Free PDF with all of the chords and scales from this video: / making-bad-sound-99787447 My school - benlevinmusicsc... My merch - BenShow.Horse Thank you to my patrons for helping me make these videos!
simple solution: play them on higher registers, and prove fourier series/theoreum applied to things like additive synthesis correct once again the higher you go, the less dissonants/irrational ratios there are, when you hold the additive nature (linear curve) of overtones against the exponential curve of octaves (always *2 the frequency), it will logically converge into more "consonant" options the further you go up, the frequency ratios become more rational playing a C, D and Eon the same octave all at the same time isn't that dissonant anymore once you travel into the 6th octave and up, at some point at the edge of what we still perceive as musical notes from an instrument, you can even start sneaking in half-steps and still be somewhat "consonant", but you need to go up so high to really get there, it loses its musical usability before it converges that closely across the board also, inversions, inverting chords like making a perfect 5th a 4th inversion and make it less consonant, you can reverse apply the priciple of inversions/voicing to make them a bit more consonant depending on the situation too of course with the correct musical context priming you for the chord, you can make dirty sound exactly what is required, as a metal guitarist i shit out flat 5ths and diminshied every day too :D but i was merely covering the chord in isolation
I've been subscribed to your channel for a while now, and I think your teaching videos have become exponentially more easy to understand, fun, and quality-full. I love how the soft synth in the background while you're talking is playing the chord you're talking about.
@@BenLevin Really want to second this, I've been subscribed since like 2018 or so because I knew this channel was special and had such unique ideas but I have never been as engaged in your content as I have been recently. The scope of the videos feel much more pointed which makes it very digestible. It actually has me playing piano again after a long break!
Truth. The inverse can also be applied with artistic intention. Intentional dissonance and noise are valid tools. As a painting analogy, there are masterworks depicting terrible images, not only beauty.
I feel like every video I watch from Ben, my brain forms new synaptic connections, and I move even further away from the majority of pop music, and yet I appreciate it all that much more. I notice how my interpretation and implementation of music has changed over the time I've been watching this channel, it's absolutely stellar.
Since you allowed the top and bottom chord to switch places, once you pass the C/F# combo, the rest are mirrors of what you had before. I.e G over C is the same chord quality as C over F. Bb over C became C over Bb which is the same as D over C.
@@JonHarris77 Yep. Not that there is anything wrong with the ones in the video, but it would have been an even greater challange to try to make them all work without inversions.
Really love the high quality of your art and teaching! Your approach to teaching resonates very naturally to me. Thank you for all the awesome work you put out Ben!
I love this video!! My favorite Amajor over Cmajor voicing (with lots of sustain) is having the C chord spread out low octave (root, fifth, third) and putting the A chord pretty high up and gluing it together with a D-note somewhere in between the chords ✨✨
Every weird sounding music stuff is just half step away from sounding absolutely amazing… That’s what I’ve learned with Dr. Levin Love your vibe… Keep being unique for the longest time
Bb|C, without the reversal, can resolve beautifully into a Dm11 (or something close to it; it should be a minor chord with a D in the bass and a G on top. The voice leading would also work great (every note moves up by either a semitone or a whole tone).
Hello! I really enjoy using this kind of triad moosh, but I've never sat down and systematically tried all the possibilities of a particular combination...so thanks for that inspiration! And also thanks for the Spicy-7-to-Lydian-1 resolution examples, something I don't think I've ever played around with... Every video of yours surprises and delights me Be well!
It's a good little game. It's also kinda cool that he's opening people's ears up to less comventional sounds, while still staying accessible. The same way that Rick Beato did before he went all grumpy, or doom laden in the case of AI and it's prospects.
So it seems like every time theres a 7#9 in some flavour or another, Ben resolves it up a semitone to a maj7. Is there some clever bit of theory i dont know there? normally i think of 7 chords going DOWN by a semitone if anything (e.g the classic tritone sub ii - bII7 - I). Is there something in particular about the #9 that makes the chord want to do that? We could conceptualise as say V7 - VI in the minor, but that works just as well with a V7, V7b9, etc (maybe functional thinking is just out of fashion... haha)
actually the transposition of chord tones to avoid minor ninths is the part of video i don't really like. by doing so, in my opinion, you limit the amount of possible chords. for instance turning Db/C to C/Db just makes it the same chord as B/C(at the end of the video) but a semitone lower. so technically you did find bad chords in this video?
The lines don't always have to be pretty, and the colors might be downright shitty. It's the picture, from a ways away. She was pretty, flaws and all. Until I got to know her in the dark.
As a drummer who's musical knowledge is mostly, 'I hit things', I'm wondering how you found the 'resolves nicely to' chords? Is there a 'formula' to find that this particular abomination resolves nicely to a b-flat diminshed sharp 9, or do you just try a bunch of chords and finally go, 'ahhh'?
Generally "altered chords" resolve nicely up a half step to Maj7 chords. An altered chord is a dominant 7 chord (1 3 5 b7) with messed up stuff added to it, specifically one or more of these (b5, #5, b9, #9, #11, b13) So Xaltered chord will usually sound good going to XMaj7 up a half step
Why not simply swap the minor 9ths, instead of the whole chords? I think CFGEAC instead of FACCEG or even CEGG#BE instead of EG#BCEG would have sounded way more interesting!
That's great to do, I just wanted to show how you can think of combining triads as a way to discover new chords. So I tried to keep each triad in tact as much as possible.
Still not as good as the Unison MIDI chord pack MIDI chord pack chord pack Unison Unison MIDI chord pack. The chords are made for you. Harmony right in the can.
So I'm waiting for the bad chords, and all he plays is bland pop chords. Oh well, back to back to mining Messiaen's modes of limited transposition to find chords that bring me beyond the edge of complete despair. Harmonies that make me want to lie in the recovery position and tell myself it's all going to be alright, while I cry myself into a fitful slumber.
