You're absolutely right. I looked at some other arrangements who had done the same mistake and didn't think enough about it myself. I have updated my arrangement with correct notation now, unfortunately can't change the video.

@@SonataSecrets the video was still amazing! I loved hearing you play it! Didn’t ruin the video in anyway just my music theory brain had to say something

I guess you're right to call it Lydian dominant (also the "acoustic scale" in another comment), it's just that I don't go that far into the details about it, and I still think you could call out the "lydian" features the way I do where it's applicable in the music.

It's a valid question, I've spent quite some time to check it out, and it works through the service/platform ArrangeMe.com which owns a lot of titles, including this one, and makes it available for third party arrangement. Only the deal is I get 10% of any revenue (I don't think the terms of service is a secret), the rest is shared between the platform and the original composers. I think it's actually a good deal, the music gets spread out and the composers get paid, as long as you realize it's not feasable to make a living off of only arranging it. It looks pretty similar on musicnotes.com marketplace (same % deal), however they don't have this title available for arranging so I cannot upload it there. Also, if you upload an arrangement to musicnotes marketplace (something they do have the rights to), it doesn't show in their general search which only seems reserved for their selected artists arrangements...

@@SonataSecrets that’s great! I know other people who use ArrangeMe, but I didn’t know that Musicnotes does something similar.

Here you go! kzbin.info/www/bejne/lXayp2mindSfr80

I was also thinking I'm going to have to go to Vinheteiro's channel to see the full performance but will go and watch yours now 😊

I hadn't heard of the acoustic scale before reading the wikipedia page for this video haha. Sure, technically it's correct that it uses the major #4 b7 scale, but the b7 part is less prominant than the #4 (lydian) which is why I talk about it the way I do. For example, the main version of the theme doesn't use the b7 at all. The start of the 16th runs (b.13) actually uses the leading note (M7) first before switching to the b7 when approaching the full whole tone part. However, it does come into play in later parts (b.16-17, also b.21), it's just that I didn't go into that much detail in this video. I would argue that it's still correct to call it lydian for those parts of it where it overlaps.

"translate to english"

Changed it 😅

I understand the question, it would make more sense theoretically to use one sharp for C lydian, I think it's just that we "default" back to the ionian/aeolian key signature so it's always clear where the root is. At least for me it makes more sense this way because I'm not at all used to playing in other modes in general, so the harmony even feels more like a temporary offset (so accidentals makes sense), even if it's for a whole piece! I suspect you'd learn to feel differently if you're used to playing in the modes more...

@@SonataSecrets Yeah, I think that is one difference between classical vs church music. Classical barely if ever touches the other modes from what I understand, while because some of the hymns are really really old, some of the modes still survive and when we get to the Romantic period some even went back to the Middle Ages and starting reusing the modes. Classical would then be more "modern" or rather contemporary and as a result be more conventional and stick with mainly major and minor. I dunno, this was a small hypothesis I put together with the small experiences I have. - But again thanks for the video and thank you for your answer. :)

Yeah, I think so too.

Thank you! 🙏