Tasty Chords - Measuring Harmonic Flavour 

Such a mic drop moment at the end of this video! haha. Amazing stuff.

Mind-blowing as always!

Awesome, thank you. Clearly explained with some great visual aids. Cheers 👍

Beautiful and fascinating! Thank you.

Your videos are so beautifully narrated. You remind me of Dan worrel from the fab filter tutorials who everyone loves for the way he speaks 😂

Thank you for your _fascinating_ videos, Mr. Mermikides! I wished my Conservatory studies would have had a course that taught theory the way you do!

Great content! More please!

Thank you for these wonderful videos, Milton!

Love the content mate, your videos have given me some great insights into things I didn't even know that I did not understand! Keep it up

💣 Mind Blown! Brings it all back to the Hendrix Chord. I am early on in my musical pursuit at 50 something and your presentation of Geometry / Math and Music is brilliant and inspiring. Thank you.

Brilliant video

Thank you, what an awesome video. Sometimes I feel like I'm trying to hide the most interesting dissonances I can in any given phrase of music whilst still making the music sound 'good'. This was enlightening.

That Max patch is amazing! Would you share it?

Hey Milton I really enjoyed this and I had to subscribe because I've been learning music on my own for almost a decade and no other channel comes close to conveying theory in such a simple way. You also give every lesson a spiritual feeling and beautifully link it the reaction music provoques in all of us. Thank you for your dedication and your idea to share your knowledge ^^ It's a pleasure to watch you talk about music.

Does anyone know the name of that tool that Professor Mermikedes uses to display the interval vector? At 6m52s

Very interesting video. But I am not sure about that chart which maps consonance and dissonance. Because of concepts like those presented in the chart I was a big proponent for 5 limit just intonation music. But after working with it intensely for a decade, I came to realize that while out of context the intervals do not usually beat. Within the context of a piece of music, while listening not just vertically at the harmony, but also horizontally at the melodies and voices, listening in both directions, that it became abundantly clear, that 3 limit or Pythagorean intonation, is the true just intonation, both in chords and scales. I personally hear the Pythagorean major third at 81/64 as in tune and the 5/4 I hear out of tune, especially when in the context of a piece of music. I also now hear the 32/27 Pythagorean minor third as more consonant, more in tune, than the 6/5 ratio. The notes in these dyads at the 3 limit ratios have more distinction from each other, while also expressing a ratio that can be easily understood by the brain, even the untrained one. Because all is just ratios based on powers of 2 and powers of 3. The powers of 3 give you all the notes, and the powers of 2 give you all the octave doublings, and so the brain can very easily track and hear these in a piece of music. With 5 limit and higher limit harmonic notes with added dimensions and alternate versions of every note, the music while listening horizontally and vertically simultaneously (simultaneously is the key) sounds very out of tune. But the chart of dissonance and consonance in the video would have one believe that the Pythagorean thirds both major and minor sound not only more dissonant than 5 limit intervals, but also more dissonant than equal temperament thirds. This is not at all my experience. The equal temperament thirds definitely sound worse than both the 5 limit and 3 limit intervals, for there is neither the vertical in tuneness of 5 limit, nor both vertical and horizontal in tuneness as heard in 3 limit. So considering all this, I think the chart, while interesting in a way, is very over simplified when it comes to how we perceive consonance and dissonance.

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❤ absolutely love your channel

This has so much inspirational potential! I want to write/hear a chord progression defined by a pattern of changing shapes or find the most dissonant chord I can play on my guitar fretboard

Really outstanding video, I learned a lot. So your version of the Hendrix chord is C sus2 sus4 b5 which is a mirror of C b2 b5 and the Hendrix chord is E7#9 voiced as E E G# D E G, just wondering if I got that right.