I would love to hear a conversation between Bela Bartok and Barry Harris.

I was given the Bartok String Quartet box set back in the early 80's. It's always been a great way to open up my mind...without drugs of any kind!

I didn’t know axis theory is so deeply related with Jazz harmony. This is very informative!

This is so eye-opening! Thank you for bringing this topic up and explaining it in such a nice way.

Folk Music 01:30 Circle of Fifths, 03:45 Parallel C major/C minor 05:15 Prokofiev Romeo and Juliet 06:00 Stravinsky Rite of Spring - 07:00 Jimi Hendrix Chord E7#9 07:45 Major Minor Duality 08:25 Chromatic Circle 10:00 Tritone Relations 11:10 Dominant/Subdominant groups 13:00 Pitch Axis 14:15 Cadence Sets (3 groups of 4 chords each) 17:15 Beautiful Chord Progressions to try out at 18:00 Harmonic Wheel 22:00 Tonnetz 24:40 Smells like Teen Spirit by Nirvana 29:20 Giant Steps by John Coltrane 30:00

one of the most helpful videos I’ve ever witnessed in my musical journey ... many many thanks ... ❤️

I'm currently learning Bartok's 2nd violin concerto. There was something so oddly satisfying about it and this video explains a lot. In just the first phrase, the major minor duality is present. One of my favorite composers.

I have "consonant tastes" and when I first heard Bartok's string quartets, I fell in love with his music, and I could not tell you why, this will help me. Thank you for posting this.

Fantastic video that really prised open a rusty door in my head after all these years. Kudos to you sir. I am inspired.

29:23 wow!! You sir make the wildest ( andprobally basic) music theory a blast to learn.

There's a nice way to use color that turns out to be a compelling metaphor to the primary and secondary colors in color theory: C, A, F#, and Eb are yellow notes; G, E, C#, and Bb are red notes; and B, Ab, F, and D are blue notes. Major and minor triads can be given the secondary colors of orange, purple, and green based upon the mixing of their constituent notes. These secondary colors correspond to the S, T, and D functions. This coloring has been called "Metaharmony" by Tom Glazebrook, who uses it in the context of the teachings of Barry Harris, but one could use it for Axis theory as well. They're isomorphic.

Impressive content in this channel. It deserves far more views and likes!! Thank you so much for these excellent videos!

I had a dream last night that I was speaking to a professor about music and the heroes journey. He started to give me a lecture on Bartok just before I woke up. So I found this video today and I have to say that I really love how you explain it and makes sense. Also, the song you created at the end is so cool I love how you showed the practical application and I can’t wait to create my own composition using this method. Thank you so much for making this video.93

In Stravinsky"s case since the note is in certain octave I would see that as a bass displacement and give you straight away the Bartok example ,C Eb C E to illustrate the point, in Jazz is a very common chord which is C7 #9 that doesn't have the same function but has the same type of conflict. It's also very used in Blues, and Ravel uses it in the concert in G if I recollect. Very good video

Where has your channel been all my life?! Going to change the way I write so much

This has opened my mind A LOT. Thank you, sir.

This is such a clear and useful explanation of the concept! Thank you so much!

I think one useful thing to note is how the three possible transpositions of the octatonic scale perfectly reflect these three axes. Starting on C with the half/whole (C, Db, Eb, E, F#, G, A, Bb) mode we can see that we can play C, Eb, F# and A (both major and minor). All of them can also be played as dom7, 7b9/#9, min7, halfdim, dim7, m6 etc. If you transpose the scale up a semitone you will have the Dominant axis and down a semitone the Subdominant one. This can help create coherent melodies using this harmonic wheel.

There's a big chunk after minute 15 without sound, no one wrote so I assume is probably recent, check it out.

Fantastic!!!!

Ahhh Bartok, what a legend. Thanks for the great video

New sub! Amazed at the depth of Bartok, always wondered how he pulled off what he did! Just thought he was some kind of demented mad genius but this clearly shows more genius, less dementia. 😉 I’m curious, seeing as Bartok is all about dissonance - any fans of VOIVOD here?

I've been acquainted with Bartok's harmonic substitution system for many years (for example, the chords of my piece "TAQA' TIME", present here in youtube, came from me applying this system to the basic chords of "Mary Had a Little Lamb"), ... Yet your presentation here is absolutely super refreshing!!... (specially with the Nirvana & Coltrane examples at the end)... ABSOLUTELY SUPER BRILLIANT!! BRAVISSIMO!!

Thank you so much, Milton !

Once again many thanks for these clear explanations

While writing progression that incorporate an oscillation between those axis groups is fun and can be quite useful, the use of the terminology of tonic, subdominant and dominant for them is vestigial.

Great! Thanks a lot❤

the way you explain it, is perfect!

There is no sound around 15:45 for the music examples of tonic/sub dom/dominant areas.

New sub! This is all I want out of KZfaq

Great Explaination. Thank you

Thank you so much for that work of art/genius. Totally blew my mind. I am new to music theory, so forgive my ignorance, but I have a question. I can imagine Bartok composing using this system, well because he obviously did, but do other people consciously do that? Or is it that it just sounds good? The part of your lecture that blew my mind the most was when you showed how “Teen Sprit” used the Bartok (is it cadence?) system. So, I began looking at some of the music I have been learning, and holy shit, it follows the Bartok cadence too! I have been trying to learn “Baby I’m a Fool,” by Melody Gardo, on guitar, for a few months now. Its pretty difficult for me, because the chords are pretty weird, but I love the sound, so I've been plugging away at it. Another thing I always thought was weird about her song was the chord progression itself, but I just kind of thought, “must be the jazz.” Then, after I watched your video I went through and looked at the chords, and god-almighty its Bartok! Here are “Baby I'm a Fool,” guitar chords: Ab6 Subdominant F#6 Tonic G6 Dominant Ab6 Subdominant F#6 Tonic G6 Dominant Ab6 Subdominant Abadd13 Subdominant Bbm7 Dominant Eb9 Tonic Ab6 Subdominant Ebm7 Tonic Ab7 Subdominant DbMaj7 Dominant Dbm Dominant Ab6 Subdominant And it even has the Major-Minor equivalence! Now I get it! Thank you! But I guess I am wondering If this is a thing people who write songs do on purpose, or is it that they are just doing what sounds good, and it just so happens that Bartok’s system explains it? Which sounds implausible now that I say it, but I just don’t know. Anyway, thanks again!

Who needs drugs when you have Bartok pitch axis

I am absolutely MINDBLOWN from this concept, definitely worth the 30 minute watch. I have a question though, could you use this to analyze chords with modal interchange?

Think you great job, clear and methodic

Thanks! Great presentation.

Brain melty! Thank you!!!

Loved it too. Thanks!!

love it!!

AMAZING! thank you so much for this video!!!!

Great explanation, thank you

28:34 thanks for not to saying "power chord". By the way, what a magnificent video. Thank you doctor MIlton.

Brilliant

Man, thanks you very much for this vidéo

Very well many thanks

5:00 Every last one of those colors are literally completely wrong. C is gold & B is orange, A red, and D is green / F purple and E Blue it's imperative

the ending made me lol @ so hard xD

i can barely hear any of the musical example from 14:58 onwards. is that a sound issue my end?! except for a few bars, the entire piece was silent, although i could hear all the voice over. feel like i'm missing something

Aah this is such great info with beautiful examples. Thanks so much. Which piece is that from @12.15?

Yes I knew that would Hurt😂😢😂

Interesting that you referenced "Giant Steps"...

Isn't the sharp 9 different than the flat third in tuning and function? The flat 3 is the third note in the scale and the sharp nine is an altered 2nd. The altered 2nd is higher in pitch than the flat 3. To have a major 3rd and a minor 3rd in the same chord is to imply two keys at once, which is not the same as having a sharp 9 and major 3 together, because in that case it isn't bi tonal, you are not expected to hear 2 different thirds at once, but rather a 2nd and a third. I only play in pythagorean tuning, so enharmonically the spelling matters when it comes to tuning. Is Fb fair game in the dominant group coming from C major? You would hear and have a difference in pitch between the E note in the C triad and the Fb note in the Fb triad. Is that going to sound bad? Does this theory account for spelling and tuning differences with spellings, or is this just something invented for equal temperament? The comma differences may limit which enharmonic versions you can go to without it sounded like your music suddenly went out of tune. Any thoughts? In any key having a limited number in each group may be necessary, but not sure.

I stopped watching to write, so, there you go, next time I'll wait.

Great video, very good explanation! what's the name of the piano piece at 1:40?

"I dont know it might work" ^^

What's the 'H Move'? You mention it when you play the chords of E and C minor (I think)

Barry Harris felt this but could not articulate it.

What about 7th chords? Would we just change the dominant group chords from major to dom7-s with their relative min7 chords? Or would we also use dom7 chords when moving from a sub dominant group to dominant group? And what about half and fully diminished chords? How do those fit into axis theory?

242 my bookmark in this video rn

Hey Milton! I have come again and again since last year to use what you explained and I think I have an idea to unravel what you can't conceptualize for these wierd cadences between E and C that you call Goldfinger. When you concatenate the notes (E G# B and C E G) but understand the G# as an Ab it could be understood as an incomplete Harmonic major scale C D E (F) G Ab B. What do you think? Maybe it is more about your other video about octatonic scale?

foreman sent me here

Where is the page at 13:03 from? Amazing video :)

STD!