I appreciate it, I'm hoping people come away with idea or techniques they can actually use.

yea, never thought of it that way but it works.

Actually, he's precisely right because broadly speaking all parallel or relative chords are the same function by which logic all 24 basic triads can be separated into 3 groups where all the chords that are minor third up or down are basically the same function, so there's no change in function when using flat third modulation method like here because practically all of these chords are the same function.

@@Grigoriy1996what about chords that are tritones apart, I think they’re also nonfunctional

@@RobinsMusic or the "same function". That's why triton substitutions exist. Basically, triton substitutions fall under this category of relative and parallel chords being somewhat the "same" function because chords that are triton apart are relative for a relative chord (a minor third + a minor third equals a triton).

​@Grigoriy1996 what does it mean to say "function"? Everything you're saying is above my head.

Thanks so much, it really is my hope that people can take these ideas and put them to use immediately.

I totally relate. I do not go to these videos for entertainment, or excessive ‘personality’. Ryan’s videos are great!!

@@dpwaldman3145 I absolutely agree with you. What you call entertainment or excessive personality, I like to call distraction. This channel is pure gold. Thank you Ryan. You are an educator that is absolutely concise, articulate and adds tremendous value to the art of music. Much appreciated. 👌

I don't know much about music theory this "advanced" (for me it's advanced, idk if it really is). But I just viewed Venus Theorys video on reharmonization. Is this the same? When I compared the changes here to the circle of fifths changes he talked about it was following the rules he presented.

@@inanitas You can start off and just play a chord on each division of the octave. For instance: C major, Eb major, Gb major, A major (and back to C). Then add a short melody such as do re mi fa sol (C D E F G on the C chord). And do the same on each chord (Eb F G Ab Bb on the Eb chord, etc). Then add a second chord C Dm C on the C chord, Eb Fm Eb on the Eb chord, etc.) You can make each phrase as long as you want, maybe 4 bars on the C key, 4 bars on the Eb key, 4 bars on the Gb Key, 4 bars on the A key.. Or pick a song (like the Beatles Yesterday) and play 4 bars in the original key of F, the 4 bars in Ab, 4 bars in B, 4 bars in D. You'll get a sense of how "multi tonic systems" can be used to get a "floating" feeling o never landing or needing to resolve to any key.

@@iamtheimagedoctor Thank you :) I'm not classically trained though and I sadly can't even play an instrument. I make music digitally. But I'll programm it into my DAW and play around with it

Thank you for the kind remarks

You should check out 0:30

You're very welcome!

My pleasure!

Thanks, will do!

Thanks!

Welcome aboard #233

Cool, I don't know that one but I'll check it out!

That's a great soundtrack and game Paulo. I also commented on the similarity. These patterns seem heavily used by Grant Kirkhope. I'd also like to see a video on it.

Thanks Mark, I appreciate it!

Thanks, if you have any ideas on how to make they happen I’ll take them!

Thanks and welcome! If you use Discord come say hello: discord.gg/YCpmQVepu9

@@RyanLeach Thanks for replying! Yep, I already joined the Discord channe, thanks!

Welcome aboard!

Thanks, I appreciate it!

Sure, check out Candy Jar on Netflix: kzfaq.info/get/bejne/Z9KIf6qoysWohYk.html Some others on a variety of streaming platforms are Fire City: End of Days, Skinning, Pastor Shepherd, Miles Between Us. Lots of indie films!

Thanks, I appreciate it!

You're welcome!

Thanks!

De nada!

It might be because of the way the roots relate to each other. With root motion by 4ths/5ths or 2nds/7ths you get feelings of very strong functional progressions. If I go from C to Fm it feels like I'm moving to a new level of gravity. But the thirds relationships don't have that so you can change the color and mood without also affecting that sense of ground.

@@RyanLeach Great explanation!

I wouldn't recommend venturing out from chord tones (maybe a suspension (sus4) when returning to the first chord), as the first chord in the sequence pretty much presents the key, and the next chord is like a temporary modulation, but not really. You can experiment with passing tones of the key presented by the first chord, but I would keep it simple and stick to chord tones and especially arpeggios, that's the simplest for this effect.

Weird, thanks for the heads up!

@@RyanLeach sure thing, thanks for responding I appreciate it.

Thanks! Once I get through this orchestration series I'm sure there will be more harmony ones coming.

@@RyanLeach Excellent! And I LOVE the orchestration series too! So good!!

Thanks! Yea I think I made a passing reference to that term in the video, but I think it's a bit abstract and makes it sound more difficult than it really is. Also I think if you're being super strict a chromatic mediant has to share a common tone and be the same type (major to major only), so it wouldn't include something like C major to Eb minor.

@@RyanLeach IMO that’s the best type of teaching, specially when we are talking about informal teaching. Simplifying terms so they are easier to understand but still making a reference to the proper terminology is a great strategy. You are not trying to show off your knowledge, you’re passing it on in a way that is easy to digest for your audience/students, kudos my friend.

www.ryanleach.com/about

Thanks!

Thanks for the tip, I'll try to be more mindful of keeping the talking and playing in sync in future videos!

Yea I totally know what you mean. Seventh Voyage of Sinbad is a favorite Hermann score of mine!

Absolutely! I've been trying to do that recently. This is an old video for me, I didn't know how to do that yet lol

@@RyanLeach Perfect ! thank you

Thanks! That's NotePerformer in Sibelius.

@@RyanLeach Haha when did it become so good?

Hm not necessarily, I think the same could be said of a lot of electronic dance music for just one example

Thanks. What does set film music apart from other kinds of music? Or is that a question that’s too huge for a KZfaq comment? I loved the content.

@@d.harrison1570 Film music must serve the story, but a song on the radio or piece in a concert does not have to

I've lately been into secondary dimished so would like an exploration there at some point to add to the secondary dominant video. I'd also be interested in a video on composing beginning / middle / end and what each bit entails.

@@e7mac693 One thing I quickly realized once I started this channel is that I will never run out of ideas for videos to make!