I noticed a lot of sci-fi / fantasy film score music uses minor chromatic mediants during a “buildup” phase then jumps up to the relative major before descending chromatically to the major chord a third below for a “big reveal”. The descending major triad jump can sound really powerful after a series of minor chords.

Grande Maestro !

It's insane that this video that this video doesn't have thousands of views!! Such a great explanation! Please keep making more videos and thank you so much!

If you are not an instructor, you should be. I have been looking for instruction of this quality for some time. Absolutely excellent. Thank you.

Do you think you can get AI to help you modify your voice? It would be so much easier to listen to 🙏🏼 I truly do not mean to be rude so please don’t be offended. Your content is really great. Please do remember musicians are auditive beings 🙏🏼

Thanks! That filled in a lot of gaps for me.

Well explained, Did you use note performer in sibelius software?

👏👍

thank you! your melody got great, too

Finally somebody explain this well! Thanks

Very good work ❤

My piano tutor gave me an assignment, writing a melody over the chords arranged by her. Your video is helping a poor student of music who has no clue. Thanks a lot! You have a new subscriber here.😊

This is gr8!!

Nothing like horrible synth strings playback to ruin a perfectly good composition!😔

Other scales Dorian #4 i biii Lydian #2 i vi Hungarian major I III and i iii vi

super!!!!

This is the best explanations of musical Modes !! All basic harmonic book created misconceptions for many years. Thank you so much for this lesson !!!

Great video and lesson !! What about inversions? Are there so kind of restrictions or indications?

I cant fine part 2

Hi !! thank you for these great lessons !!! I cant find Mixolidian Orch. Compositiono lesson

These lesson are so good and practical !! Thank you!!

Beautiful orchestration.

Incredible tutorial. Wonderful real-life and practical examples. The only problem is that I haven't found your channel sooner. :P Thanks dude.

From this video it seems you have to know basic level music theory such as basic rhythm notation first, to expand a motif rhythmically using modern manipulation techniques. I make music by ear using a midi controller keyboard and a DAW that always help to get music idea out my head rightward and into a full composition. I made a lot music this way first aa a hobby. now that I'm older i have and more patience , I have an interesting need to know how did made music ear from music theory standpoint. I appreciate you showing instant application of music theory I can enjoyable easy to understand. Yet if wasn't for music technology like midi keyboard and DAW combination , I wouldn't even bother with trying to make music.

Great analysis; much obliged!

A genius is measured by what he or she does after 8 measures.

I always wondered if #IV dim to I over V was a special case, and turns out it is. Many thanks.

I'm currently trying to write a song in A locrian, and I feel like it's starting to come together now. I wrote a motif for the chorus that mainly just spells out the tonic chord (A, C, Eb) with an extra D note passed by to connect the C and Eb. So I use the flat 5th and the tonic note a lot in the chorus to hopefully establish the locrian sound. In the verse I instead use the flat 2nd alternating with the root note and some other extra notes to hopefully achieve the locrian sound in a slightly different way. My idea with that was to get some clear distinction between the verse and the chorus, and to keep that Eb as my highest note. And I play that entire melody over a pedal note, or rather a frequently repeating 8th note. Maybe more of a drone note, but whatever. I haven't made the bridge yet, but I quite like what I've made so far! I dunno why, but I feel like I'm at less risk of making it sound like its relative major when I use A locrian. Because when I tried to use B locrian it felt much harder to avoid it ending up sounding like C major. Maybe because I'm just less familiar with Bb major, but I dunno. That said, while I do use the F note here and there in the verse (which wants to resolve to Bb) I never follow it up directly with a Bb, other than as a passing note, and I think that way I avoided it sounding like Bb major. Basically I think you give good advice about really hammering through that tonic note throughout the piece in one way or another, and to have (some or more) of the melody spell out the tonic chord. Also making some use of that flat 5th and/or flat 2nd that are so characteristic of the locrian mode. I think following those steps does really help me bring forth that locrian sound.

This was really helpful. Thank you!

Dude right on! I love the sound of locrian. Here is my backing track to the piece i wrote in locrian on my youtube channel kzbin.info/www/bejne/qHXcap6gn8SHjqMsi=D02QqQK8_l-ujL0B

I was waiting for the first example melody to turn into Grieg's morning mood lol

Thanks for putting things into perspective. Can you do a video on expanding short melodic phrases into longer ones? And also on through-composing? I would love to hear your perspective/approach to these practices.

Error in bar 12 - the cellos there do not rest, they are divisi, playing A and F above that (in the bass clef) as whole notes. You can hear them in the recording. The notes were very faint in the scan that Omni was using for their published version, so it made it look like the bar had no notes, and so these notes are missing from the Omni publication.

"Con amore" isn't in the original score, those expressive tempo markings in this case were added as editorial marks for the published version.

Beautiful Melody 😊 (Was just watching your melody video and came across this...) - Very nice job matching up the video clips to the music. Was happy to find it on Instagram...

Nice video!! Nice music!!

the ending made me realized that maybe my writers block is not because I'm not feeling creative and only able to write boring melody, it's just because I'm not finished writing it yet

This is very pertinent to what I have recently discovered, and now can expand upon. I realized I always failed to understand modes because I tried to use the same chords as the Major Scale's and for some reason D (for example) would never feel like home. Once I realized I can just hammer D on the bass while playing white keys to force the Dorian to come out, a whole new world of possibilities opened up. Your other videos on each mode will greatly help me, thank you. Since you asked for suggestions for future videos, I have two distinct issues when trying to compose that might be interesting to talk about: 1 - Rhythm. I have no flexibility because I barely have any vocabulary to talk about rhythm other than straight out beatboxing them. I learned how to count my oney and a twoies, how to notate it, but composing with rhythmic variation - or even knowing when I should add variation and what would be the effects to expect is a mystery box. 2 - Planning. Maybe this sounds kinda vague, but I'm a visual artist. When I want to draw a piece, it doesn't matter if it's a simple character or an entire army fighting a dragon: I can sketch out the rough idea in a matter of minutes, to capture the overall 2D composition and be able to visualize what I want the full piece to be. Then it's just a matter of spending another 1000 hours polishing it carefully to actualize that sketch that only I can understand into a picture others can also enjoy. In the same vein, I'd love to understand how to create musical "skeletons", the draft that defines the overall feeling and structure of a song. I can pick progressions, harmonies, scales, signatures and whatnot, but without a quick idea in my head of what they'd sound like beforehand it feels more like the puzzle-solving through rules that I undertake decide the final outcome, my initial goals are lost along the way. Currently (re)studying counterpoint which seems to help, but there can be many more elements I'm unaware of (and, of course, the rhythm/beat). Hope those are relevant topics! Enjoying the channel so far, let's pray the algorithm gods take upon your offerings.

Excellent! I like the fact he said that the great composers did this instinctively without all the tech babble. Whatever helps, though. And I like the fact he said, a matter of taste. I liked his motif, but I didn’t like the diminished approach chord. That personal preference, I wonder, leads to individual style?

Your videos are super valuable! Thank you so much!

Anyone else not really listen to his explanation at all but just notice the gist of the tricks he's using?

Thats great, thnx.

it's simple: i chose not to be born to rich musical wealthy white parents and i chose to be born in asia, not america or UK. i also chose to be a transgender woman, and left handed and chinese...now what s wrong wid me!? new age philosophy says all the above is TRUE. But yer right, I cant give up, its only been...40 years of tring! i m still young, only 60! wait til i get to 85 or 90! then my youtube will REALLY TAKE OFF!!!

Loved this video ..clarified so much for me and a great reference tool

I'm a nobody wrting songs noone will hear on a DAW in the moiddle of nowhere lol - but this has helped loads with all my moribund eight bars of tune and then - nothing. Because I didn't knw these 'tricks' excellent subscribed and liked

I'm not sure I would call them techniques, more like devices, a technique would be a specific way of using those devices

Outstanding! That was perfect 👌. Thank you 🙏

Been studying theory for years and never heard of most of these terms. Will use this knowledge. Thank so much! Subscribed instantly!

Nice work!

Thank you - my attempts have always been a bit haphazard. Will follow along with interest