The magic of: "Gnossienne No.2" (Erik Satie analysis) 

I'm happy to hear that! :)

Thank you for the thorough feedback, that helps me a lot! And a new video is indeed coming next week, time to finish up the Gnossiennes Trilogy ;)

That means a lot! And thank you for your input, I will keep it in mind for future videos

Thank you for your input! In fact, I don't really know the Sarabandes, will have a closer look/listen ;)

@@andynalysis It seems to me that those pieces are a huge milestone in the evolution of French impressionist music.

Thank you so much! Gnossienne #3 is on the way ;-)

Listen to "jerusalem" by omri mor

Beautiful song! Thank you for the recommendation

Hey, sorry for the late reply! I don't know your theoretical background, so forgive me if I write things that you already know (possibly you can just skip a few of the steps I'm going to list): 1. The way I find it easiest to look at is that you see the major scale (also called Ionian) as the so called "parent scale" and then you have 6 modes, by using the same 7 pitches as Major, but starting from a different note. There are also the "hypo"-modes, but I found you can kind of neglect those... This may seem trivial, but for me it was actually mildly mind-blowing when I first found out that minor (Aeolian) is actually just a mode of major. (1b. My main resource is actually Wikipedia whenever there is something I want to fact check :D ) 2. One idea could be to take simple melodies that you already know - children songs always work great for this purpose - and transpose them to a different mode; for example try how sounds in Lydian or Mixolydian, or even one of the minor modes, and see how that changes the character of the melody. With this approach, referring to major as the original scale, you will get a feel for which note(s) you have to change, for example raise the 4th of the major scale and you get Lydian; lower the 7th degree and you will get Mixolydian. 3. Once you are comfortable with that, try writing your own melodies in different modes. 4. Harmonizing would be the next step and this is a bit too complex to explain in a comment. The main concept you have to be familiar with is which works for major and minor, as well as for all the other modes. There are many theory books that explain that very well, e.g. Schönberg "Harmonielehre", or - coming from a Jazz theory background - I'd recommend "Chord Scale Theory & Jazz Harmony, which uses the Berklee System, which is what I learned at the conservatory. 5. Recommended listening: > Renaissance or any pre-baroque composers like de Victoria, Schütz, des Prez etc. as their music is often modal and doesn't have the strong tonal gravity that became popular from the baroque era onwards. You may even want to go as far back as Gregorian chants to ensure "maximum modality" ;-) > Modal Jazz, most popular example the album 'Kind of blue' by Miles Davis. P.S. If you are interested, I actually made another, more experimental video where I tried out modes of these "Satie-modes" Hope that helps :)

Another recommended listening (creative use of "Satie-modes" and impressionism-inspired harmony in a dystopian setting; I also also mentioned this one in my Gnossienne 3 video) The OST of the video game 'Hyper light drifter', written by Richard Vreeland aka Disasterpiece

That's Lili Boulanger. A bit lesser known but a very important figure in French early 1900s music!