Musical Moods | The Mystical Major7#5

In this music theory lecture, we explore the fascinating world of moods in music with a focus on "Mystical Harmony." Learn how to write mystical music and craft ethereal music by creating enchanting, otherworldly atmospheres. This class dives deep into music theory, teaching you how to use dissonance in music to evoke powerful musical emotion and captivating moods in music. Whether you're curious about how to write music with a mystical vibe or want to understand how to evoke emotions in music, this lecture covers it all.
Join us in this music class as we unravel the secrets of emotions in music and explore how to create mystical music that resonates with a magical, ethereal intensity. Perfect for those interested in how to write ethereal music, mastering musical moods, and enhancing their skills in music theory. This music theory class is your gateway to understanding how theory, dissonance, and emotion combine to create unforgettable, mystical compositions.
FREE PDF: Maj7#5 Resolutions: drive.google.c...
Additional Info
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Article By Mark Gotham - Covers the use of augmented chords in classical music--this is where I found the Liszt Example: viva.pressbook...
Mark Gotham Bio - www.kcl.ac.uk/...
Mark Gotham Anthology (some of which shows historical use of augmented chords)
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Score & Recordings from Liszt Example: imslp.org/wiki...)

[@TruthSurge]

Long-winded opinion incoming....I disagree that the dim 7 sounds as if it leads somewhere but augmented doesn't. They both are used as "leading" chords or transitional chords or connecting chords. A dim 7 can resolve to any of 4 dom 7ths by just lowering any of the 4 notes. Same for augmented. Just alter one of the notes down by a half step and you get a major chord that naturally is related (closely related) because 2 of it's notes are the same. It's your opinion and you have every right to it but I can hear chords that naturally derive from other chords. A dom 7 can seem solid and stable (listen to the verse of Taxman by the Beatles) or it can lead to a 4th above as in E7 to A major. Both dim 7 and augmented chords are symmetrical so they both sound unresolved compared to the normal maj or min construct so to me, neither floats. Both chords I personally feel that they are by nature transitional. I expect them to resolve to a new chord of some sort. Augmented (to my ears) wants to resolve to a half step up (pick any of the 3 and move up a half step and play that maj chord next). etc.

[@JohnZazoMusic]

I hear ya. I don’t expect anybody to take my descriptions as gospel. It’s just my take on it. And as you said, your opinion is fair and seems well justified!

[@JohnZazoMusic]

Cool channel btw

[@TruthSurge]

@@JohnZazoMusic thx and yeah, it's hard to try and be objective about music in some areas because... well, all we have are the historical uses of these things and the math of how they vibrate together. So... I think in general we would agree on most things. Like I feel that a pure augmented chord is tense, suspenseful, unresolved, not necessarily scary but kind of leans that way by like 2%. heheh But then probably some of this is from memories of hearing soundtracks and how these were used then. You know, the old dim 7 tremolo chord when a train is about to run over the damsel tied to the tracks? That kind of stuff. We all have different histories and memories so.... it's a little bit subjective in some areas, I think. Thanks for the vids. I don't watch many of these because I just get depressed. There's just no reason for me to watch. I just don't need to know this because I'm not even going to use it if I DID write a soundtrack for something. But you know... 50 years of doing music... once every year or two I click on a "how to" vid about music or mixing or what not. Keep rockin!!!!

[@JohnZazoMusic]

@TruthSurge Well thanks for stopping by! I really appreciate your insight. If I understand you correctly, I certainly agree- YT can be overwhelming and sometimes bring the spirits down. There’s just so much content and people competing for ones attention and especially as musicians it can distract us from why we got involved with music in the first place. At some point you have to stick with an approach that keeps music fun and exciting for oneself-rather than being flooded with idea after idea about how to think about or create music. Music school kinda had that effect on me-just constantly being bombarded by countless ways to think about music…to the point where I became emotionally exhausted by it.

[@TruthSurge]

@@JohnZazoMusic I think as you said the main thing we all were drawn to music was the amazing sounds and once we learned to play an instrument, we are just having some fun at that point replicating some of those sounds/songs. Later, we learn to dissect them and understand the whys. But for those who want to know more and get super technical, there's always jazz. hehehehhe okay... take care!!!!

[@AndersonsSmokeShow]

Dang dude! That was great!

[@dlpuppy7810]

My favorite example of this chord is about halfway into the 3rd movement of rachmaninoffs second symphony. Very beautiful

[@nino-ciampa]

Excellent video bro

[@JohnZazoMusic]

Appreciate you 🤜🤛

[@JohnZazoMusic]

Nice to see you here nino :)

[@3Giogiogio]

This is some really good stuff. Thanks for posting. I've recently been experimenting with this chord as well, mainly resolving the #5 down to a natural 5 before hitting the 7th. This video gives me a bunch of new ideas and I'm looking forward to exploring them. Please post more!

[@mauricemcguillicutty4746]

I play this chord (Cmaj7#5) in the RH (I'm a piano player), along with a D in the LH, resulting in a D13#11. That's my most common usage of this kind of chord. As the upper extensions of a 13#11 chord.

[@Drewster58]

Great musical tools to use for these ideas, nice examples, good explanations.

[@JohnZazoMusic]

Thank you, Drewster!

[@migueldospachangas7716]

In the rhythmically sparse, short sounds make articulation create mixed sounds that displace abnormally stable sounds that have a raised tone in the bass that evoke a feeling of lydian augmented with mystical delicate delight...FZ's direction for covering 'Stairway to Heaven', 'Nanook Rubs It' and other cadentially moded excerpts for 'Outside Now' and the one really freaky 4 bar section of 'Brown Shoes Don't Make It'. The single facet I'd always wondered about, though I was lost in the haze of a blissful covering of chocolate syrup. Damn all Politicians that hide themselves away while stirring the pot of syrup. It's why I'm so dang impressed, obviously.

[@fearitselfpinball8912]

This is excellent.

[@jrettetsohyt1]

Great! This is what I’ve been looking for; efficient and effective explanations of the language of music in terms of emotion and the imagination the writing inspires. I hope you continue this series. Thanks!

[@jrettetsohyt1]

Your interpretation and perception make sense to me.

[@JohnZazoMusic]

@@jrettetsohyt1 thanks! It seems I should continue this series!

[@michaelsmith473]

This type of deep dive is rare on KZbin. You got another sub.

[@JohnZazoMusic]

@@michaelsmith473 appreciate it 🤜🤛

[@theredstash]

Wow cant believe how helpful and well made this was, sometimes music ed videos can be unclear, but this was a welcome exception.

[@JohnZazoMusic]

@@theredstash thank you!

[@Li0nMa5K]

I just started the video and thank you for it! ^_^ This sounds beautiful!

[@JohnZazoMusic]

Thanks for stopping by!

[@bishalshankar9530]

9:01 what a run!!

[@Soulysis]

Thank you, I love this

[@sagandalya108]

Natural 5:4 thirds stacked from C upwards, the fourth tone is somewhere between B and C and when quantized down to B the result will be Cmaj7#5. An inverted version would yield a Dbmmaj7. A stack of 6:5 intervals quantized results in an Em7b5 and its inversion F#7 and so on.

[@HarryVerey]

Very clear and well made vid but I'm now exhausted!

[@Nathan_Schneider_Music]

Great video with lots of interesting examples. Thanks, subscribed!

[@JohnZazoMusic]

Thank you very much for watching!

[@GregHarradineComposer]

Great video, thanks!

[@statueofliberty1132]

These videos seem very useful 😊

[@JohnZazoMusic]

@statueofliberty1132 I appreciate that thank you :)

[@giampierogirolamo7134]

Great ear training

[@morganahoff2242]

Right down the rabbit hole...

[@DaveBessell]

Nice explanation and examples.

[@JohnZazoMusic]

Glad you liked it!

[@florencelingaynemusic]

I see the chord as two augmented chords at once. You have the root, 3rd, and #5 as the first augmented chord and the 3rd, #5, and Maj7 as the second. So, if we’re in C,it’s kinda like C major and E major superimposed together. Good vid👍 Edit: oops just got to that part of the video hahaha

[@ReginaldDwight]

The opening bit here has a Charles Tomlinson Griffes vibe - even more than Debussy, I’d venture. This sonority was en vogue in the 1970s in postbop and ECM-style Jazz, Richie Beirach used it often, it’s all over the Bill Connors lp with Jan Garbarek “Of Mist and Melting” It’s not particularly easy to handle from a voice-leading perspective, but I luck into it once in a while

[@JohnZazoMusic]

@@ReginaldDwight very helpful insight, thanks! -I need to check out some of those names you’ve mentioned.

[@ReginaldDwight]

@JohnZazoMusic Listen to Griffes’ Op 5 & Op 6

[@108Rudi]

I was composing sequences using quartal triads and your video seems oddly appropriate. Serendipity.

[@Ivan_1791]

Nice video. 😄

[@tdubasdfg]

Great stuff! Subscribed

[@JohnZazoMusic]

I really appreciate it, thank you!

[@Wreniffer]

first time seeing this channel, your telling me you do loads of different chords? well you will have a mysterious new view on every chord very soon

[@DouggieDinosaur]

I will never say the word dope again for the rest of my life unless I'm describing this video.

[@worblyhead996]

I recently have been looking at chords with both b5 and #5 chord tones. Throw in the m3 and M3 and p5 and you have a nice steamy tasty bowl of dissonace. Aug-minished? Dim-mented? :) Great video.

[@mdrdprtcl]

Definitely Dimmented 😂

[@damianruizdieguez9755]

Hi what is the music at 9.25?

[@JohnZazoMusic]

@@damianruizdieguez9755 It’s an original excerpt.

[@jackaguirre8576]

7:17 caught me off guard: that alto flute is playing in the context of concert GMaj7#5. Not the same chord as the underlying CMaj7#5 in the strings. It definitely worked to add even more mystery to the harmony though! By the way, where do these excerpts come from?

[@JohnZazoMusic]

I made these excerpts in Musescore 4.0 :D

[@jackaguirre8576]

@@JohnZazoMusic Oh wow, good job man! These were very lovely examples and excerpts.

[@JohnZazoMusic]

@@jackaguirre8576 thank you!

[@philg7806]

This threw me as well. Flute is a transposing instrument, sounding a 4th below written. You must have not transposed the flute part to concert pitch for playback in Musescore

[@JohnZazoMusic]

⁠@@philg7806 Yeah, that was an unfortunate realization moments after I uploaded 😆. I should have noticed. I checked musescore and yup! That’s exactly what happened.

[@JFT.]

Subbed

[@migueldospachangas7716]

It may be I'm just not that far advanced, but my new word is cadential.

[@detunedpaper]

Why not augmented major 7?

[@JohnZazoMusic]

@@detunedpaper Yeah, that’s another fair name for the chord. I used the “full” name with the hope to be more clear. My assumption is people with varying levels of theory knowledge could be watching, so I’m trying to be clear.

[@rubenmorillo06]

based chord

[@JohnZazoMusic]

@@rubenmorillo06 based comment

[@notme437]

more like C+ma7

[@RealSekiroGamerz]

Hi!! Remember me?? :)

[@JohnZazoMusic]

@@RealSekiroGamerz sure do! Thanks for stopping by :)

[@RealSekiroGamerz]

@JohnZazoMusic you don't do streams anymore?

[@JohnZazoMusic]

@ I’ll do some virtual concerts in the future!

[@RealSekiroGamerz]

@JohnZazoMusic ohhhh I'll check out if I have time

[@gregorsamsa4580]

You describe the chord and its constituents in detail, then skip over letting us hear the complete chord for more than a millisecond.

[@JohnZazoMusic]

@@gregorsamsa4580 there are plenty of examples in the video.