Thank you, Andy! I’ll try ;-)

Thank you! I’m always glad to see that we composers can support each other. :-)

Hi James, thanks for your reminder. Absolutely true for common English terminology, I was just lazy and translated the terminology I learned at university - which was the German nomenclature after Hugo Riemann - into English. In German “parallel” means the chord a third below for major chords (so the “parallel” to C major is A minor), while the chord a third above a major chord (for C major that would be E minor) is called “Gegendreiklang” (i.e. “counter-triad”). And what in English is called the “parallel” (i.e. the chord on the same root note, but the mode is switched from major to minor or vice versa), is called “gleichnamiges Dur/Moll”, i.e. “same-named major/minor”. Maybe I should make a short video about those differences, although that would probably mostly be useful for German speakers. But thanks again for clearing that up!

Thank you so much, I hope it helps a little with you en work!

Dear John, thank you for your comment. The difference in terminology comes from me using German music terminology after Hugo Riemann (because that’s what I learned at university). I am, however, planning to do a video on those differences in terminology between German and English. But of course you are right that in the common English terminology what I call the “lower mediant” would be the “relative minor”, and what you would call the “parallel minor” (C minor / C major) would be the “same-named” (“gleichnamige”) minor or major in German.

Alter Schwede! Patrick, das ist ja ewig her! :-) Aber ich erinnere mich gut an die etwas unkonventionellen Ausflüge, u.a. zu Radiohead. Inzwischen haben wir ja einen waschechten Zweig für Multimedia, in dem wir tatsächlich Musikproduktion unterrichten. Besuch uns doch mal! Liebe Grüße, Sascha

Dear Vasioth, thank you! And the colour coding for people with colour blindness - that I actually did not think of, my bad, I am sorry! But thanks for the hint, I’ll keep that in mind for future videos. Always great to receive productive criticism!

I realize I am kind of randomly asking but does anyone know a good site to watch newly released movies online ?

@Arthur Jimmy thanks, signed up and it seems like a nice service :D Appreciate it!

@Jason Beau no problem :)

I suppose by “parallel minor” you refer to the American terminology, where the “parallel minor” of C major would be C minor. The point is that major/minor transformations are relatively new in codified music history, having come into use mainly during the Viennese Classic period and then, even more, the Romantic period. But even at that time their use was more a fashionable gesture (found a lot in Mozart, Beethoven and Schubert) than a relation deeply founded in the application of a theory of harmony. But technically, you are of course absolutely right!

Your point is absolutely valid, coming from modern music theory. My approach, however, tries to build a bridge from the beginnings of harmony in Western music - basically the standards established in the mid Renaissance and canonised in the Baroque Era, when the circle of fifth and fourth was the main road map for modulation - to a contemporary approach. Of course, as early as during the Viennese Classics, a modulation from C to Cm would have been quite an ordinary thing. But I still believe that - from a historical standpoint -the harmonic relations, as depicted here, represent the historical evolution and “liberalisation” of the traffic rules for harmony, concerning what is “close” and what is “far”. But, again, I think you are absolutely right from today’s point of view. Also, there's a big caveat: As declared in the disclaimer at the beginning of the video, I am (being lazy as I amaccordingHugostandardwhilewhatgleichnamige Molltonart”, a “same-named minor key”. I am sorry for the confusion, I am just so used to German terminology that it makes more sense to me. But al least I tried to avoid the confusion concerning B, Bb and H, between English and German terminology. It’s a minefield!

@@SaschaSelke I mean, i'm just talking about what's in the video - you brought up the counter-parallel minor (which i had never heard of before) and put it on your graphic - and then ignore it. That's what I find confusing.

@@VynceMontgomery Ah, I hink I understand now. I introduced the parallel and the counter-parallel minor as being the twins of a major triad, and then never used that special twin for analysing a song. True, I could have sought other examples that use this relation, it just didn't occur to me, since this modal mediant “twin” relation is so all over the place in the music from which I, historically speaking, have learned my first music theory (which is the music of the Renaissance and the Baroque era). But thank you for making that point! In future videos and posts on that topic I will include the counter-parallel minor. Also, thank you for being so attentive, I take that as a compliment and a gesture of respect.

Dan Copeland I think he is saying the iv minor can be subbed for the b6 major ... eg Fminor for Ab ... that’s my guess anyway

It's actually the opposite. It's 4 minor to 1 major. It's a plagal cadence. But I see what you're saying. Tho, the explanation here is: even though there's a fourth between the roots F and Bb, we are moving 4 places around the circle of fifths. I think of key signatures being different worlds, and Bb is in the same world as Dd, which is a direct chromatic mediant to F

Sorry to take so long to come back to you, Piotr! Of course you are right. But one of the reasons I developed this visual representation was to motivate aspiring composers to use it as an inspiration. As for analysing harmonic progressions, there are of course much more intricate ways than this. And thank you so much for watching and getting in contact!

I don't think this diagram is used to "justify" anything. It's just a visualization that one can use to acquire their music vocabulary more effectively

I get your point, Colin. However, i this video I decided to address only the chromatic mediants that stem from a transformation of the major root key into minor, since those are the ones I encountered most in film music (the realm that I come from). A much more comprehensive look at chromatic mediants (including the ones you pointed to, I think) can be found, as mentioned in the video, on the brilliant Rick Bento’s channel: kzfaq.info/get/bejne/ms6If5ainMuRqJc.html.

😂 Stimmt! 😂

this is a good opinion. However it also dismisses some of their music which can be quite beautiful. But I agree, it keeps you in a "head space" even though it's trying to be emotional.

Musicians working in the field are out to find new things that work but don't need to understand why they work. Theorists always come behind later to explain why it works. Almost certainly Radiohead was not thinking this technically about what they were doing, but the analysis still checks out. Whenever theory comes before the music you risk coming up with results like serialism which are quite interesting to learn about, but the public largely rejects.