Music Theory for Electronic Musicians 4: Twists and Turns | Jason Allen | Skillshare

Music Theory for Electronic Musicians 4: Twists and Turns

Jason Allen, PhD, Ableton Certified Trainer

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38 Lessons (2h 27m)
    • 1. Introduction

      3:54
    • 2. Tools

      2:04
    • 3. How To Use This Class

      1:45
    • 4. What Are Non-Chord Tones

      4:24
    • 5. Passing Tones

      7:23
    • 6. Neighbor Tones

      4:04
    • 7. Blurring The Lines

      3:19
    • 8. Passing Chords

      5:59
    • 9. Neighbor Chords

      3:23
    • 10. What Are Suspensions

      1:37
    • 11. Rhythmic Displacement

      5:37
    • 12. Suspensions

      6:00
    • 13. Appoggiatura

      2:36
    • 14. Going Downhill

      2:02
    • 15. Mess Things Up!

      2:07
    • 16. What are Cadences?

      2:55
    • 17. The Perfect Authentic Cadence

      5:54
    • 18. The Imperfect Authentic Cadence

      1:24
    • 19. The Half Cadence

      2:44
    • 20. The Plagal Cadence

      3:00
    • 21. Deceptive Cadences

      2:44
    • 22. What are Sequences?

      5:15
    • 23. Why Use Sequences?

      5:57
    • 24. The Ascending Fifth And Descending Fourth

      5:16
    • 25. Descending Fifth And Ascending Fourth Cadences

      6:32
    • 26. Going Further Down The Staircase

      6:27
    • 27. Descending Fifth Sequences In Minor

      6:06
    • 28. Chromatic Descending Fifth Sequences

      9:52
    • 29. Using A Fifth Progression For A Quick Key Change

      4:02
    • 30. Descending Third Sequences

      4:06
    • 31. Descending Third Sequences In Minor

      4:57
    • 32. Ascending Third Progressions

      3:02
    • 33. Progressions By Seconds

      1:15
    • 34. Combining Sequences

      2:03
    • 35. Analysis: Pacalbel Canon

      4:09
    • 36. What Comes Next?

      1:28
    • 37. Thanks for Watching!

      0:55
    • 38. Bonus Lecture

      0:36

About This Class

Welcome to the MUSIC THEORY FOR ELECTRONIC MUSIC Guide - Part 4!

In this class we are going to focus on turning chord progressions into an expressive element of the track, and not just "blocks" of harmony. We will add some new chords, look at passing tones and a few kinds of suspensions, and a kind of "out of the box" chord progression called a Sequence. This will make writing chords a whole lot easier!

If Your Music is Missing Something, This is Probably It.

If you are finding that you are writing track after track, and while they sound good, there is something they are missing - then this it. You are missing the sense of harmony that professional producers have. In this class, I'll arm you with all the tools you need to produce those tracks just like you imagine them.

Who should take this course?  
Anyone interested in producing their own music. This will get you up and running and give your tracks a unique sound in no time.

Structure 
This course consists of video lectures, which all contain a session in Ableton Live 10. If you are using a different program (or none at all), no worries! This isn't a class on how to use Ableton Live, and the concepts can be applied to any DAW.

Topics include:

  • Non-chord Tones in Chords

  • Passing Tones

  • Neighbor Tones

  • Passing Chords

  • Neighbor Chords

  • Suspensions

  • Appoggiaturas

  • Cadences

  • Half Cadences

  • Plagal Cadences

  • Sequences

  • Progressions by a Fifth Sequence

  • Progressions by  a Fourth Sequence

  • Progressions by a Third Sequence

  • ... And much more!!!

The course is a roadmap to finding the missing piece in your tracks, or just getting started making great tracks.

All the tools you need to make, produce, and start your music career are included in this course, and the entire course is based on real-life experiences - not just academic theory.

Please click the "Take This Course" button so you can start making great tracks today.

 

Closed captions have been added to all lessons in this course.

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Praise for Courses by Jason Allen:

⇢  "It seems like every little detail is being covered in an extremely simple fashion. The learning process becomes relaxed and allows complex concepts to get absorbed easily. My only regret is not taking this course earlier." - M. Shah

⇢  "Great for everyone without any knowledge so far. I bought all three parts... It's the best investment in leveling up my skills so far.." - Z. Palce

⇢  "Excellent explanations! No more or less than what is needed." - A. Tóth

⇢  "VERY COOL. I've waited for years to see a good video course, now I don't have to wait anymore. Thank You!" - Jeffrey Koury

  "I am learning LOTS! And I really like having the worksheets!" - A. Deichsel

⇢  "The basics explained very clearly - loads of really useful tips!" - J. Pook

⇢  "Jason is really quick and great with questions, always a great resource for an online class!" M. Smith

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Students who register for this course will receive ongoing exclusive content and discounts for all future classes in the series. 

Transcripts

1. Introduction: Hey, everyone excited to be back? Making another music theory for electronic musicians has been my most popular course that I've ever made thing Siris of one through three that already exists. So I'm really excited to make more. As a lot of you know, I wrote a book about the 1st 3 and now we're going into the next set of three. I guess this is gonna be part for And I'm committed to making part five in parts six. I might write a book about him. Might not you know. So in this class, we're going to focus on getting away from blocky core progression. Okay, you might be one of those people that's writing core progressions ago. Chord, chord, chord, chord. And it just feels like there's these blocks of chords. How can we make those more elegant? We looked at some of this when we looked at voice leading and using inversions. But now we're going to take it up to 11 by looking at all kinds of different ways that you can blur the lines between your cords to make it feel less and blocky and mawr or cinematic more emotional, more rial. We've got a whole bunch of different ways. We're gonna do that. So let's jump in and get to it. Ford is a passing tone, OK? Because we're gonna pass through it. Let's hear what it sounds like. Right? Sounds. Sounds nice. Now, does this make a different chord? Yeah, kinda. You could say that. Now we're on an F A sharp see cord. That's a different kind of chord, but that's not how we hear it. That's how we feel it. But we feel is a f major here and then still f major, but with the passing tone taking us up to this certain Okay, it's gonna kind of randomly go through and grab some notes. Ah, okay. One note from each chord because I'm gonna do it. Boom, boom, boom, boom, boom, boom. Going to slide that over by half the bar. Okay, so I slid some notes. One note record over. That's all. I'm not gonna change anything else. Not gonna do anything else. Let's hear what we did, right? Sounds great. Um, I, like, didn't rehearse that just randomly grabbed some notes, shifted them over. It usually works. So because for on G were on a five chord. If we go up another fifth, we actually jump over the tonic and then we get back to a two chord. So Ah, we're on a to court now. You have to think back to our diatonic chord progression in a major key. The two cord is minor, right? Goes major. Minor, minor, major, major, minor, diminished major. Right, so this is gonna be minor, so we have to adjust it. 2. Tools: Hi, everyone. How you been? Um, this is wild because you know, this music theory for electronic musicians thing is really kind of become my calling card and kind of started being off on this journey of filming all of these classes. And so here we are, even like, many years later. I think I filmed part three three years ago, maybe, Um, quite a while ago. I don't think I was even in this house yet. Now I have the studio. Um, So, anyway, um, we're back. We're back. I'm going to do another three. Maybe I'll write a book about him. Maybe not. Who knows? Um, so let's talk about what you need to do in order to be successful in this class. Now, the main thing, um, that I want to point out here, when it comes to tools, is I want to just reiterate that you can use whatever software you want. I'm going to be using a built in. But most of our work in this class is gonna be on the midi grid. Ah, which is this thing? Right where we can move notes around and look at them in different ways. So whatever software you like? Um, these mini grids all work the same. I haven't found one in any piece of software that works radically different than ah, the one that I'm gonna be using here in able to in there. Very standardised. So if you're using logic, if you're using FL Studio if you're using anything, um, you'll be just fine case you do not need to be using a Bolton. You can use whatever software you like, as long as it has a MIDI grid. That's the most important thing, right? And that is really all you're gonna need, um, in this class, So get some software with a MIDI grid and you're good to go. Cool. Okay, let's go forward. 3. How To Use This Class: Okay, Just a few tips on kind of how to use this class to make the most of it. Um, what I want you to be looking for as we go through all of these concepts is how can you take these ideas and apply them to your own music? Right. So, um, so trying to get hung up on terminology, like in this first section that we're about to go into We don't talk about passing tones and neighbor tones, and those are good terms that are good to know, and they exist. But really, what you really want to take away from that is how they work, what they sound like. And if that's a sound you want in your music, um, you might want to take notes may be created, document off to the side and just jot down some of these ideas so that you can come back to them when you're stuck in your like, this. Core progression just needs some life to it. Um, then, ah, lot of the things we're going to talk about in this class can be that thing that gives you , ah, some extra life in your core progression. Okay, So you make a list of tricks that you like. Maybe it's not all of them that were going to do in this class. That's totally okay. We might go over some concept and you might say, That's cool. That's not for me. Um, that's really all right. Cool. So, um, keep a list, take some notes. Um, but really think about how is this useful in your music? That's the most important thing. Okay, let's talk about non core tones. 4. What Are Non-Chord Tones: Okay, So what I have set up for us here is, um, kind of a version of a project I'm working on where I kind of turned off some stuff and rearrange some other stuff so that it would be more apple applicability to us. So here in this section, what I've done is I put some really nice sounding strings on it, and we have just took a simple core progression. Okay, Um, there's couple of weird things about this core progression. All this point out this is a relevant to what we're going to talk about here. But just so you're not alarmed, um, this is weird in that is the seven bar core progression. Um, that's just because of the weird project that I'm working on with it. Um, but it's fine. It's also in 34 Okay, we're just playing whole notes here. So or, like, dotted quarter, uh, dotted half notes. However, you wanna think about it, um, each court is going to take up a whole bar, so the fact that it's in 34 isn't gonna matter, but because there's no beat playing or anything. But just so you know, it's in 34 and it's a seven bar phrase, which is kind of weird, but totally allowed. You can do whatever you want. So here's what it sounds like. Okay? And was gonna look that. So what we're talking about in this section is non chord tones. That is, how can we make some twists and turns in this corn progression to make it a little more interesting? What we're doing here is we're playing what we call block chords. Okay? And we talked a little bit about how to get out of block chords in the very first music theory for electronic musicians. Um, when we looked at inversions, right inversions got us away from just playing triads and got us into doing something a little bit better to think about voice leading how one note leads to the next. What we want to do now is give it a little more life and stop playing. So ah, so blocking. Right. Here's what I mean by blocky. Um, you can hear every one of these chords change. You can hear bum bum bum. But but if you listen to like the way string music is really written, a lot of the time. Not always, but a lot of the time. What you hear is not so much like chunks of sound like that, but you here, uh, strings that really twist in turn and tie into each other and make a more, um, mushi kind of sound. Still, Ah, giving you a core progression, but not in these big blocks. Right? So this section is all about how to get away from that feeling of these big blocks of sound . How can we kind of blur the lines between the cords? Okay, so we're gonna look at a couple different ways of doing this. Well, look at passing tones, neighbor tones, passing chords and neighbor chords. So So when we talk about non chord tones, one of the things we're often talking about melodies. Okay, So a melody in which so, like, let's look it right here. Right here. I have an f major chord, K f c f a a to F Senate still in f major chord. So what notes can I play over this? If I was to create a melody over this, I can use any of these notes. I can use FC and a but I could also use any note from this scale, right? So that would be any note that I use from the scale. So it's still in key, but it's not a part of the cord is gonna be called a non cord tone. I think we talked about this when we talked about melodies in a previous class, but now I want to talk about using non cords tones in court, basically so non core Don's with thin courts kind of a strange concept, But trust me, it'll work. Okay, so it's not. Let's start with passing tones. 5. Passing Tones: Okay, So, passing tones. This is a type of non core tone where we're basically going to connects the dots between notes of the chord. Okay, so it's gonna kind of scan through here. Let's focus on these 1st 2 chords. Right? So maybe I'll just loop these 1st 2 doesn't want to happen. Zoom in a little bit more here. There we go. Okay. The soup. Okay. And let's slow it down a bit. Okay? So let's look for an opportunity to add a passing tone now. There isn't one presently, let's liven this up. Let's put another see up an active. Okay, let's do that now. Okay. Cool. Now we have an opportunity out of passing tone because I have a cord tone between two adjacent notes. Okay, so I could even get rid of this. A If we wanted Teoh, I could leave it there. Let's leave it there. So what I'm gonna do is I'm gonna take this a this previous a shorten it a little bit, and I'm gonna move it to a be the next note in the scale. Um, actually, this depends on what key were in. Should probably be flat. Um, okay. So let me explain that. Why? It's b flat. So this is enough cord. We're going to a what? C chord a minor chord a c e. Okay, so F two a minor. So we're probably in the key of F. We could be in a bunch of different keys if we just look at those two chords. We could be in a lot of different keys, but I'm going to look forward in the core progression and see there's an a sharp or B flat . Um, there's one. There's one. There are no be natural. Zo, there's one. Okay, Well, weird. I think I'm going to go with I'm gonna assume we're in F because that's the court. I'm on here now. If I assumed I was in the key of C, for example, I would do would be natural here. I wouldn't do in F because I wouldn't do it b flat because I'm an f chord. So when it comes to non chord tones, the scale I have to think about is the scale of the key were in, not the cord were on. Okay. Always be thinking about the scale of the key, not the scale associated with the court. But even though we're on an f chord, I'm not necessarily going to use an F major scale. I might use a C major scale, which would be a b natural here if where are we're in the key of C. But in this particular case, I think we're in the key of F. So if you line up all the notes on key of F using your whole step half step whole step pattern, you will get a B flat, which Mableton is gonna call a sharp, but it's really a b flat. Okay, we cool on that. Um, remember, used the key. Use the scale associated with the key your in. Okay, so the note in between A and C in the key of F. If we just go up to scale A to C, we're gonna get a B flat, So I'm gonna move up there. So this note is not in the court. Right? But we're going to pass through it to get to the next note in the court. This is a passing tone, OK? Because we're gonna pass through it. Let's hear what it sounds like, Right? Sounds Sounds nice. now, does this make a different chord? Yeah, kinda. You could say that. Now we're on an F, A sharp see cord. That's a different kind of chord, but that's not how we hear it. That's how we feel it. But we feel is a R F major here and then still f major, but with the passing tone taking us up to this. See? Okay, now, often when you start using these passing tones, you want to keep going. So I felt here. Maybe we should have another one. Ah, here's an opportunity for one. What if I went a G would be my next note? A g f Right. So now we're passing between A and F. Let's hear this. Yep. Let's open up our loop. One more accord to get this one in here so we can hear that kind of land. So remember that passing tones don't have to be the top note. They could be inside voices, and in fact, that's what makes them sound best doing it on the inside. Can I find another one? I don't see an easy one here. I could try to go f up to a put this G here if that's gonna sound great, because we were just on a G passing tone, but let's try it actually sounded pretty good. Okay, So look for passing tones in your core progressions were just connecting the dots, right. We had a we had to see. We put a note in the scale in between. Those we pass right through it sounds gorgeous. Gets you away from that blocking this right? There are other ways to get you away from that blocking this. Let's talk about another one. 6. Neighbor Tones: Okay, So another way to do this would be something called Neighbor Tones. Let's go forward a little bit. Let's go to here. Could've just this part. Okay, so let's look at this court. Let's do a neighbor tone here now. Oh, actually, I don't have a neighbor tone there. I have a very specific thing. Oh, here's the neighbor town we can do. Let's look at the next chord. Okay? These two, a neighbor tone is going to be something like this. I have two of the same tone in a row. I can't really make a passing tone between those. Although I could hear d e f, I could add an E or I could add a passing tone. Things get kind of tricky. Let's move this f out of the way. So let's move this up too a b flat just so that we don't accidentally create a passing tone . So what I'm gonna do here, someone shortened this note? I'm gonna pop that up there. Okay, so this would be considered a neighbor tone. We're going d up t e The next note in the scale back down to D, right, neighbor goes up and down okay? It doesn't go. We don't pass through it. We just kinda reach out and come back. Hey, let's hear this. Hold on. We're not gonna hear that whole thing. Let's go to the next bar. Okay? Well, okay. You can also do it within a measure. That's gonna be kind of tricky, cause we're in 34 But let's do it. Let's say this a, for example is going to g o a. Down to g passing tones and neighbor tones can go up or down, actually. So here we went down here, we went up. So here will go down. Case we're gonna go a g A. All within one bar. It's totally okay, but let's go back, right? Could have also got up and on that, right? So this would be considered a neighbor tone. This would be considered a neighbor tone, that that's why I moved this a out of the way or this f out of the way. Because if I do that, maybe it's a passing tone. Maybe it's a neighbor town. Who cares? It sounds good, right? It's kind of both in this case. Let's hear. Cool. Okay, um, let's hear this whole core progression now that we've blurred the lines a little bit. Okay, here we go. Whole thing. Okay, so we've done a lot to kind of really get rid of that blocking this. Let's talk a little bit more about this idea of just like blurring lines. 7. Blurring The Lines: Okay, I'm gonna undo everything we just did and go back to the original core progression. Okay, so no passing talents, neighbor tones, anything like that. Um, the thing to think about when you're looking at a core progression like this, if you want to get that blocky sound out, um, look for ways to connect doubts whether you're making passing tones or neighbor tones. Okay, so let's do this. Ah, whole different way. Right. So here's a see. There's an e. Um, Also, there's a c so this could be a passing tone. A neighbor tone. Who cares? It's something. Ah, here's an A. Let's go to a G to connect down to that f um, this will be an interesting one. We could go d up to e, which is stepping into that f that's going to make a sharp dissonance here. Right. But I think it might be kind of cool, actually. Um, then let's g o see a good one here. Well, the easiest one would be to do that backwards, so make a weird kind of alternating thing, but that's kind of cool. Um, I don't want to do that 1/3 time, and you don't have to do this all the way. I am going to do it 1/3 time. Um, you could just do this once in your core progression to serve one passing tone neighbor toned. But I was fine that, like once you get in kind of a groove of it, it kind of makes the rhythm of the passage feel good to keep it going. Okay, so now everything has a passing tone or a neighbor tone. Except for this last chord, we'll leave that, as is, Let's hear it, Okay, a lot less blocky because there are some notes moving at different rhythms than other notes . That's the main thing that's taking away that block. You sound right so these notes are longer notes and these those are shorter notes, so there's a kind of inner motion happening and an outer motion. Okay, now there's even more ways to do this to get rid of this blocky sound and blur the lines even Mauritz through something called Suspensions, which we're going to talk about in just a minute. But before we do that, I want to talk about non cord chords, right? Could we add this whole other chords into this to get rid of that block? Yoenis we can let's talk about passing and neighbor cords 8. Passing Chords: Okay, I'm once again gonna go back to original core progression without any passing tones or things. And let's talk about passing chords that this is a little trickier to deal with. So we need Teoh. We're gonna add a whole chord in between Accord. Right? Um, so first thing we need to do is make a little space, so I tend to do these shorter. So in the previous examples I was doing it, I was making passing tones last half the bar, and this one is going to make it last the last quarter note of the bar. Okay, so I'm gonna put it right here. Okay? So I haven't now, I Now I need to think about what chords? Amusing. Um, I haven't f chord here. And a a minor chord here. So what would be I need another chord in this key. Um, let's do. Let's see, Between f and a o. G would be good. Um, it doesn't need to be the next chord. Um, if you don't know what court to do, a good one would be 1/5 above this cord where you're gonna get Teoh. So a is where we're gonna get to 1/5 above a is e Would that work f That would take us to this seven of discord, which I don't really want to do. Let's do G. What the heck? Okay, so I'm gonna make a quick little G chord, So any g b d? It's pretty appear. I'm gonna try to get my voice leading kind of good, so I could do a B right here, which is going to connect. Those could do a G right there, which is gonna connect those C d E connects those, uh, that be Let's not put that be there. I could do a D on the bottom or I could do a G right above it. Networks. Okay, so this will be called a passing chord. It's not super important to our core progression. It doesn't change it wildly, but it gives us a little bit of a bump, right? It's just like, ah adds just a tiny bit of life and energy to it. So let's hear it. This right? It just kind of goes Whoa for just the second gives us that extra little now, unlike non chord tones, I wouldn't do this all over the place here with with non chord tones, passing tones and neighbor tones. I like to just pepper those everywhere. You know, Just put those all over the place with these passing chords. Um, I'd be a little more careful about it. Like I might not put one here. Here, Maybe here. I'd see if I can squeak one in. Let's see if we can. What do we have here? Another F chord. Going to a G chord so I could do Let's try do an A minor will do opposite of what we did over there. So let's do a tiny little a minor. So I've got an e I need to see. Yeah. And a here. Oops. Here. Okay, this one isn't gonna work. Great, because you see these air The same note. If one of these was the same noted, be fine, but with it being two notes of the same from the previous cord, this is just going to sound like a passing tone. Um, down to here. It's not gonna feel like a different chord. Let's pick a different court. A so f minor to G. Let's to ah, b flat. Let's do a B flat chord. So I need a B flat, Uh, de in an f. Okay, so here's my B flat. My f is in the previous court, and my d is in the next court. That's kind of cool. That's okay. Let's try that. Now, I don't like this b flat up here. That doesn't make great voice leading. So it's well, that down an active look at that, that's always great when that happens. It's a cool little chromatic riff, right? Just walking right up the chromatic scale in there. Um, it's gonna be a little crunchy. Little fun. I like it. Um, let's hear it just like that. All right? It was fairly subtle because these other notes are in common with previous note and the next one. So it adds a little bit of color having this this note here. So it works pretty well. A cool passing court. Okay, So, um, for passing chords, pick accord. Another chord in the key that you're in, That's the most important thing can really be any chord. Try to find one that ties things together and gives you that extra little bit of motion 9. Neighbor Chords: Okay, neighbor courts. Can you do neighbor cords? You sure can. Um, let's do. We could do it a few different ways, but one way would be to do this. Okay, here's three. The same chord. I'm gonna change this one. Something else? Let's go like that. That works. It's gonna be flat chord A B D f. And here I'm going to go up to a C major chord and then back down. This is gonna kind of feel like the whole world kind of shifted over and shifted back. Um, because I'm using a parallel chord here. I'm just taking the whole court and going up and then back down. I'm staying in key, though, so that's important. Lets you right. That bun. Ah, just kind of makes a shift. Now, another way to do this would be if I had two chords in a row. But I kind of do, um, not an obvious two chords in a row. But this cord is the same as this cord. So when the loop goes back, I do have two chords in a row, so I might want to do something to live in that up. So what can I do to make this f chord, feel, um, different and then go right back to the F court. So no matter what court I do, it's going to be a neighbor court because I'm on Accord and go to another chord and we go right back to the first court. That's a neighbor court. So it doesn't have to be the next one. I don't have to go to a G right. Even though this is an f chord, it could be any other chord in the key. So the best sounding one is always going to be that fifth relationship so f if I'm on F and I go up 1/5 I'm gonna Beyonc. So let's try to do a C chord here. So here's a C. Here's an E and here's a G. Okay, that looks pretty nice. I could do an E here that will give it a little bit of extra motion. So only record f to see and then the loop start over back toe f. Let's hear that right? Just gave us a little bit of a kick at the end of that loop. So neighbor courts Okay, let's move on and Let's talk about suspensions. Another way to do this similar thing. But, um, a way to make it just super. Just beautiful. I love suspensions. Okay, here we go. 10. What Are Suspensions: Okay, let's talk about suspensions now if you want to take a core progression, especially if you're doing something with strings this works with since and everything. But it's especially effective if you're trying to make, like, kind of an emotional string sound. Um, this idea of a suspension is another way to blur the cords together. It's another way to get away from that blocky sound, Um, and we're going to do that by kind of holding on to elements of Accord for a little longer than we should. Okay, so, um, that's going to create attention that's going to create attention. It's gonna create some dissidents, Um, and that's what's going to give it. That that really kind of emotional equality is that dissonance? Um, it's not like, ah, dissidents like like a really harsh additions like chromatic dissidents. It's a diatonic dissidents. So that means that all the notes Aaron Key it's just I might have semi tones on stop top of each other. Um, so we're gonna that the main tool that we're going to use to create suspensions, something called rhythmic displacement. So let's talk about rhythmic displacement. Um, and let's go to a new video and we'll talk about rhythm displacement 11. Rhythmic Displacement: Okay, Um, so we're gonna do this idea of rhythmic displacement? That means kind of exactly what it sounds like. It's actually not all that fancy. We're gonna take some notes and we're going Teoh, displace them by rhythm, I guess. Um, so let me show you. Check it out. Ah, let's do this. I'm gonna do this really quickly and crass Quicken crafts. Um, let's take one note from each chord. It's gonna kind of randomly go through and grab some notes. Ah, okay. One note from each chord because I'm gonna do it. Boom, boom, boom, boom, boom, boom. Going to slide that over by half the bar. Okay, so I slid some notes. One note record over. That's all. I'm not gonna change anything else. Not gonna do anything else. Let's hear what we did, right? Sounds great. Um, I, like, didn't rehearse that just randomly grabbed some notes, shifted them over. It usually works. So what we're looking for when we do this is this kind of a sound? This really kind of nailed it. Because what we hear here is this e that belongs in this chord, right? This f doesn't belong there. This e belongs in this court, but we're gonna hold on to that e too long and it's going to clash with this F But then it's going to resolve itself when the East stops. Um, and that tension creates this suspension Feeling right? It's kind of like suspended chords, but a little bit different. Um, I would say Try not to get your head wrapped up in tying those two things together. Suspended chords and suspensions are really quite different. Okay, so we can be smarter and more methodical about this than just grabbing random notes and shifting them. But I wanted to do that just to show you how easy it is to make Ah, your core progression sounds so much more alive by just shifting some notes on and seeing what we get. Ah, let's do that one more time. This time I'm just gonna grab. Couldn't you have all the top notes? So probably sound pretty good too. Okay, let's shift those over by half bar. All right? Right. Sounds great. You know, it just adds so much more, um, finesse to the core progression in doing that. And all we're doing is rhythmically displacing some of the notes in the court. Move him over. Um, get rid of that block. You sound another way. You can do this. Actually, if I don't think it will work very good in this sound, but depending on, like, if you're using a synth, Um, that's, like kind of a pad sound. You might try doing this like, grab some notes. Ah, OK, just grab those. I'm gonna leave this one off. You'll see why in a second. And then instead of shifting them over rhythmically, I'm just gonna stretch him out for, like, ah, about that one. Okay, this basically does the same thing, but just adds like a super sustained onto those notes. Let's hear what this sounds cool. I got a really crunchy one right there. This be natural. Okay, so this be natural is out of key, right? This is kind of the weird note in this whole thing, So that is not a good candidate for this. Um, this G would be better. Um, I would avoid this on bass. Notes on this G is getting a little low. It doesn't work great in base. This is for upper voices. More than base. You can do it in the base, but just doesn't sound as good. Okay, um, let's look in a little more detail at kind of how this works and what you're looking for, if you're gonna do this more systematically. 12. Suspensions: Okay, So why does this sound good when we do this? First of all I remember is that the reason that it sounds good is because we're totally staying in the key, right? We're not going outside our key it all, with the exception of you know, this note. So I would say this is less likely to sound good if you're using a core progression that is going outside of the diatonic chord progression. Right. So you remember the diatonic chord progression. We know what chords weaken due in any key. If we're staying within that, this is the easiest thing in the world. Just shifts, um, notes over period. Done. Um, it's nearly always gonna sound good. If you're going outside of the key, then you need to think a little harder about what notes should be shifted over. So, uh, let's go through kind of how to figure it out. Um, so rule number one would be avoid doing this in the base, right? I just said that, um, it's generally not gonna sound good in the base. Um, rule number two would be And these air not like formal music theory rules. By the way, This is just meat making up rules. Um, for what I think. Sounds good. Um, rule number two is Do it in the top of the cord, but not Onley in the top of the court. Ah, so, you know, have some notes that do it in the top like that. And some inside voices like that. Right. Um so move it around a little bit. Rule number three Onley. One note at a time. Don't do this, right. That's not gonna sound very good. Um, or even this, you know, doing two notes. It's not going to sound all that great. So really, we want to do this usually just with one notes, there are one note at a time. There are some cases we confined. We're doing it with two notes. Will sound good. Um, but as a general rule, I would only do it with one note at a time. Okay, then, um, I like to look for half steps. So, like, right here, there's 1/2 step right. F t e. That means if I do this, there's gonna be a little crunch there. Okay, um and that's gonna feel good. Right. Um, I could combine this with a non core tone like this, because now when this note ends, this note is going to begin, and this is a type of suspension. Also where this note is early, right? We're gonna talk more about that in just a second. But this is kind of the opposite of what we're talking about right now. Where were stretching notes out to be a longer or shifting them over? You can also do it backwards. Where this note comes in early. That has a similar effect. Okay, more on that in a minute. Let's leave that over there. Okay, so this makes a nice half step. I generally like it. Um, but check this out. Here's an F. Here's an F And here's enough, right, This is an E. But what if I did this? If I just bulldoze right through there, I think that's gonna sound great, but you can hear it all that much. In this case, if you had a synth that was really kind of blasting through, you would probably hear that. But let's get rid of that for now. Okay, So half steps generally gives you good sound, but don't Onley do have steps Ah, like, here's another one that's gonna be a a nice and crunchy sound. Let's go from right. Think about what we're really gonna here in this case. We're gonna hear this a sharp We're gonna hear the crunch. Then we're going to hear the A. It's gonna feel like this. A starts right there. So we're gonna we're gonna hear, like, crunch a G like that's the phrase we're going to hear is a crunch a G. That's really what we hear there. See if you can fix your ear on that. Right? So, um, that's cool. I like that. So other than half steps also look for whole steps. You don't want really anything bigger than a whole step. And I'll explain why in just a minute. But here's a case where there's a whole step. Maybe I do that give a little crunch here. It's gonna be a much softer crunch, cause a whole step is not nearly as dissonant as 1/2 step, but it will still be nice. Right. Um so look for half steps and whole steps toe alternate. Okay. Great. Um, next, let's talk about that kind of backwards thing that I just hinted at 13. Appoggiatura: Okay, let's do this thing where we go backwards. Let's go back to the original thing. I think I got rid of all my alterations. Okay. So I can go the other way to now. What I do when I'm going the other way, for example, like this. Okay, what is happening here? We're going to hear this. See, in this cord, we're going to hear this B flat command. This a sharp come in, and then we're going to hear the A sharp continue, but the chord change to make it become 1/4 tone, we're gonna give it a non core tone, and then we're gonna make that non core tone be accord tone by shifting the court. Okay, this has a fancy term. Are you ready? This is in a podgy. Tura is the fancy way to say that. Um, so we're basically going to introduce a wrong note, and then we're gonna make that wrong note right by changing the court to it. So let's let's hear this. Cool. Um, thes concerned. Great. Here's another one. That might sound good. The reason I spot this as another one that might sound good is the whole step I generally, like whole steps on a positive or is less good for half steps. Um, let's hear this one. Right. Looks pretty good. I can do it with half steps. Let's do it here. That was a nice one, actually. Um really dissident right here. But then kind of falls into being nice and continent again. So dissonance becomes a constant. Okay, Appoggiatura. That's your $10 word for the day. Um, it's a great sound. You can do it now. You can also go crazy with the pageant Turow's. And this will generally lead you to writing this thing that feels like you're kind of rolling down a mountain. Um, let's talk about that. Let's go to a new video and we'll talk about kind of this going downhill idea. 14. Going Downhill: okay. Apology tours can go down or up. Um, like, we could do here, and it would have this sense of going up, but we tend to do them more going down. Um, I think they they feel like they fall downward more naturally, then falling upward. It's like weird musical gravity. Um, so if you do this on every chord, it gives this feeling like things are falling down like you're going down, down, down Even though the cord itself isn't moving down. Um, let me explain. So let's do one here where we're going to go down, and then I'll do one here where we're gonna go down. Let's see this nice, crunchy one that we liked, Where we're going to go down to do that one. I'm gonna go down. It's too there. What? They're that should do it. Okay, let's hear this. All right. So it kind of feels like we're going core down, core down, cord down. Um, and it's a cool feeling. It can be a feeling that you might want or one that you might not want. Um, it all depends, but I really like this kind of rolling downhill feeling. It's especially good if you're trying to make a sad kind of sound. 15. Mess Things Up!: Okay, Uh, just to kind of wrap up this section on non chord tones, suspensions, all that stuff. What we're really trying to do here is just mess things up. Imagine you painted a painting that was perfect, right? Like it was every line was exactly where it's supposed to be. And it was very exactly how it was supposed to be right. That's not a very interesting pink right. That's gonna be a painting that is predictable. It looks like it's supposed to look, everything's cool. But if you then took, um, a sponge while that paint was still wet and just kind of went, you know, just kind of squiggle all over it, that's going Teoh, maybe make it ugly. But it's certainly going to make it more interesting. That's kind of what we're doing here. So we really just want to blur the lines here. You don't have to always do this. Um, it's just a way to live in up the core progression, um, make things interesting. Different? Um, that's too much. Just give it some extra character. You know, blurred these lines. You know, I could I'm going to double one here, right? I've got two notes. This one's an apology. Tour A and a suspension. It's going both ways. Um, always test everything and make sure it sounds good, because remember, that's the most important thing is that it sounds good, and by good, I mean sounds the way you want it to sound. But try this. If your corporate Russian feels really blocky, just try messing it up. Um, add some suspensions. Some non core tones of apology tours, passing tones, neighbor tones, passing chords, neighboring cords, lots of different ways to get rid of that blocky sound. 16. What are Cadences?: Okay. Next. I want to go to something completely different. Um, I want to talk next about cadences. This is something we haven't talked about before. Um, it's an important concept. You may choose to do it or not do it. Um, but it's an important tool to know about now. The word cadences in music means two things, and they are totally, totally different. Um, I, you know, started when I was ah, young musician in my little small town concert band. Started as a percussionist and as a percussionist I learned what cadences are for a marching band marching band. Um, the cadence is the thing. The stuff you play, the drummers play while you're marching down the street in between the whole band playing those are called cadences. Um, it's basically like percussion music to march to. That's not what we're talking about. However, if you want to use those in your truck, I think they sound particularly cool. Um, you confined recordings of them, and you can slice them up and do really cool things with them, but totally different. This thing that we're about to talk about has nothing to do with cadences in that sense at all. Okay, so get those out of your head, at least for now. Like I said, they're cool. They're really fun, and they're fun to play. But ah, that's how we're talking about What we're talking about is the thing that happens at the end of a core progression. How a core progression ends. It always. I think that's safe to say the core progression always ends with the cadence, because cadence means the end of a core progression. Basically, um, there are very specific kinds of kings is that you might want to do. And there's kind of a unique problem that electronic music has when it comes to cadences. Um, so I want to look at kind of the most typical cadences that you might want to use. I want to look at kind of what they I mean, a few of them have kind of like a weird meaning to them that is worth pointing out. Um, and then I also want to kind of examine this unique problem that we have an electronic music with cadences. So what we're talking about here is a core progression. How our core progression ends. What happens when it comes to its conclusion, kept. Let's go into the 1st 1 where you talk about the most typical cadence in classical music, Um, and probably the most typical and kind of pop music as well, and that is the perfect cadence or the perfect authentic cadence. 17. The Perfect Authentic Cadence: Okay, so I have a little core progression here. This is actually different part of the same song we're just working on. We were working on this part before now. I'm just earlier into the kind of 1st 1st part. So here's what sounds like. Okay, so I changed it a little bit for our purposes here, but, um, the thing I've changed is I added a perfect kittens. Okay? Perfect cadence means that the end of the core progression it goes 51 That's perfect Cadence. Okay, um, so you can see here were in the key of a minor here, and at the end, it goes E g sharp B. That's five. And it's major in this case, I've made it, major, because that's what you do. And a perfect cadence. Even if you're in a minor key, you make that five chord, major. Ah, and then we went to a one Perfect kids. Um, now there's another thing that's happening here is well, and that makes this particular cadence super charged. And that is that it's an authentic cadence. So this is called a perfect, authentic cadence. That means that it's a perfect kins, meaning that it goes five toe one at the end. And the authentic part means that the bass note of the cord So whatever's in the base is in basically root position. So we have the five to the one. Okay, so if I was to do this, this is not authentic. Still a perfect cadence, but not authentic, because the root motion at the bottom. Or I should say the bass note motion at the bottom is not root motion. Right? Find it. This though. It is root motion. It's going 51 Um, and it can go up or down. It can go five upto one or five down to one. This is also not indicates perfect. Authentic. I should say so. Uh, why do we care? It sounds really good, right? Um so this is like a nice 51 It says this is the end. Happy day were at home. Everybody's happy. Cool. Now, the unique little problem that we have in Elektronik music. And this is true in pop music too. I suppose that classical music it doesn't have is that things loop. Um, so in this case, I'm gonna goto one, and then the loop is going to start over and we're at one again. So I think if our core progression ended here, let's do that. If this was the end of our core progression just like that, so ended on the five. I think this is kind of a matter of debate, I suppose. But I think we would still call it a perfect cadence. Um, because we're gonna go five and then we're gonna look back and then one, right, so five, one. So in this case, we have a perfect cadence. We do not, however, have a perfect authentic cadence, meaning that the root motion goes five toe one. Because this cord has a C in the base, it would need to have an A in the base, the route, in order to be a perfect authentic kids. Reasons you might want to use a perfect authentic cadence is if you just really want to have the core progression wrap up at the end, have it feel like we're back where we started. Everything's happy, right? Even if you're in a minor key is generally kind of a happy sound are not a happy sound. It's, ah, complacent sound. It's We're back where we started. We went on this little journey in this core progression and we're back, right? See if you can feel that if I played again right here, 51 at the end as a perfect authenticates. So you could say that in most situations that's what we expect is the perfect authentic Kings. So if we don't do the perfect authenticates, you're giving kind of a sense of something's amiss or something's not quite happening. Okay, now that senses maybe, ah, little bit different in pop music because or any kind of non classical music, because we often have songs that end on, you know, three, something totally different and then go back to one in the repeat. That's okay, too. You should continue to do that if that's what you want to sound good. The reason I'm giving you this information on cadences is because I want you to know that if you want to make this sound of like everything's wrapped up in a nice bow, you want a perfect, authentic Keynes that's gonna make everything feel like the end. It's beautiful, Mark. Okay, so let's talk about a couple other cadences that kind of throw a little bit of a curveball in there 18. The Imperfect Authentic Cadence: Okay, so, in an imperfecta, authentic kittens, we have still usually a 51 But something is not quite as perfect about it. Right? So something like this where we don't have the route motion of, Ah, the fifth tone of the scale going up to the tonic 51 we might have, um, some other modification to it. Maybe there's 1/7 in it that could call it an imperfecta. Authentic kittens. Um, there's a couple different ways, but basically an imperfect, authentic cadence. Is anything other than 51 with that route motion? Um, but it's still a five chord going to a one chord. You could also have a seven chord, a diminished seven course record going toe a one and that could be considered in imperfecta . Authentic kittens. But basically, let's just slice away the fat. Here it is a 51 cadence where the cords air not in root position 19. The Half Cadence: Okay, The next one is called 1/2 kids. 1/2 kittens ends on the five. Um, regardless of what chord comes before it. Okay, So if we did this, for example, I got rid of this one and just did this Stretch that out. Now we have a core progression that goes to the five and then ends on the five. I could also I could also do this, you know, maybe put a different court here. How about that? So now I'm going one, 25 and ending on the five. Now, if there's looped back around to the one, we would probably still call it, um, a authentic cadence of some sort or a perfect cadence. Unauthentic cadence of some sort. But if it doesn't loop back around, it's gonna end on the five. That's 1/2 cadence. It's, ah, not great sound, but it's a fun way to kind of kind of mess with people. So if you had a track that ended this way be kind of fun, right? Like if that was the end of the track, it makes it feel like you know, the analogy I always use with with something like 1/2 cadence is you have like a glass vase , something really fragile. Um, that's going to shatter if you drop it. And what happens is we get to that five chord. It's basically like throwing that base up in the air and then walking away, and the audience or anyone watching it is just kind of left saying, Is it going to come down? Is it going to smash? What's gonna happen that that tension of like, What's gonna happen? That's what's created with half cadence. It's like it's frustrating in a way, once again, what's gonna happen? Is it gonna go back to the tonic? We don't know. So if you want to end a piece of music there or a core progression, even, um, it's a good way to kind of mess with the head of the audience, if that's what you want to do. Okay, um, two more 20. The Plagal Cadence: Okay. The next one is the one that I kind of alluded to earlier When I said they have some meaning behind them. This is called a Playgirl cadence. And what it is is it's instead of 51 it's 41 So let's see, we're in the key of a minor. So a C d is our four chord. Let's go D f sharp a to. Okay, let's This would be easier. And major Playgirl cadences and minor are a little bit different. Um, I'm gonna do in major. So, d major. Ah, and then I need in a c sharp e. Okay. And let's leave that a up there also. Okay, so here's a playgirl cadence. See if you can figure out what the kind of meaning thing that I'm talking about is. I'll tell you in a second. Okay, that kind of jumped out of nowhere on us, didn't it, Um, Doesn't fit great into this core progression. Um, but let's just hear it by itself. Okay, This core progression the playgirl cadence is probably best known. Its biggest hit is every him that was ever saying Not every but just about every him that was ever saying in the Christian Church, Um, this is Ah, the cords that you sing Ah, men to. Okay, so this is Ah, man, it's a Playgirl cadence. Oops. Um, let's make this a little bit nicer sounding. Let's see if I can clean up my voice leading a little bit. E can't really. It's kind of kind of stuck in a weird pattern here. Let's try that. But this is ah, men. So if you want to invoke that sound of, ah, men at the end of something, you can use a Playgirl cadence. Um, it might not even invoke that sound to you. Um, it is a softer cadence because remember, four doesn't push tow one nearly as strongly as five pushes toe one. So it's a much more it's It's much softer cadence, um, to put at the end of something cooked. Um, so keep that in mind. One more 21. Deceptive Cadences: okay, Last one would be a deceptive kittens. Deceptive cadence is a cadence that comes to an end nice and pretty, but drops you off somewhere different. It's like if you got in someone's car and they said, I'm going to take you to Billy's House And then they drove you to Janet's house instead. That's a deceptive cadence. So typically, what it means is we have a five chord e g sharp B. So there's our five chord, and then our five core drops us off somewhere other than one. Um, so it could go to three. Um, so in the key of a C sharp would be that so C sharp, E g sharp C sharp, E g sharp there. Case of theirs. Ah, a deceptive kids, right? This made it feel like we were going to go toe one because one usually follows five. But it didn't dropped us off somewhere different. Um, this is a good way to get from major to minor. If you're in a major key, do a deceptive kittens and land on the relative. Not parallel, but the relative minor. So, for example, if we were in C major, he might go to the five chord, which would be g right. Then, after the G go to a minor instead of C major, that would be a deceptive cadence because you would not you be going something other than 51 But going somewhere else and it can add a fun twist to a chord progression. Okay, so those air cadences remember that these are good ways to think about the end of a core progression. Even better ways to think about the end of a piece, the way the whole track ends. Um, that using one of these can kind of wrap everything up in a nice bow if you want it to. Ah, it's a musical concept that I thought would be important for us to know. Speaking of musical concepts that I thought would be important for us to know Next, we're gonna talk about sequences. Um, yeah, let's just dive into it 22. What are Sequences?: Okay, next up in our kind of overall theme on how toe spice up your core progressions. Ah, and make your harmony of one more lively. We're we're gonna talk about sequences for a little bit. So what is a sequence? A sequence is kind of like a core progression, a pre made chord progression. It's kind of what it is. Um, but it's a pre made core progression that follows a pattern. Okay, so, ah, if you imagine the circle of fifths Okay. Ah, and you remember that. You know, every step we go by 1/5. Right ago. C g d. Etcetera. Um, so if you imagine playing chords by 1/5 that would be a sequence. So if I played C g d a e, that would be a sequence of fifths, right? Like I'm going in fifths. Um, and that has a very specific sound. Um, it creates a feeling of kind of a rolling feeling. Um, it's been used for that particular sequence. Ah, sequence by fifth, which is the 1st 1 will talk about is, um, as oldest time. I mean, that sequence goes back hundreds of years. People are still using it and if I played it for you, you would say, I've heard that before. Um, that rings true to something like you. You will recognize it back. Let's do it. Here is exactly that thing I just talked about. Except only the 1st 4 So So I have C g de a. So it. But it's d minor and a minor because I'm in the key of C. We'll talk more about that in the second. Don't you hung up on that quite yet? So here's what sounds like. Okay, so that's just the 1st 4 But we could keep going. You know, we could keep going down that stair step. Um, and just keep that sequence moving now. So these kinds of patterns that emerge sound good for a few reasons. One is that you'll note that in this sequence we're a sequence by fifth. Um, there's a note in common between every chord. Just one, um, which is really nice sound. Right. So, thes two courts have the G in common use two chords have a de in common, and these two courts of the A in common, So I could do this. Just pull that through. It's going to make a a little bit nicer sound. You hear that, right? I could do some suspensions if I wanted. It could maybe do that. Could maybe do this one Guettel crunch on there. You hear that? So they really kind of open the door to doing some really nice things. Now, we're only talking about sequences by fits, but there's a whole bunch of other kinds of sequences you could do. You could do any kind of sequence. You could do a sequence by seconds. Sequence by third sequence by force sequence by fits what we're doing. 6/7 if you wanted, um, anything can be a sequence. And then you could do chromatic sequences or diatonic sequences. Right? We're doing diatonic sequences here. That means were staying in a key case. We're kind of banging the cords to fit into a key that were in were in the key of C major here. So when we got to D minor are when we got to the d chord, I said that has to be minor because that's the D chord is to in the key of C major, which makes it minor. Right. Um, if I want to do chromatic sequence. I would make that major. And then when I got to my accord, I would make that major Also. So now we have chromatic sequence. Right? Let's hear that, right? Still a good sound. Still a great sound. Um, nothing wrong with that. So why would you use a sequence? Let's go to a new video and talk about uses of them and why you might want to use one. 23. Why Use Sequences?: Okay. Why would you use this sequence? Well, for one is that it's really kind of like grabbing a core progression that's like already out of the box. Um, we don't if you don't want to think too hard about a core progression you the sequence because, ah, it's gonna sound good. And it's already written pretty much, um, another reason and this is probably my favorite is Let's say I wanted Teoh make a fifth chord on this sequence. I was gonna go back to having these be, um, individual notes so I could see it a little easier. Okay, let's say I wanted to go one more cord in this sequence so I could sit back and say, Well, I could do this. I could do that. I could do this other thing, and in a normal core progression, that's what I would do. But if we're in a sequence, it's pretty much already defined what my next chord is. I could break the sequence, and that's important. I can at any point Aiken break the sequence. You don't have to stick to it once you get in it, but, um, if I wanted at 1/5 chord I already know what comes next, right? So I'm back to a diatonic sequence. So we're in the key of C major. So here we have C g de A. What comes next in that pattern, right? See to G two d toe a The next one is going to be e so it's gonna find my easiest voice leading here E b g and the key of C major. The e chord is going to be what it's gonna be, um, six. And the six chord is minor right in our pattern on our diatonic chord progression pattern. So that means this G is gonna be a g natural and not a g Sharp because it's the third of the court. Okay, so now I have 1/5 court. This is gonna sound fine. It's gonna just continue the sequence. I can keep going. Let's add a six chord um droop. Ah, what comes after e Next would be be. Now, this one is gonna be tricky because this is diminished. Right? So be de f is what should be here. Um and that's OK. We can do bdf if we want. Um, let's hear we glitch doubt. Try that one more time. Okay, so that sounds fine. It's diminished. Corby. That's okay. That diminished chord sounds like a really great place to lead us back toe one. So let's plop a one there. Now, this one is going to break the sequence. But that's okay, right? Because I'm gonna go diminished. Seven, 21 The next chord in the sequence here would be f sharp, which then I've gone so far down the sequence that I got myself into a little bit of trouble, right? Because the route is not in the key. So I'm gonna have to goto f which would be my four chord just okay. Or I could bust out of the sequence here and just bring us back to tonic. So let's hear that, right? That sounded wonderful. So sequences just really kind of let writing a core progression right itself. Um, you can break out of it wherever you want. You can change things if you want. Teoh, Um, if you want to say Well, this should be a d minor by the key that I make a d major. Because I'm I'm in charge. Sequences aren't locking you into some crazy, hard and fast rule. Um, they're just kind of like a template that you can use to help you write a core progression and get you into this feeling. Okay. And you're gonna find as we go through different kinds of sequences here that, um, some of them have a different sound like sequences of this of a second are different than sequences of fifth, etcetera. Um, so let's go through how a bunch of them work. And, um, you'll get a feel for what kinds of things you like and might want to use. 24. The Ascending Fifth And Descending Fourth: Okay, so let's start from scratch. So I'm going to do a ah sending fifth sequence, which is also called a descending fourth sequence. Okay, I'll show you what I mean by that. So we start with C major chord. We knew this and see Major. Okay. So, see, Major, um, if you look at the circle of Fifths, we're going to go up 1/5 right? That's going to get us to G, right? It's gonna be the top note of our core just by coincidence, Um, because that is also a G. We could also consider this to be going down. Ah, fourth. Right. Um, because that will also get us to G. Um, because if we go see one Sorry to cause we would call this too. Um, 234 Right. So 1234 So, going down the fourth gets us a g going up 1/5 gets us to G. Um, so we can call this an ascending fifth or a descending fourth. So our next court is gonna be G major. Let's just copy this over. Move it down to G. Okay. G b D. That's cool. Our next chord is going to be a d major because there is gonna be a d. Um, but we should label these, right, Let's labeled. So this would be a one court. This would be a five chord, right? Went up fifth. It's gonna be a five court. If we go up 1/5 from this cord, we're gonna be on a d chord, right? So let's do that. And this is going to be a two chord, actually. Right. So you have to think about this a little bit, because for on G were on a five chord. If we go up another fifth, we actually jump over the tonic, and then we get back to a two chord. So, uh, we're on a to court. No, you have to think back to our diatonic chord progression in a major key. The two cord is minor, right? Goes major, minor, minor, major, major, minor, diminished major. Right, so this is gonna be minor, so we have to adjust it a little bit. We can't just copy and paste it. We have to get rid of that f sharp that's gonna come in there. So it's minor. Okay, Cool. No problem was gonna keep going We're gonna go to a is 1/5 above D gets us to a So we're gonna goto a So what is this five above To gets us to six. Okay, six is also a minor. Okay, so the six court is minor. Um, Let's stop there, OK, now you can kind of see the pattern that's happening here. We're going one two if I go again, this would be three, and then something else. And then this would be four. Right here we have 56 This would be seven. That's where we got to a minute ago. Um, so this core progression is money. Nice. I would say if you're using this in a track, doing just four is a nice little loop, because you're going to go to the six chord and then you gonna repeat back to the one chord . It's gonna sound nice. Let's hear it is a loop. Okay, So also remember, all of this is in route position, which is not great, right? I want to have better voice leading, so I'm gonna move this note up, just kind of compress it a little bit. Maybe this note up. What? I really want to find is notes that are the same that are in common. I want those right next to each other so that we're not like leaping inactive right here. We have a note that is in the next chord, but it leaps inactive. That's not going to sound awesome. It's gonna sound blocky, and I gotta want to get away from that blocking this. So here's these two notes in common in these two notes in common. Now I could keep going, but let's just focus on the 1st 4 for now. Okay, so we have this core progression. Produces one five to six. Okay, So far, um, so the ascending fifth and the descending fourth. Same thing. Let's do the opposite. And let's go to a new video and let's do a descending fifth or sending forth. It's a different core progression, even though it doesn't sound like it will be, but it is a different progression has a different sound 25. Descending Fifth And Ascending Fourth Cadences: Okay, let's clean the slate here. I suppose I could have left that c major there. So, see, Major? Now what we're gonna do is we're gonna do a descending fifth. So we're gonna go down by 1/5 or up by 1/4. Same thing, right? So if I am on C and I go up by 1/4 going up is always easier for me to think about than going down by fifth. I think just because if I go down, I have to say the alphabet backwards, Um, which I don't know why that's tricky for me, but it is. So I'm going to say the alphabet forward. So if I go up 1/4 from C, I'm going to get to F. There's my fourth. Okay, So my core progression here is one four. Okay, now, on the four chord, do I need to worry about if this is major or minor? Yes. Um, I need to worry about it, but I don't need to change it because four in a major key, his major. So that's fine. My next chord is gonna be 1/4 above this cord, and that's going to be B flat Okay. Now, B flat is not in my key, so I'm gonna have to goto be natural, Okay? So b d f and I have So I'm gonna have a diminished chord here. It's OK. Um, fourth, above be is going to be e. And what court is that? This is three anarchy, right? So see, Major C d e. That's three three is minor, so e g to raise that to be okay, So now that's a minor chord. OK, so that's our 1st 4 Let's see what we have. We have one for seven three. Let's hear this. Okay, so it's a different sound, right? It's a different core progression. Let's tighten up our voice leading and see if we can get a little bit better sound out of that. Well, actually, before we do, tighten up our voice leading. Let's look at the pattern that's happening here, right? We have where it's it's kind of inverted from the other one. So we have 17 The next one here would be six and then five. Ah, and then So it's going down. Every other cord is going down by one scale degree, right? 1765432 What, um, on the opposite cords we're going to go for three to one would be just outside of the screen here. So keep keep that in mind, because we'll do that in just seconds. In the meantime, let's tighten up his voice leading. See if we can make this sound a little bit better. Might take that all the way down. Let's try that. No, I want this G to be done. OK, one more time. You can kind of feel that sequence starting right? It's like a churning kind of thing. So this one as just four chords also works pretty well as a loop. Um, because we get to this three chord and we have three toe one. That's not a strong cadence. UM, member. Strong cadences air like 51 guy at the end of our core progression. This is a week cadence, but it's a fine sound if you don't want a strong cadence sound. This is a fine sound. Three. Back to one. Let's hear it kind of right. It sounds pretty nice. You've got a couple notes in common here. Every note, every chord has a has a note in common. Not all sequences will do that, but, um, the ascending fourth sequence does. And there's some good opportunity for some non core towns here. Right? Um, I kind of here. Ah, what do I hear? Hear? Kind of hearing. It's something. Get us from this three back toe one. I bet it's that f like, if I added an f here, it's gonna go e af g. Yeah. Kind of a nice little turnaround gets us back to the the beginning. Um, okay, so yeah, Non core tones. Still totally on the table with sequences. Muck it up. Do whatever you want. Okay. Now, this particular core progression does have a way of getting us back toe one really elegantly. So let's look at what happens when we go kind of further down the road here. 26. Going Further Down The Staircase: All right, let's go back to root position here, Ariel. Um, let's keep keep going down the road. So we're on E Ah, Let's go up 1/4 from E. That's gonna get us to a a CE. So it's gonna be a minor, because that's going to be six. And this key. Ah, then 1/4 above a Hey, here's a trick. By the way, if you're trying to think of what's 1/4 above whatever, Quarterman, go to your third and then go up the next scale degree. Um, so it's gonna be D so we go to D D f A. That is minor, because that is our to Okay, let's keep going. Um, we go up 1/4 from two. We're going to get to, uh, here's our third, so we're gonna go up to G g. B. So G is our five. So that needs to be major. So we need to raise that to get that back to Major. Now, this is a good kind of escape. Point 1234567 It's weird that it's the seventh chord, but we're on G. So if we went toe one here, we would be, we would have a cadence, right? We'd have a nice strong cadence because we go 51 um, on a loop so we could stop here and bust out and get back to one. In fact, um, if we did go one farther, we would be back to one. What am I talking about? Let's add one more. Because, G, if we go up 1/4 from G, we get back to one. Yeah. So this isn't even like a bust out point. This is the end of the sequence. Um, the sequence could start over again from here, but this gets us to the end. Okay, So let's hear the whole thing. Now, remember, we're gonna hear the whole thing with root position courts. Then I'll fix the inversions in a minute. Right? So it hasn't really nice sound. And now you can really see this This every other chord pattern that's happening here have C B a G. So, in other words, one, 765 And then on the alternating chords, we have 43 to one. Cool. So too nice sound. It's very kind of peaceful sound. Um, and it kind of gets us in that spinning thing. Oh, yeah, and let's let's fix our inversion to a little bit here. Um, it's take both those down, both those down, Both those down. Both those down. Now, this is kind of cool, because with these sequences, you have the opportunity of make them making them sound like they're going down or making them sound like they're going up right. If I do the inversions this way, it's gonna sound like it's slowly going down and pitch, because it is. But if I did my invert well, let's hear that first and then I'll show you the opposite. Okay, so now let's make it sound like it's slowly going up. Okay, let's take those back up to root position. Stick these all back up to root position. Oops. Not that one. Okay, so now I'm back in route position, and now let's do this. Somebody wanted to do Here we go. Okay. So now it's going to set the same exact chords, right? I've just manipulated the inversion, so now it's gonna feel like it's rising instead of going down right ? It's a very almost like barber's adagio kind of thing. If you're familiar with that piece. Um, the composer Samuel Barber of this piece called the Data Geo's definitely his most famous piece, even though he was very prolific and wrote a lot of music. Um, but its's very like tear jerker kind of peace, but it has this kind of feeling. I'm just, like, rising and rising and rising. Google it. Um Okay, now let's look at what happens when we do these same kind of sequences, but in minor. 27. Descending Fifth Sequences In Minor: Okay. I'm just gonna get us back to root position here. That looks right. Okay, so, um, we started with the key of C major. Um, what if we started with a minor key? Things are a little bit different. Not all that different, but a little bit different. Um, let's see. Should we convert this from C major to C minor or converted from C major to a minor? Let's to a minor. I think that'll be a little easier. So I'm just gonna kind of lower everything down to a Okay, so now we're going to start off on a minor. Remember that a minor is all the white note. So it should look more or less the same a c major, but our course there gonna be a little different. So we have a minor. We go up 1/4 4th is still the same, right? So it's still gonna be a D. But ah, the fourth in a minor key is minor case. We're going to go one, 24 minor. Then we're gonna go to the seventh. Now, this is where we get into a little complexity here, because remember, we have our different versions of minor. We could do natural minor where the seventh is going to be. Ah, a major court. Um, or we could raise that leading tone to do the harmonic or melodic minor. Both of them have the raised leading tone, and that will make it a little stronger. But let's keep it natural. Minor for now. Okay, so after that, we go to see our third, and that is going to be Major, actually. And then we're going to go to f our six, and that's going to be f A c. So we have to do a lot of adjustment here. Then we're going to go to be are too and remember, are too is diminished in minor. And then we're going to go to E, which is our fifth e g B. Now this is minor. Our fifth is minor in a minor key, but we could raise it. We could raise that third to make it major. Um, that will give it a much stronger push towards one. Here. Hoops. We need to make that minor. Or we could leave it natural. Let's leave it natural, and then we'll hear it again. Maybe, um as ah raised. Okay, so here it is a natural minor. Okay, Now let's raise those leading tones. Let's do a g sharp there, and let's do g sharp there, OK? I'm not going to do a d g sharp here. Um, we'll leave that one. So I'm just going to raise it to make my seven chord a diminished chord and my five chord a major court. Okay, remember that the reason I'm doing this is because that gives our seventh chord a lot more . Push to the next chord and our five chord. Ah, lot more push to our one chord and it makes a perfect cadence, Right? Makes a really nice 51 gains the minor 51 cadence is much, much, much less strong than the major 51 gains. You probably noticed that at the end, that almost didn't even feel like tonic. Right? We went through all these chords and we got to the end and look, and it doesn't really feel like tonic. If I make this major, this will feel like tonic. Okay, let's try it. Right. Um, much stronger at the end here. I didn't really care for this one, though, so let's leave that she natural? Um, that's okay. We can do that. Let's make some nice inversions here. Um, it's miners. So let's give it the feeling of going down That will be a little darker, all right? And we're actually getting pretty low here, But let's do it right. It's It's this Cem McCobb stuff. I think I meant to leave this note up and maybe this note Here we go. So ah, descending fifth sequences in minor. 28. Chromatic Descending Fifth Sequences: All right. Next. Let's look at a chromatic sequence. Okay, So any sequence that we have, we can treat as diatonic or as chromatic. Okay, so so far, we've only been looking at ah, working with sequences diatonic lee. Meaning in a key, if we go chromatic, that means were literally going to take everything and transpose it. Um and we're gonna very quickly go outside of the key. Were in Okay, So I'm still on my descending fifth sequence. I put it back into major case or in C major. And now let's convert it to being totally chromatic. Okay, so we have major court now we have f major chord. We go up 1/4 from that, we're gonna have B flat, and it's going to be major. That's BDs B flat DF. Okay, so that's fine. So already by the third court, I'm out of key, Okay? So B flat major is not accord that exists and see Might see, major, um, two of the notes do, but the root of that cord isn't in there, so let's keep going, though. So once you're out of the key and then you keep building that sequence, you're gonna get farther and farther out of the key, so this is going to get a little weird. Um, but it does have kind of an interesting sound. So 1/4 above B flat is e flat. And I'm gonna do major chords for all of these because I can't Totally chromatic, right. I have no key holding me down into any diatonic chord progression, so e flat major is gonna b e flat g b flat. Okay, then. Ah, fourth above E flat is a flat, and a major court on a flat is a flat C E flat. Now, you might be thinking right now, how are you coming up with the notes in these cords so quickly? Um, the the way I'm doing is I just haven't memorized, Um, because I do this every day for, like, a really long time. Um, how can you figure them out, though? What you really need to do is use whatever technique you've been using to figure out chords so in a flat, remember, you've got in any major chord. You've got a major third and then a minor third. You can count half steps to get you your cords can do whatever you need to do. Um, yeah. So however, whatever technique you're using to find the notes in the chords, you can think about the key. You think about the key of a flat, put all the notes in there, um, to draw the scale and then do the 1st 3rd and fifth. Um, yeah. Okay. What comes next? E flat up to D flat. Okay. So D flat is going to be d flat F a flat and then above D flat is going to be G flat. So G flat is going to be G flat, B flat, D flat. That above g flat is going to be being Yeah. So this is where things are going to start to get really ugly. So technically, our next courted see flat, Um, which does exist. Um, we would write it as a B. So let's just call it be, and we'll switch over to Sharps here, so it's gonna be be de sharp f sharp. Okay. So what happened here is if we go from G flat, if you count up 1/4 you're going to go g flat a flat B flat, c flat, because if you count half steps. You need to have a C for it to be 1/4 but it needs to be a C flat. It's weird. Once you get up into these crazy keys, you do start to get see flats and e sharps and weird things that are totally theoretical. So if you ever find a C flat, what you're really looking at is a B natural and harmonic. So we'll use this moment to flip from flats to Sharps because sooner or later, you know, like going around circle of fifths. Sooner or later, you have to flip from flats to Sharps. That's why, um, so you don't have a bunch of see flats and things, so we'll switch here So we're going to go to be major. Um, now you'll notice it's gonna take us a while, I think, to get back to see, I think it's actually take us 12 steps to get back to see instead of the eight. It took us originally, and we could keep going. We could keep going all the way and get us back there. Let's hear what we've got so far, one more time, right? So it doesn't sound totally chromatic in that it sounds super out there and dissonant. It sounds fairly contained, right? It's not. It's not super dissident. And that's because we're just kind of walking down these stairs steps right of this pattern . Um, let's try to keep going. Just for fun. Let's see if we can get us all the way back to see I haven't done this in a long time, so we'll see what happens. So 1/4 of above b is e. So we're gonna go to E. Major and actually in this copy and paste, you know? So, e major fourth above that is a major fourth above. That is D Major. We're getting close. Gonna need to more. Fourth above that is G major. And 1/4 above that is the major. We did it. Okay, so there is our whole thing. Let's see if I can get this all in the view. Here we go. All right. So what did it take? Yeah, it took 12 steps to get us there, So our 13th step got us back to see Major. Okay, Let's let's improve our voice leading a little bit here. It's gonna grab these two. I'm gonna move this whole thing up inactive just cause we're getting really low. All right, let's hear this whole thing with good voice leading totally chromatic all the way through the sequence. Back to see, Major. Oops, but let's start at the beginning, right? So we're back to tonic. But we've gone through such a chromatic whirlwind in here that we've kind of lost track of tonic, so this doesn't feel very tonic, like, right, even though we had a 51 cadence, you know, G to see, um But it doesnt. We've had a ton of 51 cadences. Fact, every step has been a 51 kittens, so it doesn't really feel like a final 51 We might as well just keep going if we want to. We could do this all day long and keep going. Down. Down, down, down, down, down, Down. In fact, I would have to do is copy this. Actually, I could just go duplicates Move it down. Inactive, shifted over by one. And now we're going down another 12. Right? So now you know. And I could do that again and again and again and again, and it would go on forever But let's not do that because we don't have all day here. Um, OK, so sequences could be chromatic or diatonic. Now, I want to show you a trick where you can use this chromatic sequence idea to bust out a quickie change if you need to. 29. Using A Fifth Progression For A Quick Key Change: Okay, So if you're thinking about a key change and you want to get from one key to another key fairly quickly, sequences can really be helpful, especially chromatic sequences. So anywhere in this chromatic sequence I could bust out and call the cord tonic. Okay, All I have to really do I don't really have to do anything but one thing that will really make it stick, adding one note much. Okay, so we're starting in C major K. What court? What what key dough. I want to get to you. What's a What do we have here? Let's say here F sharp, a sharp c sharp, so f sharp major. So let's say I want to go from C major to F Sharp major. That is about as far away as you can possibly go on the circle of fifths right there, like totally across from each other, which means they're the farthest away you can do. So let's get into this. Let's say I want to make this sound like tonic. So if I want to bust out of this sequence right here and make this feel like tonic, all I really need to dio let's go to the previous cord and make this really feel like a 51 And nothing helps five feel like a five more than a seven. Okay, so that was a weird thing to say, but, um, here's what I mean, What's my court here? C sharp is actually see sharp E sharp D sharp. So this e sharp is that? But, um, let me go like that get into root position for us. So if I wanted this toe have 1/7 on it, I would add a B. Now, this is a seven chord, and now this is going to feel like tonic. Okay? And I'm even gonna leave this in route position, so I go see sharp upto f sharp. So I make a really strong, um, perfect, authentic cadence right there. Right? That's gonna make this feel like tonic this feel, like tonic. This feel like a big old five chord? Because that b is just really going to make it feel like Oh, and it resolved down to that a sharp. And now this is tonic. Let's try it, Theo. Right? It was a little hairier than I thought, but that's right. So it sounds this court is going to sound a little jarring, but that that dissonance is going to make this feel like tonic could probably move that up now. It's not a perfect, authentic cadence, but voice leading might be better. Yeah, Theo Tonic. Right? So we just did a crazy crazy key change by kind of ripping through this big sequence, getting us down to the C sharp chord, throwing in 1/7 and then landing on the tonic, treating this as 57 to 1, making a big old cadence there and making it feel like one. So if you want the reason I'm pointing this out, if you want to do a crazy key change a sequence is a good way to get you close to it and then throw 57 in there, and then you can land right on the cord that you want to land up. Cool, cool little trick for key changes 30. Descending Third Sequences: Okay, So there are other sequences other than the ones we've looked at so far, the ones based on fifths and fourths, right? You could have a sequence based on anything. So let's look at a couple others that are most popular. The first I want to look at is a descending third sequence, so dropping down by thirds every, um, court change. And I should say, these don't have to be one chord per bar. You can. You do whatever rhythm you want with ease just to simplify things. I'm doing them one chord per bar. But the rhythm is you can do whatever you want. Okay, so we're descending. Third sequence. We're gonna go down by thirds, and all the same things applied to what we just talked about. Right? So these could be major or minor. Thes ca NBI chromatic or diatonic. What have you um I will say that this is more commonly done in Major, and it is more commonly done. Ah, diatonic Lee. The descending third. So we will look at it in minor, though also. Okay, so I'm gonna go see if I go third down one. Sorry. Start with where we were 12 three. Okay, I'm on a minor. Some down to six. The six scale degree. Now I'm going to conform this to be in the key, so I needed to be in a minor. Okay, Now I'm gonna go down another third. So 123 that gets me toe f conform it to be in the key. So that's going to be an f major. And then down another 31 to three gets me to D, which needs to be minor. Okay? And we could keep going, but let's just do these 1st 4 Okay? Let's hear this. Okay, let's fix our voice leading a little bit here. I can even do that. Take that out. Let's do that. Okay. That's with this whole thing down. Inactive. Make a nicer sound right, And we can keep going. It was a descending third. I often call this the musical cadence because are not Cates sequence the musical sequence because I often hear it used in musicals in music Theater, Music Theatre. Ah, folks love this cadence. Are this guy I'm stuck on cadences for some reason. This sequence music theater folks love this sequence is what I was trying to say Okay, we can keep going if we want. Um, but what core progression does that get us? So we're in C. So it's gonna be one six for to. Okay. 1642 We could loop that around. It sounds pretty good. Okay, let's give me that look. All right. So relatively simple. Now, let's take a look at the same one again in minor. 31. Descending Third Sequences In Minor: Okay, let's go back to see Major. And it's actually go to a minor. Okay, a minor. And now let's do the descending third sequence again. So 123 And when I'm counting down, By the way, I'm just I'm counting down by scales. Um, so remember, in the key of a minor were only on white notes, so you can just kind of go one, 23 And just look at the white notes. If you're in a different key, you have to think about what the notes in the scale are and then count down by those. Okay, Uh, so we got a conformist to the key. That's gonna be f major. 123 de is give me d minor and 123 and be in this is gonna be diminished. Okay, we have one six for to, but our qualities have changed, right? We have minor major minor diminished, so it's gonna sound a bit different. Okay, let's fix our voice leading a little bit here. Then I guess let's put that half up, and then let's do this again, just to see if it loops around. Okay, Kind of, um, let's maybe take this one. Oops. Google farther with it. So we have b d f that's still in route position. So to three. 123 to get these in the key. So this I need Oops G B d and e G B. Okay, Now I'm basically going to keep going until I find a good spot to flip us back around a And the best spot would be the five of a, which is E. And here we are, Right. So if I want this to loop back around this e is probably my best spot. So let's fix our voice leading a little bit, and it's gonna pump us up to there. Let's try that. Yeah. Nice. So we got back and made the loop really nice and smooth, um, to go back to one here. Now, if I wanted it to be, even while not smoother but stronger, I could make this e a major cause Watch this. That's gonna make this G g sharp than if I put this up here. That a is just gonna be screaming because we've got this g g sharp, eh? It's just this is just gonna push us towards that. A like nobody's business. Let's hear it. Right. Um, real strong push there because I made that g natural. I raised it to give us that leading tone, making a major five chord and just the way the voicing worked out we went G two g sharp toe A. Well, chromatic passage really pushed us over into a So So it works fairly well in minor as well . Um, it's pretty dark, though, right? It's kind of a sad sound. Um cool. Okay, so let's look at an US sending third progression kind of the opposite of this one. 32. Ascending Third Progressions: Okay, let's go back to a major key. C major, let's look at us ending third. So going up by 1/3 instead of going down by third, this is much less common. Um, And why? Why is it less common? Probably because it just doesn't sound as interesting. Um, to be totally honest. Um, so let's do it. See t e to G to be, you know, and we can really just kind of go see there's my third, so it's gonna be my route. My next chord there is my third. It's gonna be the root of my next chord. Although I need to get these into key dupes. Okay, so in this core progression and we're gonna go 135 seven. So the thing that makes this tricky is that if we go by route notes were just spelling out 1/7 chord. C e g b. So it kind of sounds a lot like were almost Are pesci ating the cord? Right. We're just building the cord. Here we have C major. This is gonna sound like C major. Seven. This is gonna sound like C major nine is going to sound like C major 11. So if I just extended everything out here, we would have a big, like 11 chord, right? Cause we just added thirds. So that's why this one doesn't sound really convincing. It kind of sounds like one chord being stretched out. Let's hear it. Right. Um, even if I do it with a good voice leading it's here. No, right. It still doesn't really sound like we're moving in that sequence. Ah, it more feels like just kind of one chord washing around. So that's why us sending thirds are not as common as descending thirds. You can still totally do it if you like that sound. And I've actually used this in a track. I can think of a track I've used this in, and I really liked it. Um, so there is, you know, ways to make it sound good, but, um, just keep in mind that it has the tendency toe just kind of sound like you're building one big chord 33. Progressions By Seconds: Okay. What if we had a progression by seconds? Ah, you've seen this before. That would be our diatonic chord progression. Right? This is a progression by seconds. So not very interesting. Let's hear it. Oops. I should probably put it in key first. Oh, my gosh. Okay, so this one not so useful because it's really just the diatonic or progression. You can get some useful things out of it if you, um if you want this particular sound of there being sort of this alternating kind of thing , you can also get something useful out of it if you combine it with another sequence. Right. So what if we didn't multiple sequences at the same time? You end up with some really interesting sounding stuff. Let's talk about that in another video. 34. Combining Sequences: so using sequences is great. You can make some really cool sounding stuff with sequences. You can also kind of bang sequences around to do what you want. And I want to show you one example here of a tune that you've heard before. I'm sure you've heard this before somewhere it's impossible to escape. That uses kind of a modification of a sequence where there's kind of two different sequences happening at the same time. Um, and it makes for this really, really distinguishable core progression. Um, in fact, if I just play the core progression, you will probably say, I know what that is. Um, let me just play it for you and you'll recognize it. Okay, so this is the core progression I'm talking about. Okay. Have you heard this before? Is that familiar to you? Probably. It's if you've ever been to a wedding. You've heard this. Um, if you've ever listened Teoh any classical music? You've heard this? Um, probably this is commonly called pocket Bells canon in D. Um, it's by the composer Pocket Bell. And the actual title of it is cannon. Um, but a lot of people is Call it pocket bells. cannon, which is somewhat sort of incorrect. But anyway, I won't get hung up on that. Um, so this is a sequence. You can feel it kind of turning like a sequence, but there's a little bit of, ah, trick to it, too. Um, make it its own thing. So let's do it. Let's do little analysis of this and let's figure out what is actually happening here. 35. Analysis: Pacalbel Canon: Okay, so in the key of D here d f sharp A And let's just figure out what our cords are. So we have d So we'll call that one then. We haven't a so that would be five. Then. We have a B minor. That will be six. Then we have an f sharp major. These air not in root position, by the way, Um, we haven't Sorry f sharp minor. So in the key of D, that would be three. Then we have a G major. Then we have a d major. We have another G major, and then we haven't a major. So these last four kind of their own thing, but we would call this 414 but Okay, so here's what's actually happening here. We have this group of two. Okay, so we have d to a Okay, that is an ascending fifth, right? D up to a are sending fifth. Then we have these two. We have B minor to F sharp minor. That is enough. Sending fifth right. Be upto f sharp. Then we have these two g up to de isn't us sending fifth, right? Then we have this one which is kind of where they break out where he breaks out of the sequence. Let's leave that off for now. So we have are sending Fifth are sending fifth are sending fifth, but connecting the ascending fifth are not ascending fifth. They are seconds right. We have a major to be minor groups. We have a to B. That's a second here. We have f sharp to G. That's a second here we have d to G again. This one breaks out of the pattern, so it changes. So what we have here is ascending fifths sequence connected by a an ascending second sequence, right? So every two is its own little group of ascending fifths. So we have us sending fifth, ascending fifth, ascending fifth, and then each of those is connected by a second ah, sequence of a second. So it's like there's it's an ascending fifth sequence, kind of embedded within in us. Sending second sequence, if that makes sense, Right? Um so it's kind of cool. It makes this really ubiquitous core progression that everybody's heard before and everyone recognizes. Then at the end, they just basically he's goes 4 to 5, which again is a second, by the way, uh, to spin us back to get us the five chord and make the cadence to spend us back to one. Let's hear it again. There you go. Pocket bell. Right. Sequences within sequences. Um, kind of fun. Okay. So, um, I'm anticipating a few people are gonna ask me for this file, so I'm just gonna give you this MIDI file Can do that. Yeah. I'll upload this MIDI clip in the next thing so you can download it and play with it if you want. 36. What Comes Next?: All right, We've reached the end of music theory for electronic musicians part for at long last, I am committed to doing apart five and apart six. So I'm going to get to work on those right away. Let me tell you what's coming soon. So in part five, we're going to really be looking at structure. OK, we're gonna look at phrases, motives, Ah, sentences, periods, hyper meter. These are all things that all terms that we use to talk about how we're organizing, um, melodies, mostly, but also structure within the whole ah, whole track. Right. Um, we use these words like sentences and periods to talk about, Um, you know, like a melody kind of unfolds in the same way that, like a sentence unfolds kind of. And there's a period, which is kind of like a cadence. Um, that kind of wraps it up. So, uh, that's gonna be the next part. And then part six, we're going to talk a lot about modulation and how to do key changes within core progressions within melodies and within a track and more so stick around. There's a lot more coming. I'm gonna leave you with a few other little things here before we wrap up this class. So hold onto your hats. Um, got a couple other things off. We go to that stuff. 37. Thanks for Watching!: All right, This is the video that have put at the end of everything where I just say thanks. Thanks for sticking around. Thanks for watching this class. Thanks for being a part of this crazy online experience. Um, I've had a lot of fun doing it. I have a ton of fun making these classes, and I'll keep making them as long as people keep taking him. Um, so in the next thing, the last thing you're going to see in this class is gonna be some text, But please read it. It's gonna talk about, um, how to get involved with getting feedback on your projects. Ah, getting more help? Um, some extra things you can do. Um, ways You can hear from me more if you want to. So please read that stuff. It's coming up next. Thanks for taking this class and any of my other classes you may have taken. And I hope to see you in the next one very, very soon by 38. Bonus Lecture: Hey, everyone want to learn more about what I'm up to? You can sign up for my email list here, and if you do that, I'll let you know about when new courses are released and when I make additions or changes to courses you're already enrolled in. Also check out on this site. I post a lot of stuff there and I check into it every day. So please come hang out with me and one of those two places or both, and we'll see you there.