
The V chord with the #5 at the end is quite nice to finish the chord progression plus the quartal voicing that the seventh and the #9 adds is quite a cool sound
Nice, exactly! An E7#5#9 or E7alt. Anyone else spot that last chord? Also, anybody know what scale this chord is derived from. Planning on doing a whole video on this chord/scale in the near future.
@@jaronlopez Please do it! Excited for more videos like this! Thank you very much for sharing your knowledge with us in such an interesting way! Your teaching skills are innate! greetings from Argentina 💖
Edit: second half was fabulous! But yea I think just trying to give a helpful feedback as your channel is fantastic but I almost didn’t finish the video cause of the slower pace! Original: So I appreciate this video, thank you so much for making it! If I can give you a touch of feedback - i do feel like it’s a touch repetitive! Thank you so much of making it though!
“The formation of scales and of the web of harmony is a product of artistic invention, and is in no way given by the natural structure or by the natural behaviour of our hearing, as used to be generally maintained hitherto.” - Hermann von Helmholtz
Another great video! That last chord is E7(#5#9) I was thinking that another way to "fix" the melody would be to play the F to E down an octave. I think that'd be cool cuz it's similar to what you did with the A minor chord (in other words you took the notes of the chord and by playing them as an arpeggio you made it a melody)
I think the passing tone solution shown in this video should be called avoiding the 13 semitone on the strong pulse, you don't need additional G note to make the F# the passing tone, but the demo is moving the 13 semitone from the strong pulse (first 1/16 note in one beat) to a weaker pulse (3rd 1/16 note).
Absolutely, this is a great point! The rhythmic phrasing is another essential element to this puzzle. Anybody else notice the movement of the rhythm at this point 13:33 when watching the vid?
@@jaronlopez yeah, hope one day you can cover this topic, I really enjoy your extremely efficient and clear tutorials, also your music blown me away, just amazing!
Perfect means that interval doesn't have a mood, whether major or minor. And the interval is most consonance, means that it's most pleasant interval for hearing
Hey Jaron (question below) - I love your videos, after spending many years trying to learn music theory off-and-on through rote memorization and being frustrated when trying to construct anything pleasant in the DAW, I am finally enjoying the process of creating music and learning at the same time by applying the concepts in your videos. I'm grateful to be here before your channel blows up. I have a question. This is something that has always somewhat confused me with respect to intervals and pertains to this concept of dissonance that you are talking about here - when we start with the i and iv chords without any inversion, it sounds nice and our ear enjoys it just fine. Then when we invert the iv chord to bring the F and A into the same region as the i chord, we introduce an E and F right next to each other, which is just as dissonant as the minor 9 interval (to my ear at least) being only 1 semitone apart. And yet, it works! My question is - why does this not bother our ear in the same way the minor 9th does?
I think you have a point here as the same stuff happens also with an 11 or 6 interval. I think what is happening here is that he added a C4 making a perfect fifth with this note, making it useful and necessary to the chord. I am also a complete noob so just try removing parts of the chord or changing it to see what is strictly necessary and what works. How it works if I understand correctly is that when two waves of similar but different frequencies are added, the amplitude of the wave changes at a relatively slow rate compared to the frequencies of the waves, making for a very different sound than when notes of a perfect fifth merge for instance, when the second harmonic of the second lands right on the third harmonic of the first strengthening each other (and subsequent harmonics as well). Also I feel frustrated too sometimes but you really have to stop having expectations about your musical skills and your expertise in using production software. I think that's the only way you can actually enjoy your time. I started trying to make a ytpmv a few days ago and it was so much fun despite only demanding making a simple synth and transcribing a melody that was mostly available online. I can recommend 8bitMusicTheory's videos I only watched a few and even though I don't understand everything I really enjoy them.
Yes Indeed! One of the best things about getting some training in any field is developing instincts that tend to prove more and more useful as you get further along. 🎹
Maybe it's because my ears had got used to the thirteen semitone interval early on in the video - or perhaps my brain was just in the mood for dissonance - but when you altered the melody note from F to G, I actually liked it less than the original F. Let me know in the comments if you read my comment. ;)
Experiment (guess and check) or blatantly steal the exact one your trying to learn from and deconstruct / reverse engineer it. No matter what the outcome you will learn something and probably come up with other things you weren’t even going for . You can’t just learn everything , so it’s important to take note (like you’ve done) when you hear something exactly like what your going for, especially when it’s intangible like “ the style of the turnaround” , or for me and love how wes Montgomerys guitar playing just feels so cool and vibey, so I’ve been watching videos on what notes to play but more than that when I learn something I sit there and tinker and deconstruct and figure out what about it makes it sound how I like, if that makes any sense at all 😂😂❤ .
@@coltonshanley1921 Full ack. I just think, since this stuff has been around for some time that there must be already a bunch of popular/proven "patterns" / voicings (in the genre) to learn from. Similar to idk the 2-5-1 or rhythm patterns in general. Just to cover the basics.
There are situations where I prefer the 13 semitones as well, and other contexts where chords like the Ebm9 gets me closer to my musical intention. That is what is great about music: different people, tastes, musics, and results. Always trust and follow your ear! Anyone else prefer the 13 semitones/are not into the Ebminor9 chord?
Going from D minor 9 to Eb minor 9 and back sounds much more dissonant and also more unpleasant to me ... I often enjoy dissonance given the "right" context. In this particular case, I don't. I liked your "Expand melody" and resulting "Sequence" approach the most. Thanks for sharing your points of view and knowledge. All in all, a great video!
this interval may get boring in this context, but only if you repeat this segment in your track as you demonstrate it to us, if there is further development, variation, then this interval will not create a desire to "click next". There is a twofold feeling, at first there is a feeling that you will just talk about a "bad" interval, then you sort of explain that this is a matter of context, but then why such an emphasis on this particular interval? he is not the only one who works differently in different conditions I think it's all intentional, so that understanding people comment, apparently
