Exploring Chromatic Thirds | Music Theory | Composition

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Exploring Chromatic Thirds | Music Theory | Composition | Berklee Online

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Composers began using chromatic thirds related harmony around the 1830s and beyond, in order to create new colors and sounds that didn’t function within the regular tonal system. Chromatic thirds can provide dark and sinister flavors to your compositions, and can be readily found in film, television, and video game scores.
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Octatonic Scale: • Analyzing the Octatoni...
Lydian Augmented Scale: • Learn the Lydian b7 Sc...
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About Music Theory and Composition 4
This core music theory course is the fourth of a four-semester curriculum that continues to build a foundation for your musical development. The materials covered here will help you express your musical ideas as applied to composition for film, TV and video games.
You will learn more about the essential elements of music theory and composition that will help you build your own musical language. You will further expand your knowledge of harmony and melody and expand your knowledge of scales, chords, and rhythms.
This music composition course is designed to take you from a strong review of level 3 topics-the standard deceptive resolutions of V7, classical and contemporary analysis techniques, polychord voicings, non-chord tones, approach tones, and approach tone harmonization-to topics like deceptive resolutions of dominant function harmony, contiguous dominant patterns, modal melody and harmony, hybrid voicings, quartal and quintal harmony, exotic scales, 12-tone technique, minimalism and other important twentieth century compositional techniques. We will review the rhythmic elements of Indian, Latin American, and African music and delve into the musical intricacies of the music of Indonesia, China, Japan, and Korea.
We will also continue the unique feature of blending and exploring both traditional and contemporary harmony in order to give you a historical understanding of current topics.
Music Theory and Composition 4 also features a topic called "Rhythm Jam" that will introduce you to many new and exciting rhythmic concepts such as nested tuplets, the Fibonacci series, metric modulation, hemiola, phase, Jahlas, and additive rhythm. Through forum questions you and your classmates will engage in discussions about musical creativity, craft, and inspiration.
Each week you will be asked to engage with your classmates and instructor as you work your way through the topics. Included in each topic are a number of activities and exercises designed to help you more thoroughly experience and understand the material presented.
Each week there will be a composition assignment, including many which will give you the opportunity to practice writing to short film cues.
By the end of the course, you will be able to:
- Compose and notate your own musical ideas using advanced concepts
- Construct advanced harmonies and melodies and apply them to your writing
- Learn how to apply advanced musical concepts to your own writing
- Apply advanced theoretical analysis to contemporary music and traditional classical music
Music Theory | Composition | Berklee Online | Lesson | Tutorial | Advanced | Chromatic Thirds | Music Theory and Composition 4 | Kari Juusela

Пікірлер: 52

@Wackyboombacky Жыл бұрын

20 years ago I was trying to find literature on this and could t. Here we are 20 years later and I finally I found someone talking about it. There is so much more to talk about on this that he missed but so glad someone at least made a video on the topic.

@love4thetruth 3 жыл бұрын

Abba used it in the song Fernando. On the part where Agnetha sings "I never thought that we could lose" the Gmaj chord goes to a dominant 7th and then to Emaj. It sounds very majestic.

@carlosalejandroalvarenga4913 2 жыл бұрын

Oo which part

@carlosalejandroalvarenga4913 2 жыл бұрын

Is it the "though we never thought that we could lose"

@ufeel8686 3 жыл бұрын

Loved the minor thirds bit, it’s such a fun and spooky sound

@all_bets_on_Ganesh Жыл бұрын

1-3-4-4m is a common progression. Pink floyd Nobodies home in parts and Creep is that entirely.

@priyas.8141 2 жыл бұрын

C, E flat, F sharp and A reminds me of a song by this great (and eccentric) band called Gong. I think it's called 'Oily Way' off the album Angel's egg. I'm glad that I came across this video at the right point in my life in terms of learning music theory, as I'm currently dealing with triads and wish to learn chromaticism. Great lesson!

@vmdp8790 5 жыл бұрын

Chromatic mediant?

@joelrivardguitar 7 жыл бұрын

Cool. A major chord moving in minor 3rds is the diminished scale.

@pinecone421 7 жыл бұрын

joel rivard sort of and that's obvious how does this relate?

@enricoscroccaro708 6 жыл бұрын

joel rivard o

@jackorion7157 5 жыл бұрын

@@pinecone421it's obvious that going up in minor thirds gets a °7 chord but he meant the notes of C Major, Eb Major, Gb Major and A Major are the notes of the C dominant diminished scale, C, Db, Eb, E, F#, G, A, Bb, and C which wasn't obvious to me

@Wackyboombacky Жыл бұрын

Yes you are correct. And major chords moving in major thirds is the augmented scale. But what if you mix them? Ex c major to eb major to B major to ab major to c major. What scale is that from?

@egbcop Жыл бұрын

Radiohead's sail to the moon endinggg

@YONIthebassist 5 жыл бұрын

Thank you so much! !!! God Bless You

@lesmizzle 7 жыл бұрын

This material should not be referred to as "chromatic thirds". Chromatic 3rds are chromatic melodic lines harmonized in 3rds. The term you should be using is "chromatic mediants" which refers to the harmonic relationships you are describing.

@yaakovhassoun8965 6 жыл бұрын

like whatever...

@hedgehog_fox 6 жыл бұрын

Cool...

@SolarMumuns 5 жыл бұрын

It's just a label. The mediant means the third degree, so really it's saying exactly the same thing. The key thing is not to get caught up in terminology but understand and use the principles.

@AdrianaGarcia-nu9kh 4 жыл бұрын

Uh...ok?......

@phukaoprommolmard5282 2 жыл бұрын

Cry about it

@RobertoDAlessandro 5 жыл бұрын

Wow , so many random critiques in the comment section. Thanks for the mini-lesson!

@dirkbastardrelief Жыл бұрын

So you started with Major Third Major chords, then Minor Third Major chords, then Minor Third Minor chords? Is that the correct wording?

@ashtheproducer 3 жыл бұрын

So much helpful

@Vapaasekoilu 5 жыл бұрын

"We're not in Kansas anymore". Sounds easy to understand! We should replace music theory terms with US state names. Play some Hawaiian Texas before heading to New York or Maine.

@avatacron60 5 жыл бұрын

LMAOOO!

@PianoImprov.rjgc1991 4 жыл бұрын

Dont forget the 20th century fox reel

@ufeel8686 3 жыл бұрын

It’s a reference to The Wizard of Oz, in which Dorothy, upon arriving to Oz, says, "Toto, I've a feeling we're not in Kansas anymore”.

@bothendzburning 6 жыл бұрын

so does this have anything to do with constant structure progressions? like at 1:50. constant structures are just consistent qualities and distances being played out, right? in this case Cmaj M3-> Emaj. it happens here too at 2:08 where it's going from Emaj M3-> Abmaj. so is this is a kind of constant structure idea?

@luigipati3815 9 ай бұрын

apparently, for Berklee chromatic THIRDS and chromatic TRIADS are one and the same thing...

@strato5135 5 жыл бұрын

Why F# and not Gb? Isn't F# the supertonic in E? Or is it relating to C as lydian?

@ThePianomann 2 жыл бұрын

The spelling was weirding me out also since Eb to F# is not actually a “third” but I am guessing he just wanted to use the most accessible note names. Overall a fine video, thank you for making!

@Wackyboombacky Жыл бұрын

In this type of music, it is not that important to have a rule associated with which enharmonic note to use. This music is not based on scales and the enharmonic system is. So you could choose g b or f sharp interchangeably. The only time you end up making a choice of one over the other would be based on the melody and readability for the player. For example, if over a c major to f sharp major / gb major progression the melody plays c Lydian. C Lydian has f sharp not g b. So in this case f sharp by far makes the most sense.

@petersan6041 4 жыл бұрын

maj 3rd Coltarne changes

@nico-bf1kr 5 жыл бұрын

Something to say about the scale to use on it for melody?

@mhafner82 4 жыл бұрын

I usually use five note scales that two chords could share a relationship with each other. An example, C major to Eb major, I start at G which is a common tone to both chords and use the g minor scale up to a fifth which is D so G, A, Bb, C, D. There is your scale. Bartok used a scale that would work with those same two chords; G, A, Bb, C#/Db and D.

@Wackyboombacky Жыл бұрын

Depends on the progression but this is definitely the toughest part. Generally you can find the 7 note scale that has the most common notes between the chords. And then decide if your melody only plays the common notes that result in the appearance of one scale, or add some variation. (Change the scale based on the chord). Ex - c major to f sharp major. 7 note scale with most common notes. C Lydian dominant. The d or d flat is the only note not common. And to handle that, you can either avoid that note or simply play d over the c, and db over the f sharp chord. You can also play octatonic over this progression. Much more to discuss here but hopefully this helps

@Pizzae99 4 жыл бұрын

1000th like

@thierrygagnon8477 3 жыл бұрын

Is that nate but older from the office?

@atngo15 7 жыл бұрын

Um, Beethoven died in 1827.

@LuZu_ 5 жыл бұрын

he said after

@Vrjunkie21 5 жыл бұрын

your stupid

@boobman773 5 жыл бұрын

Alex’s vlogs *you’re

@Wackyboombacky Жыл бұрын

Honestly this stuff was used way after Beethoven. The earliest example I am aware of is bruckner.

@imayhaveanunbelievablysmal7406 5 жыл бұрын

Yeah, exploring weird harmony is important, but it sounds like shite... if you’re gonna invest your time in new harmonic structures, at least make it sound relatively nice... and the excuse “it’s just a color” is bull.

@boobman773 5 жыл бұрын

First of all, this is pure music theory, completely out of the context of written, recorded and produced music, and devoid of any instrumentation, articulation or dynamic variation, so don’t take it at face value. Second of all, music doesn’t have to always sound “nice”. It’s an art form, and one of the purposes of art is that it’s confronting. Good Music explores emotions through sound. For different emotions you need different sounds. The sounds you hear In this video don’t have to please you. They have to evoke emotion, however even then, as previously stated, this is not musical in the sense that It’s just music theory.

@toprak3479 2 жыл бұрын

It sounds shite according to whom? What even is the point of your comment?

@SpaghettiToaster 2 жыл бұрын

Have you listened to any film music ever? Do you think it all sounds shit?

@Wackyboombacky Жыл бұрын

It doesn’t sound like shite. Do you like Star Wars music? John Williams uses it? How about Halloween theme? Edward scissor hands ? Lord of the rings? Maybe the way he is playing it is shite but these ideas are not