Відео

3:29 wait that is a Cm6 chord, not Half diminished

В негативной версии слух не фокусируется на окончании фраз - нет устойчивых кадансов

Bach is technically considered a part of the rococo period. The "transition" between baroque and classical methods. In fact, he was considered old fashioned during his day. Imagine Duke Ellington, composing big band music in 1990. No one would have cared. Same for Johann unfortunately. :(

as someone whos going into ap physics sophomore year (in a month), im watching these to prepare and this is horrifying

I’ve studied arrangement, orchestration and composition and think this is the most confusing, useless and overrated concept I’ve ever come across.

Man come back to physics bro this yo calling u a genius

Lo curioso es que el círculo de CUARTAS, es la reversa del círculo de QUINTAS.

This was very well done! I've been a fan of processing for a long time / using it for years. I don't often see people making projects with it, with the exception of TheCodingTrain community members. The best part of this video was the presentation, the animations for code blocks appearing was smooth and the script was well written. Bravo!

The digital roots of these sets has me shook

Oh gd........ it's come down to this.....

Why is everyone bullying this guy this video taught me more about music

Nice video! As I listened to the passage it ocurred to me that the chromatic pivot chord can also be heard as a Ger6 in Em (if in an unusual inversion), which stays in the previously established tonal center. Another interesting detail I think smooths the passage is that the top C has a contrapuntal (as 9th of the chord) and tonal (as m6 of E) tendency to resolve down to B (5 of E). However, when it is reinterpreted chromatically as B# it becomes (in view of the whole phrase) a tone which still tends to resolve to 5 (C# in F#), but now from the opposite direction. I feel these kind of fragments illustrate an important reason for the adoption of enharmonic equivalence in our tuning systems, since it allows for such expressive ambiguities!

Watching this before even taking the course…I think I made a mistake 💀

This treatment is valuable but incomplete, indeed silent on the most important point of all. It only describes the positional relationship between notes as an ordered set treated as a group. It neglects the important point that musical notes are a notation for describing SOUNDS. Each note has a corresponding frequency and wavelength of physical vibration. Most people know that two notes an octave apart are called by the same name, so for example A440 (known as "concert pitch" at 440Hz) and A880 (880 Hz) are both called A. The reason why the fifth interval is so important musically (even neglecting the set-theoretic aspect) is that the fifth above a given note N of frequency f is that it has the frequency 3/2f. There is a physical harmonic resonance in this relationship between frequencies, just as there is for the octave of N at 2f. This has two important physical consequences. A set of objects tuned to vibrate at these frequencies will tend to vibrate sympathetically when one of them is sounded. Also, we have reason to believe that within the complex neural structure of our brains is something equivalent to a phase lock loop, which is naturally reactive to harmonic intervals. This is the most fundamental reason why music "sounds good" to us, and it's the first step in understanding why music is MUSIC and not just some interesting features of ordered sets. Taking a root note N at frequency f, the harmonic sequence begins f (root,) 2 f (octave,) 3/2 f (perfect fifth above root,) 4/2 f (octave,) 5/2 f (major third above root,) 6/2 f (perfect fifth above octave,) and then things start to sound a bit weird. A similar effect happens if we follow around the circle of fifths from the root (f,) fifth (3/2 f,) fifth of fifth (3/2×3/2 f) and so on. The fifth of the fifth is a major second interval, almost. The problem is that in a 12-tone even-tempered scale, each semitone frequency g is a factor of 2^(1/12) ~= 1.0594 greater than the previous one f, whereas the fifth interval by this method, f^(7g) ~= 1.498 f is not quite that of our harmonic method 1.500 f. If we only take a couple of steps, say the fifth of the fifth, it's close enough to fool the phase lock loop in our brain, but the further we carry it, the more audible the discrepancy becomes, hence effects such as the "wolf fifth." In other words, we can only close the circle of fifths right around through all twelve notes if we use 2^(7/12) × f instead of 3/2 f at each step. Starting at A440 (440Hz) we would not use 3/2×440 = 660Hz for the E above concert A, but instead 2^(7/12) × 440 = 659.255. I can understand why the video didn't get into these slightly hairy sound calculations, but hey, we're taking about music, and music is nothing without sound.

This was a straight shot, nice work

Amazing ending haha

Gender dissonance

I understood until he began to speak.

we need more videos :)

yeah, nice background noise bruh

At 4:20 you mix up plagal and perfect cadences. In “positive” harmony the perfect cadence is V-I, so the progression should go around counter-clockwise, while the negative version should go clockwise because it’s iv-i.

0:11 what if the melody consists of multiple voices?

Good vid

Typical of a nerd, he speaks quickly in order to demonstrate what he knows, rather than take his time, bringing the uninitiate along for a journey where they find themselves learning. I could listen to it on 0.75 perhaps but it seems it presupposes a knowledge of at least some music theory. TL; DR I wish he had made for utter noobs

Keep the Dilla rhythm…

So the diminished 7th is perfect, or the loser?

2:44 Valentina Lisitsa! Amazing pianist!

Phenomenal! I know the last statement was a joke, "If you don't follow these rules you'll get burned at the stake" But I think it is good to emphasize that following these rules strictly is more in the nature of Baroque music and as music developed composers figured out clever ways to break free from always having to do things like approaching dissonances with stepwise motion and reserving the 6/4 for when it can be treated properly. But this is no criticism to the video itself just trying to help anyone who might be reading the comments. This is hands down the most efficient Voice Leading Video I have ever seen. It teaches people the foundational ideas and terminology and from here they can brainstorm, ask questions and do research. 😄👍

Brilliant!

Whatta hell is that snare background loop. Can't watch

i cant watch this, but i want to

cant you stop sqeaking like a condescending chipmunk and talk properly

fkn annoying backing muzak

Would have given a big thumbs up except for that drum track.

What the hell is that whacking sound? This looks really interesting, but the noise drives me crazy

Ok but those other circles you said don't exist do. I was looking at them before coming here.

i hate it, almost always sounds bad. Just change majorXminor and you'll have something diferent and good

this is the great fugue😅

could someone just turn off that annoying !@#$%^&?

Mate, why should anybody give a toss about what you're saying when you have purposely chosen to distract the viewer/listener with some totally bullshit, irritating, annoying kind of beat over everything you're saying?? Only a total moron would do that.

ironically I've recently been thinking about generating music for games by stitching together small pieces using a sort of Markov-chain-based automaton. this video shows another interesting process that could be expanded on for such things!

I would love to see this applied to spectagrams to include the colors of the overtone timbres as well as fundamentals and have the colors interfere constructively to make white where theres noise, and , and project the timeline moving towards the viewer rather than linearly from left to right. also velocity should affect how bright the note is.

No...literally THANK YOU! I was unexpectedly put in AP physics for this year(I'm a junior) and we got to unit 2, but I literally didn't understand ANYTHING! You've helped me, man. God bless!

4:12 why are we seeing that pianist again as if she were stock footage?! + that shot has nothing to do with what’s being said

2:42 Wait. Why is F the opposite to D?!

Why is this another deja vu calculus one equations all over again

A good idea but not original, this guy Mike George has developed it as fully as it goes: youtube.com/@mikegeorge360

What the @*#& with that beat in the background!!! Annoying!!!!

"Avoid moving by spicy intervals" Imma pretend i didn't hear that

fascinating!