Everything eventually returns to where it came from, just a little bit different than when it left

Emo jazz the best jazz

paging monobody

literally though! like origami angel

@@AlbinoTuxedoy

I felt the same watching Adam neely videos a year or two ago. I've learnt so much in that time just from casually watching youtube

Same. I wish i knew scaling

@@nylro8953 get learning . . .achieve you wish . . .

Yuuppp🤣🤣

Jeez I’m a beginner and I wanna know basic music theory for math rock but Idk where to start or how to understand what they be talking about

dude I no lie grabbed my music notebook and started taking notes like I'm in a class. this is exceptional information delivery.

@@eddieo6886 tru, manz is epic

I like the way you describbed his way of explaining math rock lol.

heheh, he’s great

now that's a compliment

asian?

@@saturatedneowax shut up bro honestly

@@saturatedneowax every asian nerd know how to play midwest, thats the fact

@@tylord. lol wtf

hahaha that's great. I'll definitely take that! Cheers Nico!

😂

Lol!

Hey, question dude, what's the bass in your pfp, looks sick.

@@jery3385 Amazing that you're asking. It's a custom made Bassline Bass, the series is called re:belle. bassline-bass.de/ Did an internship during school 25 years ago there, built my own bass during my diploma thesis there and bought two basses (this re:belle extra long scale and a Black Buster six-string). Needless to say I'm obsessed and guarantee 100% quality and personal support 😁.

@@quietri0t sick

Interesting point. I was just watching a video of Yvette Young (of Covet) who mentioned really liking baroque music. I wonder if that's part of the appeal for her, and if her background there is part of what has made her so successful with mathrock.

Awesome! I'm hoping to definitely make more videos on math rock and emo harmony. If you're looking for more stuff though, I'd recommend some of my analysis videos on American Football and Tiny Moving parts. There are quite a lot of songwriting / compositional tricks to be mined just from those two groups. Cheers!

Thanks Jonathan!

No problem, glad you enjoy it!

i line where this is going

Awesome! That's great as I also want my stuff to be applicable to a general music audience

Same for me. I try to move more to a Dream Rock / Shoegaze sound and so much of the videos are still really useful. For example the Harmony

Oh for sure it can. Avoiding the dominant is just a general observation in this style, but by no means does that make the dominant chord a bad thing. Personally, I think it's really useful and can be used tastefully, even in this kind of music.

Thanks Conor!

I was sort of hinting at this with my own question, so I'll wait for Trevor's official response. But from own my knowledge of modal jazz, it would take much more than a few chord order changes to "break" our ears out of its default setting - major key harmony. To make us truly accept F Lydian as the tonal center, we'd have to heavily feature the #4 on a majority of chords, and not just on one chord (ii) as he did. That's why the key center is still in C major. However, by using the IV as the starting point (and by avoiding the G7), the tonal center gets "blurred" a bit - I wouldn't go so far as to say that it changed completely - which I suspect to be a desired effect for the genre.

This is exactly the concept that I’m having trouble understanding. I get that we need the #4 sound to be accented to really sound Lydian, but I’m unsure how to tonicize the 4 chord instead of the 1 in major harmony.

Glad I'm not alone. :P I was wondering the exact same thing. "C Ionian, but tonicize F" sounds like the definition of F Lydian, but maybe I'm missing something. I think what Trevor is intending to say is that if you hover around F a lot, but still treat it as a subdominant chord gravitating toward C, and all the other chords maintain the function they serve in C Ionian, you will maintain the C Ionian feel but with a lot of tension since you rarely resolve to the actual tonic. On the other hand, if you are truly playing in F Lydian, F serves as a tonic and feels resolved while C is a very tense dominant chord, which defeats the purpose of what he is suggesting. I'm just getting hung up on the word "tonicize," though, since hovering around an F that resolves to a C is still letting C be the tonic. Gotta admit, I'm just now dipping my toe into Math Rock, and I haven't listened to it much yet, so maybe some close listening to what the well known groups are doing will answer the question for me, but I'd also love a follow up from Trevor on this, nitpicky as it may be.

@@302_Dave Use the chords of c major but try to resolve it to F. Use slash chords with F in the bass.

so if we're in c major, this means that we're starting mostly from chords derived from that scale (c major, d minor, e minor, f major, going on) to use in our progression. generally speaking, the tonic chord c major feels the most "at home" and is where your chord progression tends to settle. what's trevor's saying to do is to think of f major as your home instead, and build progressions that are chosen based on their relationship to f major instead of c major. . something that may be helpful is to try this on a piano. c major is all white keys, so an easy thing to do is play triads on white keys with your left hand. these will all be derived from C. also using only white keys, explore melody with your right hand. try to improvise - with these limitations its like playing "heart and soul" - impossible to go wrong. be emo with it, and try to keep coming back to F. you might find that eventually coming back to F feels natural. using the piano helps because limiting yourself to white keys helps you visualize and interact with concepts that sometimes can seem obtuse or overwhelming on a guitar neck, so i highly suggest trying it, just for fun.

I would guess he means building off the IV of the parent key. But hey try both, even consider it with some relation to secondary harmony, where you treat a chord (maybe the four) as a temporary “new key”. It’s like you are having a new section of song in a different key so you can produce a new vibe/sound in your chosen key 🤓 but hey correct me if I’m wrong i think this is true 😅

It is, so your deja vu is warranted! Glad you like the video though! I had to re-upload it due to issues with the audio

Honestly it usually ends up sounding too spicy. Math rock is really mostly diatonic with some grace notes. Leaning into modes kind of loses the math rock sound. Instead you'll see a lot interesting inversions for bass leading emphasizing the 4 chord. I remember trevor did a video on this as well idk if it got taken down.

@@Isaiah_McIntosh ooh okay thanks.

Yes! I just need to perform some minor surgery on it!