The Chord Progression That Makes MOVIE SOUNDTRACKS Sound SO GOOD

[@MusicTheoryForGuitar]

Now use the chord progressions in this video together with the "Superhero Rhythm" in this other video: kzbin.info/www/bejne/hYXKZp6tjayIhpI and you'll be writing movie soundtracks in no time!

[@shtfeu]

Yet simple, this concept blew my mind in terms of inspiration ! Thanks for the video !!!

[@johnmac8084]

Clear & thorough explanation Tommaso, thanks

[@vlad_dev_ua]

as always great lesson ! thanks a lot !

[@creambaeggie7228]

About the mediant progression: They are all functioning as tonics explains why it work. You’ve done a great job explaining the importance of voice leading common tones. Keep up the content👍👍👍

[@dragasan]

This is really cool. Thanks for sharing. :)

[@richermorin]

waow im so clueless when i watch your video but every time you explain a concept and then use it it sounds so amazing. they say when we dont understand we are learning, tks coach.

[@waynehicks1969]

Very useful.

[@christopherheckman7957]

4:06 Uh ... There's no B in the Eb major; it's a Bb. 5:27: Okay, you got it. You forgot to mention smooth ("zmooth") voice leading. In Am - C#, there isn't much of a change in the notes (not more than a major second): A in Am goes to G# in C#; C in Am goes to C#; E in Am goes to E#. Since you have notes moving both up and down, you have "contrary motion", and that makes it sound better, too. Scott Murphy talks about similar progressions in his "How to Imitate a Whole Lot of Hollywood Film Music In Four Easy Steps" video.

[@PopovSB]

We have a slightly different explanation of this. Chromatic mediants are the mediants of tonalities of the same name or parallel major-minor: C\Cm - parallel tonalities Am\ Ab - chromatic mediants (vi - bVI ) Em \ Eb (iii - bIII) chromatic Em \ Ab (iii - bVI) crossed M F \ Fm - parallel tonalities Am\ Ab (iii - bIII) - chromatic Dm \ Db (vi - bVI) - chromatic Am \ Db(your C#) (iii - bVI) - crossed The relationship of chords is based on the fact that the pitches of the root notes of the tonics of parallel tonalities have the same pitch. Much is explained by the collection of chords in parallel and relative tonalities or modes.

[@MusicTheoryForGuitar]

Using your theory, how do you explain a chord progression like Cm A or C Ebm? (I'm not saying you can't, I just want to understand)

[@PopovSB]

@@MusicTheoryForGuitar Wasn't it about the medians? The mediants of parallel tonalities have the same third tone (same pitch). ( C(Cm) : Em(Eb)=g, Am(Ab)=с ) We call them one-tertz chords (in my country). They are one-tertz mediants.The alternation of high and low degrees of major and minor tonalities gives light and dark colors, characteristic shimmers. We also talk about "one-tertz" ("same third-tones"?) tonalities (tonalities C-C#m are linked through the E-pitch). Your chords [Cm - A ] and [C - Ebm or same A-Cm] have no common notes and no corresponding mediant affinity. It's something else. Therefore, to explain their neighborhood, I need to know at least a section of 8 bars. Or better yet, hear a song with such a harmony. For example, I hear the following variant: |Bb | C |Ebm | Bb | ( or G *A Cm* G) I - II - iv - I T|S-alt|s-harm|T ... It's a variation of I - II - IV- I - Eight Days a Week. In this case II - iv are related because they belong to the subdominant group (with alterations). It is also possible to build a more complex system of parallel ( || ) and relative ( ~ ) tonalities. Cm || C ~ Am || A Can you give me the name of a song where Cm-A or A-Cm harmony occurs? Thank you! PS It is very difficult to describe all this in a foreign language, as there is a difference in terminology and the topic itself is not simple.

[@MusicTheoryForGuitar]

So, if I understand correctly, in your theory a progressions like Am C# (like the one I am explaining at 8:07) would NOT be considered chromatic mediant. In "my" theory (not really "mine", simply quoting the theory I now), it IS considered a chromatic mediant, indeed (as I explained in another video) it's a special kind of chromatic mediant called "doubly chromatic mediant" (I think Allen Forte was the first one to use that term, but I'm not 100% sure). Indeed, I am unaware of any theorist that thinks, like you do (again, correct me if I'm wrong), that chromatic mediant have to come from parallel key relationships. Can you provide a reference? (Again, not saying you are wrong. Just intrigued at the difference!) As for examples, here's an early 17th century one (just for fun): kzbin.info/www/bejne/bJW5gahtZqlrjKs (but these chord progressions are all over late Romantic music too)

[@PopovSB]

@@MusicTheoryForGuitar (quick response, the rest later.) " in your theory a progressions like Am C# ...would NOT be considered chromatic mediant. " I answered above - there is such a thing: [ F/Fm] : Am(iii) Db (bVI) I need to look at the context If you want to get this in Am, then C#m realative harmonic V (E). Also Am C# can be represented (I'll write it down a half tone lower) as C Abm ( I - bvi ) which is (in my opinion) a chain of C||Cm~Eb ->Ab Abm (S-s harm) connections . ( Schubert's bvi ) And Am - Db = vi bII ( bII - Neapolitan chord) > "As for examples, here's an early 17th century one (just for fun)" Thank you, very nice, though not clear yet. I don't think there were any tonalities or mediants back then. >"Can you provide a reference?" Google this kholopov-harm-theor.pdf See down on page 378 of the book (or page 190 of the pdf file). I haven't found anything more illustrative yet. KZbin doesn't seem to let external links in. It's very difficult for me to discuss here

[@MusicTheoryForGuitar]

Ok, I'll have a look at it. And yes, YT comments are not the best place to talk about it. If you want to keep going (I am interested), I suggest we move the discussion via email, write me at [e-mail]