Proof That Wrong Notes Don't Exist. 

hello :)

Charles Cornel Have you seen the "legend of 1900" movie? Part from it ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-fHbPt131mFs.html Please answer

You should check out the Kirby superstar video game music! One of the songs got nominated for a Grammy this year.

Please react to Ravel!! His harmonies are so jazzy. From the top of my head, I can think of flat 6 chords with the 5, and b major over Eb major. Pieces like Alborada del Gracioso or Valses Sentimentales et Nobles are *spicy*

Can you please take a look into anomolie? i know you mentioned him in the Mario kart video but i would really enjoy a more indepth look at his music.

I do that all the time too I see it as mistake, people see that as *fancy*

Trombonists share in this knowledge as well

Guitarists reading this: he knows too much

This is something Victor Wooten always taught

You're gonna need that poker face tho 😐😶

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-tvRRvxl0UZE.html Finally its here

Also Victor Wooten, and... any slightly adventurous improvising musician

@laras loren shut up, bot

Earnestly laughed

Collier: been there done that

Yea! Get it!

Also, thinking about intervals instead of notes. That's the one big difference I can see between improvisers and performers.

I just posted this in the main thread. It might also help you: I have just discovered that, in a diatonic progression, any of the 7 available arpeggios can be played at any point in the progression because you are always playing either chord tones or upper extensions! That means that in a tune like Autumn Leaves I can play melodically by ear and go up (or down) in thirds from any note and it will sound cool as long I resolve properly at the end. So now, instead of constantly trying to land on the right chord tones I'm treating every note as a potential chord tone. This is totally liberating.

As a singer with very basic piano skills who can't read sheet music, this is super helpful! xD

Ah! Congrats! Coming from a jazz musician, I love when classical musicians expand on their talent! It'll really help you playing with bands of different genres and will definitely help your composing. When I'm playing drums in jazz combos, I'm usually the band leader, so I truly get to listen and watch the other players since most of what I do during other folks' solos is muscle and spatial memory. The main thing I always see during solos from classical musicians is them overthinking and then hesitating over playing "wrong" notes. In my experience, it really affects the sound of their solo since it loses some of the passion and "soul" that you really want in a solo. You can really hear it in pianists for example, since they'll start to lose dynamic changes and play softly due to that hesitation. Don't be afraid to play loud! Don't care what people think! It's hard, but try and forget all the constraints that you've been taught over the years. FUCK it up! The best music is sometimes about fucking it up. :)

Bro this comment could come from me lol!

@@martmakesmusic It's bad. 20+ years of playing and I still haven't learned the fundamentals. 🤣

what's frustrating as a guitar player who can read music and does understand. It's frustrating that we cannot feasibly play the full voiceings of a piano and we have to deal with shell voicings to just give people the idea of the harmony we intend to play. Either that or we have to play this chords arpegiatted (not necessarily sweep picked) so that we can get the full voicing. Just in single note lines. :/

Same, makes me want to get it together.

@@Roanski yees..oh man😂😂

He’s so musical that he just speaks in key

I think he talks in E

@@eliasschneeberger1337 Naaaaa

@@eliasschneeberger1337 just talks at a C over the C major chord. So he’s actually not harmonising but we’ll let this guy have his funny comment

@@marcelloberry6829 harmony can have two meanings

Yes

Don't BOTHER. We're fine - your keyboard's ALREADY SUPER-EASY to SEE 🎹👀😁

@@shanonkiyoshi4784 if mirrored kinda, but otherwise nr. But then again I haven't played piano in years and even the I was a beginner so who knows?

Never thought of this. I've been playing forever so I just know by ear/the music lingo. But that makes sense.

@@shanonkiyoshi4784 bro not everyone understands the piano in reverse. Don’t be such a prick

@laras loren wtf

Honestly you're completely right. This is a common trick with a lot of jazz musicians. Gently slipping out of key and then going back in as a way of tickling the ear. Great way to create interest.

The "any note over any chord" thing is a theory flex framed as a cool property of chords but I think it actually perfectly illustrates the shortcomings of strictly vertical, chord-based framing of music theory and questions about whether intervals sound "good". Music happens over time, and chords are only an instantaneous snapshot. Intervals and chords can be static and restful or dynamic and directional. It's not "does this note sound good", it's "what is this note doing". He asks "is a b9 wrong" and answers "a b9 wants to resolve", but the answer to "is a b9 wrong" is just "it sort of depends but no" and the question he's actually answering is more like "what does a b9 mean" or "what does a b9 want to do" because the answer is "a b9 is tense and it wants to resolve". I've made it a point lately to frame things in this way and found that things that are extremely dense to explain as chords are often quite simple and even more meaningful to explain as lines.

Yes! Like Jacob says, the worst thing is when notes don't have a reason to be there

@@austinm7801 I agree with you, but the exercice framed as just the analysis of the chords structure is helpfull to people who are still counting intervals and learning types of chords. It also helps a lot in the perception of intervals and chords to just listen each note and their relationship with the other. Like, there's utility is both ways of thinking.

I don’t think #9s are dissonant. #9 #5 chords are one of my favourites tbh

@@ShuAbLe definitely utility in both. I think the more vertical or chord based analysis is dominant by far and a line-first framing of a piece of music makes it easier, not harder, to understand how chords function.

Woah, great job and thank you

Love you friend, thank you.

You forgot to include the part where he says “sus” a dozen times consecutively

made my brain happy

I got to this right as I read this comment. That was absolutely beautiful. Thank you for this.

They are famous musicians because they play instruments.

This is random. But from my experiences while listening to music at work, construction to be specific, I find that people are more accepting of most Miles Davis but only some John Coltrane. They hear Giant Steps and aren't sure if it's music haha.

Herbie for stylistic innovation, pushing jazz in a more electronic and modern direction. John Coltrane also for stylistic innovation, opening up the structure of jazz to lead to more untethered things like 'A Love Supreme' and even Ornette Coleman's stuff. Bill Evans for harmonic innovation - he brought in more harmonic choices and motions (specifically for piano), borrowing chord shapes from classical backgrounds.

i really like this idea

Ohhhh, this is similar in singing, too. You can be a little flat or have awkward lyrics or rhythm, but if you put pressure behind it and project properly with confidence, it sounds more like a style and less like a mistake. You have to bet on your own horse.

That's why I grew up hearing "if you're going to play a wrong note right now, play it confidently and make it look intentional." I wouldn't necessarily say project a wrong note ar a performance but just act intentional. It was mainly said during rehearsal and practice.

Oooo what a nice way to think about music. Having no music training myself, this really helps me visualize all this

The frequency of the tritone is the geometric mean of the frequencies of the root and the octave. So depending what you mean by "physics point of view", the tritone is still the center.

This is true on a tempered piano, but the way Nicholas b said is true for Just intervals. Split a note in half you get an octave, keep splitting it symmetrically, you get a fifth, then a fourth, then a major third, then a minor third etc... this is why these intervals sound consonant. Now back when we had Pythagorean tuning thirds were treated as dissonant because they were so badly out of tune. In equal temperament the tritone is the sad interval that is so out of tune we've been treating it as a dissonance, and it's a weird paradox because tonality rests in a sense on this need to resolve the dissonant tritone, but if you do something like 7 limit tuning you get the Justly tuned tritone from the harmonic series. This tritone is a consonance. It does not beat. It is sung a cappella in barbershop, for example, and in other traditions where you can tune chords "by ear." Adam Neely did a video on Lebo M singing it at the beginning of the Lion King. This is just to say it's more common in popular music than you might think. This tritone, however, the one that actually arises from even partials of the frequency and thus sounds "in tune", will not quite split the octave in half in the way Charles and you are saying.

Agh! Jazz!

No, the tritone is interval that divides an octave equally in two. The octave is a frequency ratio of 2:1, while the (equally tempered) tritone is √2:1, and as we all know, √2 is defined to be the number that becomes 2 when we multiply it by itself. That is to say: tritone × tritone = octave. The (just intonation) fifth is 3:2, which if you stack twice, you get 9:4, not an octave (2:1 = 8:4).

The chromatic scale, too. All minor seconds

They don’t symmetrically split the octave though.

@@onnapnewo yes, they do. They don't split it into two, but they do split it symmetrically. The major third splits the octave symmetrically into 3, the minor third into 4, the major second into 6, and the minor second into 12. All of them symmetrical. The word "split" doesn't imply a division into 2 parts specifically, so any number of parts is still a split.

@@user-uz7gb7gb4v Technically yes, but that’s not the way he demonstrated in the video, nor what he seemed to mean. He played a note, went up a tritone, then went up another tritone, ending an octave above the original note. He didn’t talk about further subdividing the octave equally. That being said, I was responding to the person above who was just talking about symmetric triad chords, which don’t even span an octave.

@@onnapnewo Then that's not saying much that the "only symmetrical division" of the octave is a tritone if that literally means the halfway point. There could only ever possibly be one halfway point, so of course it's the only one. It doesn't mean anything

Same. I took 2 years of music school in college and never fully understood 9, 11, 13 chords until he explained it

He has played a part in refreshing my love for music by starting to explore jazz; coming from a classical context, this makes me feel alive

I have no idea if he was in the original key, but if you have a good relative pitch, it doesn’t even occur to you that you are transposing it on the spot. You just play the song and whatever key you happen to be in.

It was the original key, C Major.

@@FriendlyNeighborhoodNitpicker yep! I have strong relative pitch, and I never ever think about the key relationships, I hear things in terms of pitch relationships (where the term realtive pitch comes from lmao). Makes it very easy to play any song with a group as all I've gotta do is find the root and then I can go as long as I know the song.

When

@@steve7745 I remember my choir teacher having us learn a piece using the whole do-re-me instead of the lyrics to assess the relationships between notes. So that then when he gives us a note to refer to as the root... We would then go up a whole step for re, and so on so forth. Then assign the note to what's written. Like it sounds complicated writing this down. But I still play the situation in my head right now. Then he would switch it up and some of us just got it quickly even with a new reference note. He also gave us a reference pitch for a different note ith the scale ( ex. Fa instead of do) and we had to figure it out from there. It was fun to do, really made me think and start to grasp pitch relationships better. I think it helped me when I had to take aural skills at uni. I did pretty well even at the beginning. Also how it is I can tell someone the pitch of an alarm by humming the note and hearing it in a chord or scale and figuring it out. I'm definitely not the best, I don't think I have perfect pitch or anything... But I've definitely learned a lot from the different exercises my teachers on instrument or for voice have taught me. Sadly due to mental illness, I had to take a break from school this past year and I haven't had motivation to keep on playing...but still sing bc I couldn't go without any music. So if my terms and what not are incorrect, I have kind of slacked on keeping up with music for a bit.

HA GOT EEM!!!

Paradoxon

Maybe this video can help show you how the perfect fourth can be used in a tonic chord. It goes over some different ways to use that sound and I personally found it pretty insightful. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Uv9q9JyZBpc.html Sure, it might be harder to pull off successfully, but it there are instances where the add4/add11 sound can be absolutely beautiful. Playing around with different voicings is really fun! (By the way, I assume you mean tonicise a major chord. Making the fourth sound good over a minor tonic is trivially easy IMO.)

Reminded me super hard of Brings - Superjeilezick and I'm a bit embarrassed that that song was my first association with this melody

8:09

Me too. This is a nice use of tension and release.

If you added more black keys, it might be possible to make it symmetrical. Though, I don’t think 100% symmetry could ever be possible no matter what the divisions are.

Or that's just b9 right?

does it exist?

@@UnGlame Not in the context of stacking thirds and tertiary harmony due to the natural 9th already being present in the chord voicing

@@UnGlame look up super ultra hyper mega meta lydian

minecraft geometry dash man

kinda reminded me of liebestraum no 2 toos

i can’t wait to play around with these when I come back home from university

I was thinking the same thing, but I guess saying, “you can fit any not to any root bite in specific context” is not as catchy as “proof wrong notes don’t exist” still good content

The problem is that as a RU-vidr he needs those catchy titles so “you can fit any note in relation to a root note and make it sound nice” or any other suitably true statement about his content will not get him the views.

I think he meant it’s the only interval to symmetrically separate the octave into two pieces

@@anthonyflanders1347 I think you're right! ☺️ But then, that's obviously true, that 6 (semi-tones) is the only number that is the half of 12 😋 I mean, when you divide any number in half, there's only one answer... That's primary school logic and hardly a fun fact either, isn't it?

No one cares

@@Maorpix just one time in my life I wanted to be first 😢

@@BenjaminMorrenMusic You're first. I care.

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