Minor seventh can be found in ‘There’s a place for us’ from west side story

Thanks for your kind support and feedback! I have definetly not given up, I'm just in the middle of moving, so I haven't had time to work on any videos. Are there any other topics you think would be helpful? Or that you'd like to see in a video?

TableTop Composer You're welcome and Oh, I see, good luck with the moving! :) As for topics, there is actually something that interests me and I wasn't able to find a video about it. I'm not sure I'll explain it well, but I'll try. It has to do with intervals again, but with focus on the relationships between them and how the combination of interval X, followed by interval Y feels and where it leads? As in how differently the "journey" would feel/sound depending on the interval you choose for Z? Or something like that... I really liked when you mentioned that the major 2nd is used as a sort of passing interval and to "smooth things out" usually and am curious to find similarly useful uses for the other intervals as well. I play the piano and have a personal tutor and I know some music theory, but I haven't studied it at a super indepth level, I would say. (I guess I know enough for most of my musical needs). I also like to try to make my own pieces sometimes, but I most of all improvise. And in my improvisations I use the T S D chords and their iterations, random rhytms I feel etc. and the melodies are mostly just guided by where my fingers feel like going and it usually sounds decent and even pretty good when I get inspired and suddenly find some good key combinations and rhytms. But I've also noticed that sometimes as I am playing, I can hear in my head where I want the melody to go, but I don't manage to always get/find the right interval or chord that I need. (and so the improvisation goes in a different direction than i imagined and intended but i go along with it, because usually i don't stop suddenly and also don't want to loose the "groove" in a way?) And other times I play exactly what I'm looking for. But since I've been playing for years now and I warm up before my lessons with an improvisation, I have quite a bit of them under my belt and I can notice the similarities in my approach. I think it's mostly the fact that I have a few intervals and chords I'm more sure in and know I can trust, and I mostly just play it safe and it can get kind of boring to me. Because if I play a very random chord it usually sounds out of place and can interrupt the whole thing... Sorry if I don't make much sense :D But if you have any more tips like the one with the major 2nd I think it would be very cool and useful. And also maybe something about harmony in general, but maybe mostly with examples of principles that work well, or ways in which you can generally make something more harmonized. And something about the interval relationships/uses I was talking about earlier.

@@ChildOfTheSmoke thanks for the input! There are definitely a few tricks that I think can help you out. I'll start releasing videos again in September, and plan on focusing a bit more on melody and harmony. One tip for exploring different chords and harmonies, is that most chords can be substituted for the diatonic chord two before or two after them. For example, if C major is you Major 1st chord, it can likely be substituted for with E minor (two chords after C major) or A minor (two chords before C major), this is because they share 2/3rds of their notes (Amin and Cmaj both share C and E, while Cmaj and Emin both share E and G). Substituting your chords like this can help you bring your harmony in new and exciting directions. You can also try out extended harmonies (I give a brief explanation in the Ghibli chord Video).In the mean time just keep doing what you're doing! improvising is a fantastic way to develop your skill set!

Agreee agree !! im sooo curious because i just cover remake Schiendler's list and wonder, why is the melody is feel soo desperate, especialy in the last notes he wrote F6 - E6 - D6 - B6 - D7 - F6 - E6 - then jump out to G#7 to A7 as a leading tone, i believe John william use lots of minor intervals , and that feel soo sad ! And this video explain everything i want to know ! thank you @TableTop Composer for sharing this. . If you want to take a look at my cover of Schiendler's list using FL studio and berlin inspire , please check it on my Ig : instagram.com/p/BzzEfGfnxS4/

I know Im asking randomly but does anybody know of a tool to get back into an instagram account?? I somehow forgot my account password. I would appreciate any assistance you can offer me.

I'm glad you like it! I think you have me mistaken though, I don't have any other channels.

awesome! The minor 6tg is my favorite too! Glad they helped! I've got a new series on orchestration that'll finally be coming out in a bit, just waiting on a buddy of mine to finish editing :)

@@TableTopComposer Thanks, i'll look out for that :).

Do it yourself lazy ass

I’m not sure that’s a real saying tho :)

Oops, that's my bad. Thanks for letting me know. I'll make sure to try and avoid similar mistakes in the future

@@TableTopComposer Amen

Nice, thanks for the suggestion! Can't wait to check it out :)

Isn’t over the rainbow an octave? Just curious

Thanks! and yes, I believe it is :)

Thanks! I'm glad you found it helpful! These are more for use in melodic lines, but what you're describing is a concept called chord relationships (CR's) which I happen to have a separate video on :)

TableTop Composer perfect thank you!

That was my first thought as well. Are you old too?😆

How do you know?

Thanks! Intervals are not key specific, nor are they note specific. All an interval is at the end of the day is a descriptor for the number of semitones between two notes. You can use them in any context :) if you want to use a specific interval that doesn't fit in your key, go for it! There are lots of strategies for using notes from outside of your key. I recommend looking into borrowed chords If you aren't already familiar with them

Try it and feel!

I dont know

@@vladis4 :')

The different scales are different frequencies with different flavors of the same intervals. Same way you feel about bass and high tones. Frequency dynamics mixed with intervals.

Yes, you can use any note in any key really. It's just that the notes in that key sound more natural and will harmonize more easily with the chords you are probably going to use most of the time. One of the frequent uses of these "off key" notes is as passing tones. That means you are just playing them "on the way" to a note that is in the key your are playing. So for the minor 2nd, you could use it between the root and the major 2nd, or between the major 2nd and the root, and it would sound perfectly fine. When you start getting to advanced stuff you will probably be using these notes all the time, they are often called "chromatic" notes after the chromatic scale which is just the scale of all 12 notes starting on the root of your key. If you want to see in action how you can use any of those notes, look up a video called "No Wrong Notes with Victor Wooten".

Yeah, I've used cubase in all of my videos so far. It's my favorite DAW to work with :)

Cubase 9.5 pro. I love it! It has a learning curve if you're used to other DAWs but definetly worth it.

Hey, thanks for your patience. I don't check these old videos as frequently as the more recent ones. If I understand your question correctly, the answer is no. F#4 and F#3 are two different notes, separated by an octave. From F#4 to a G3 would be a major 7 interval, since there are 11 half steps between the two. However, if your asking about two identical notes, then the answer is yes. The space between G3 and F#3 will ALWAYS be a minor second, no matter if you start with the F# or the G. Does that answer your question? :)

Reply please!!!

Good question! Yes, starting on a C3 and moving up to a G3 is a Perfect 5th (P5). If you move back from the same G3 to the original C3, then you're working with the same notes so the interval is the same. However, if you start on the G3 and instead move up to a C4, then you're suddenly working with a new pitch and interval. This time it would be a Perfect forth, since there are less semitones needed to reach a C when moving up from G than moving down. Does that make sense? It's a little tricky to explain it without looking at a keyboard. Basically, anytime you move up from a C to a G it will be a P5, and anytime you move up to a C from a G it's a P4.

@@TableTopComposer and anytime you move from g3 to c3😂?

@@TableTopComposer thanks for the reply😎

My pleasure! And here's just a quick reference just incase you're a visual learner like me! "C3"- C#3-D3-D#3-E3-F3- F#3- "G3" -G#3- A4- A#4- B4- "C4" Notice how there are 7 semitones between C3 and G3, but only 5 between G3 and C4. Hope I was able to help!

The major scale contains more than 12 intervals

"significant" was probably not the best word I could have used. I meant something more along the lines of "fundamental." There are intervals that go larger than an octave, but they can be simplified to a smaller interval. For example an interval of a major 9 is basically a "major 2 + one octave". There are also micro-tones, but those aren't nearly as common in film or concert music.

Wut