The Other Side Of Triads

[@toad15fan]

As an avid KZbin Pooper and music enthusiast, the sus chord has always been my favorite.

[@12tone]

Nice!

[@amayotato]

Starman Tumbleweed That's exactly what I thought!

[@jjsdumbshit2792]

To be honest I like neutral chords

[@SlyceCaik]

This joke took me an entire minute to understand

[@mathyoooo2]

Amogus

[@lucashoffses9019]

Take a random dim. 7 chord, and a random augmented chord. They'll always share a note in common.

[@12tone]

Huh, neat! Hadn't thought of it like that, thanks for sharing!

[@jjsdumbshit2792]

Him C dim (C Eb Gb Bb) And D augmented (D F# A#) F# = Gb! So cool!

[@althealligator1467]

Yep. That's how 12 ÷ 3 or 4 works. 12/3 is 4 and 12/4 is 3. The cool thing about those chords is that they have no root, since every note is as close to the neighboring note as every other note is. If you were to represent the chromatic scale with a circle (so like a Circle of Fifths except it's a Circle of Minor Seconds), a dim7 (double diminished) chord will look like a square, and an aug chord will look like an equilateral triangle. Both of those shapes have equal sides, meaning there's no root to lean upon. A Tritone would appear as a straight line that bisects the circle equally, so no root either for the 6 Dyad. Of course there's a root with context, depending what key you're in.

[@carlsmith3887]

What about C diminished and Db augmented?

[@lucashoffses9019]

@@carlsmith3887 A or Bbb (they’re enharmonics, but it still counts)

[@magnussaeboe9669]

Dude, I really appreciate your work. I've always been fascinated with music, but I'm finally learning more rigorously the theory of it via school. Your videos are a fantastic supplement that shows the interesting parts of theory that school never talks about haha. TL;DR: thank you.

[@12tone]

Thanks! Good luck in school, the world needs more theorists!

[@Racosz]

I use to think and label triads from their interval content. With PC Set Theory and Forte names this stuff would be as follows (NOTE: Triads with asterisk (*) are subsets of the diatonic collection 7-35): TRIADS BY THIRDS/SIXTHS Minor third and minor third 3-10 (0,3,6)* Diminished triad Minor third and major third 3-11 (0,3,7)* Minor triad Major third and minor third 3-11B (0,4,7)* Major triad Major third and major third 3-12 (0,4,8) Augmented triad TRIADS BY FOURTHS/FIFTHS Perfect fourth and perfect fourth 3-9 (0,2,7)* Quartal triad (sus2 and sus4 triads are rotations of this one) Perfect fourth and augmented fourth 3-5 (0,1,6) * Viennese trichord Augmented fourth and perfect fourth 3-5B (0,5,6)* Inverted Viennese trichord TRIADS BY SECONDS/SEVENTHS Minor second and minor second 3-1 (0,1,2) Minor second and major second 3-2 (0,1,3)* Major second and minor second 3-2B (0,2,3)* Major second and major second 3-6 (0,2,4)* TRIADS BY MIXING INTERVALS Minor second and minor third 3-3 (0,1,4) Minor third and minor second 3-3B (0,3,4) Minor second and major third 3-4 (0,1,5)* Major third and minor second 3-4B (0,4,5)* Major second and minor third 3-7 (0,2,5)* Minor third and major second 3-7B (0,3,5)* Major second and major third 3-8 (0,2,6)* Major third and major second 3-8B (0,4,6)* Each 19 trichord set mentioned at 4:40 has six different voicings which generate 114 posibilities. Greetings from Bogotá, Colombia. Excellent KZbin channel.

[@Friek555]

This channel is so great, and it deserves way more than just 6000 subscribers.

[@12tone]

Thanks! Feel free to share if you know anyone who'd be interested!

[@TheTrueAltoClef]

For me the the sus2 chord is equally powerfull when resolving to a major triad as to resolving to a minor triad, classical composers would often use the sus4, followed by the sus2, resolving back to the "unmodified" chord, which if streched out in the ending of a piece would give it a really unstable feel until going back to the unmodified chord

[@12tone]

Yeah, it definitely works well either way! I like it more going to a minor chord 'cause you get that half-step motion that you want in a resolution, but it's not like it sounds wrong going to major either. (And, of course, the same is true of sus4s going to minor.) I just find myself leaning toward sus2s in minor and sus4s in major and I don't tend to see people point that out, so I figured I'd mention it. Of course, combining them is great too: One of my favorite pieces I've ever written featured a vamp from D to Dsus2 to Dsus4 and back to D. Creates some really nice melodic options.

[@TheTrueAltoClef]

12tone but I think in this case why the sus2 to major works is because the sus4 is still in the back of you head so the resolution might sound better that way going from the sus2 to the major. That might be the reason classical composers did that. Anyways, great video. Keep being the awesome guy that you are :D

[@abramthiessen8749]

I have a song where the VI sus4 resolves into the V dominant as a way of extending the resolution. This works partly because of the common second degree and the half step movement from the third degree to the fourth. (Though looking at the notes in the melody, you could claim the VI sus4 resolves into the minor vi chord before the V chord starts).

[@kevinlel]

I like resolving sus2 to the dominant major chord, then resolving that to the tonic major or minor.

[@mjr.ashhole7436]

I do not understand a single thing you are saying, but i still strangely enjoy watching these videos.

[@TheTrueAltoClef]

also, talking about all the types of scales would be a nice followup to this video

[@npnaia]

Hey, how about lydian triads and phrygian triads as more extreme versions of the sus chords (b2 or #4)

[@12tone]

I haven't really experimented with those, but my gut instinct says they'd be more likely to want to resolve to power chords than triads. Still, though, I'll have to play around with them first to be sure!

[@Racosz]

5:16 - Inversions doesn't always change it... One of the most powerful complements to PC Set Theory is Paul Hindemith's harmony theory explained in his treatise "Unterweisung im Tonsatz" (The Craft of Musical Composition). According to Hindemith, it is possible to trace the root of any chord or interval by means of understanding the relative tension and release of intervals. The calculations of this can be tedious and hard to explain but basically, a perfect fifth or a perfect fourth are "better" intervals (not in musical or aesthetic quality) than a minor second or a major seventh because the former ones are closer to the perfect octave acoustically speaking. So, it is possible label any chord (trichord, tetrachord, hexachord, etc) and trace its root: the root of the best interval within the chord would be the root of the chord. A chord and its inversions might have a different root depending of the interval content of the chord. Obviously this is not true for minor and major triads, but is perfectly possible for a triad with a more complex content, for instance, a quartal triad (Forte name 3-9) or a mixed sonority. In brief, Hindemith's theory is a good tool for labeling and classifying sonorities because allows to determine how stable or unstable a sonority is. Greetings from Bogotá, Colombia. PS: A video about Hindemith's harmony theory would be a total hit.

[@lewkawn.6669]

a sus2 chord is just an inverted sus4 built on the fifth of the sus2

[@noamprag9393]

There is a thing you missed in this video. Actually, two things, called the "diminished third", which we also call a "major second", and the "augmented third", which we also name as a "perfect fourth". These kind of thirds are the thirds that suspended chords are built of, which means that suspended chords are, in fact, built of thirds. Another thing that I found interesting about suspended chords is the fact that if you invert a sus4 chord for example, you'll get a sus2 chord that it's root is the fourth (augmented third) of the first sus4 chord. Same thing applies the other way. If you invert a sus2 chord you are going to get a sus4 chord that it's root is the major second (diminished third) of the sus2 chord.

[@toasttghost]

What would you call a sus2 chord that also includes the minor 3rd? Minor sus2? For example A B C E it's simultaneously Aminor and Asus2 idk what to call something like that

[@toasttghost]

Also, it's a bit pedantic to call the suspended thirds actual thirds. The thirds are suspended, like getting suspended from school, or getting a substitute teacher for a day, some other manager subbing for your usual boss cus he or she is out on vacation or in the hospital and we cant tell at this point which is the case

[@noamprag9393]

@@toasttghost I would call it an Am(add9) chord

[@allanjmcpherson]

Having spent the last few years around a lot of mathematicians, my instinct on hearing the description of power chords as not complex enough to be particularly interesting was to describe them as the trivial chord.

[@noahbenson29]

These are sick music theory videos! These resonate with my theory nerdiness. One thing you could do to make these even better would be doing more comparisons between slightly different chords sometimes, by playing them in sequence, or as a chord progression. i.e. the sus chords in this video could have a M or m chord played after them (as in 4-3 suspension, or 2-3 retardation) to show people what you mean by how they resolve. Time the chords to be played in-between your explanations, and it'll help people have that much better an idea of how they work. Hope this helps! I appreciate these videos as they are, and I hope you keep making them!

[@12tone]

Thanks for the feedback!

[@ratterriergaming50]

Today, I finally learned what those slashes beside a chord mean. Inversions. That took a while. Thanks, and keep the videos up!

[@12tone]

Thanks, glad we could help!

[@ValkyRiver]

What about: C Ed G? C E‡ G? C Edb G? C Eb Gd? C E G‡?

[@QuikVidGuy]

those 3 E major chords actually sounded like a fairly momentum-building sequence. Like you said, the brain puts huge emphasis on that fundamental

[@massimookissed1023]

5:26 _"harsh, dissonant nonsense"_ Jazz: Write that down! Write that down!

[@Lunarsight]

If you go outside the conventional diatonic system, you potentially have an infinite number of different triads at your disposal. Even if you take the 12 note system and break it into quarter-tones instead of semitones, you're functionally adding a lot of additional possible notes to build triads from. (For instance, a P1/neutral third/P5 combination.)

[@Jonahman10]

It is also important to note that sometimes chords with the same forte numbers can sound very differently based on organization , not necessarily by inversion per say. For example, Major and Minor Triads are both Forte Number 3-11.

[@12tone]

True, although of in that case they're still inverted in the set theory sense!

[@eufalesio1146]

what about microtonal territory where you can find other intervals to build triads with (like superminor, neutral or supermajor thirds, seconds, sixths or sevenths; for example)?

[@althealligator1467]

1:52 I find that any triad that isn't one of the 4 is actually an inverted tetrad / pentad / heptad that is missing some notes. For example, let's say we are in the key of C major and we play a Csus4 chord, so C, F, and G. You can already start by filling in the C major chord, so C, E, and G, and if you move that F down and octave and fill in the chord with an A, tadaaa: an Fmaj9 chord (which I call FmajAminCmaj or F^AvC^ in my own system, but that would take too much explaining). If there's a song with a Csus4 chord in the key of C, I guarantee you that an Fmaj9 chord will ALWAYS work, though phrasing definitely matters. Csus4 is just Fmaj9 with a missing A and E, when in C. Same thing with Csus2, it's just a Cmaj9 (C^EvG^) chord with a missing E and B, when in C. You may have noticed that I omitted "hexad" earlier. The reason for that is that when filling in a chord that has more than five notes, you'll find 2 hexads available. Neither is better or worse (as in neither requires less notes, whereas there's always one best option with the least notes when filling in a tetrad or pentad), so you might as well just play the whole heptad, which is the whole scale. This doesn't mean that you can't write a hexad in your music (hexads are 11th chords, basically), it just means that filling in an odd chord will never get you a prime choice for a hexad. _If that made any sense._ It's basically my own system of music, but I guarantee you that that whole filling in the chord thing works 100% of the time. It'll of course sound different, because you're not hearing those 2 extra notes in the original song, but it works. Idk for example, We Can Work It Out by The Beatles has a Dsus4 chord on the same beat as the "my" in "Try to see it _my_ way," so try playing a Gmaj9 (G^BvD^) chord at that moment. Sorry that's the first song I could think of with a sus chord.

[@oakenguitar3]

I wrote a list of the 55 different 3 note combinations starting on C and tried naming them all. I first wrote the names of the common triads such as the Major, minor, dim and augmented then went to the more difficult ones that dont have well known names or accepted names. The first triad in the list being C C# D is called a C x-cell. The next one in the list would be C C# D# and this triad doesnt really have an established name/known name but I called it C# with add Maj 7 and add 9. The 10th triad in my list is C C# B which is a B x-cell first inversion. The 30th triad in my list would be C Major, 31st triad would be C augmented, 32nd traid would be A minor first inversion. I won't list them all but the last one would be C A# B which I would call A# x-cell 2nd inversion. Out of the 55 triads, there was about 12 triads such as C D E that I left blank but I'm sure I could put a name to them. Some of them could possibly have 2 different names such as C C # A. You would probably call C G# A# a C augmented minor 7 with omit 3rd. C E F # would probably be C Lydian Major with omited 5th or something. Anyone know if there are already agreed upon names for all 55 3 note combinations?

[@Gogurtbump]

Kinda surprised to not have a mention of 7 no 3's where you keep a perfect 5th, but use the 7 as a guide tone instead. I tend to use these far more often than 3rds when composing. The 7 no 3 has a somewhat of a hollow sound, where is is difficult to resolve on, but makes it useful for repeating phrases

[@MatEnAlks]

I don't know how it works but whenever I read about the interesting for me topic, you make video parallel to my interests. Right after I heard about Coltrane changes, you make a video, the same with walking bass, minor scales and now triads. Can't express how happy I am because of the knowledge you share. Are you going to make a video on pitch axis theory any soon? Sounds like something very fitting to this channel. Anyways, thanks for the great video!

[@12tone]

Clearly I'm psychic... I have to admit, I'm not all that familiar with pitch axis theory, although looking it up it doesn't seem too complicated. Basically just an extension of the idea of chord scales as far as I can tell. I'll have to do some more reading before I can put a script together, but I'll add it to the list, thanks!

[@mrfudd13]

I like the triad James Taylor uses for his vocals with the 3rd degree in the root.

[@mrpedrobraga]

I am not studying music theory formally so sometimes I just bang notes together... ...one new one that I love is Asus2 in an arpeggio. It sounds mildly dreamy go me.

[@irishrocker225]

Great video. One other set of triads that is overlooked way to often but has tons of potential for interesting sounds is the set of triads you get when you make suspended chords from different modes. For example if you were to build a sus4 chord in lydian you'd end up with a sharp four instead or a sus2 chord in Phrygian has a flat 2. There's tons of cool sounds to discover with chords like these

[@12tone]

I'd suspect those would be pretty dissonant, since you've got chord tones a half step apart, but if dissonant's what you're going for then they'd work great!

[@irishrocker225]

12tone Well yeah but they're useful in contexts other than for the sake of dissonance. They arise naturally as part of the tonic diminished scale so they're useful as color for diminished chords. They appear in the harmonic minor scale so you can use them there. The place they have the most potential in my opinion is in polychords and polytonal voicings because you can use them as building blocks for larger voicings

[@12tone]

That makes sense. Sorry, didn't mean to come off as dismissive: Dissonance is the primary driver of harmony, so being dissonant isn't a bad or disqualifying thing. They're not gonna be particularly restful sounds, but that's not a problem, just an observation. Polychords make a lot of sense as a use, since polychords always have a bit of an edge to them anyway. I'll have to try them out, see what comes up! Actually, I just realized that these are iterations of the Viennese trichord. The sus#4 would be if you played it in second inversion, and the susb2 is the inversion of that. I hadn't put together that you could view the Viennese trichord as a kind of sus chord before, neat!

[@irishrocker225]

12tone No worries. It didn't come off that way. I just like to have discussions about advanced theory. I like to think about the vienese trichord as a sus2 chord in locrian. Also if you mess around with inversions you get really cool quartal augmented voicings.

[@lfdc6444]

I feel that sus2 is so strong in its dark and melancholic mood that you can write a song consisting mostly of sus2 chords as primary force (maybe with sus4 here and there, they are inversions of each other anyway). I need to try that, although with melody it seems difficult, because it will collapse the chords into minor/major ones if one is not careful. And I have done a song where all vertical harmony is in 5ths and a one dominated by minor seconds, it's a part of a series of investigation of intervals for me. Like I am limiting myself to one interval, at least to some degree, and try to make some music out of that. Thank you for what you do.

[@12tone]

Sounds interesting! I've tried similar self-limitation exercises, you can get some really interesting results from them. Good luck!

[@vishalshrestha192]

Hey 12tone! What are the must read books for aspiring composers of all types, either beginners, intermediate or advance level?

[@theochapdelaine4918]

you're just amazing guy!

[@12tone]

Aw, thanks!

[@lorismyshe8296]

Great channel and great information. You are one of the best on the Tube. I'm glad i've found this ^^

[@lorismyshe8296]

By the way, I love the way you explain :D.

[@SaberToothPortilla]

Great stuff! this channel is great for really digging into theory and things. Although, you'd mentioned that if a note isn't in the chord surely it can't be the root, right? Well, Schoenberg would disagree! He'd presented an interesting perspective (one that I mostly agree with) that the presence of a tritone is so implicative that it gives the chord two (or more!) effective roots. He uses this to explain the function of things like leading tone chords and all of the augmented sixths chords as being extended dominants that omit the root. I must admit, it's pretty convincing. He calls these "transformations". Admittedly though, he'd also made some other assertions with this absent root analysis that are a bit less logical (for instance what he called the "Neopolitan Transformation", which asserts that an F major chord can have E as its effective root as a specific example.) Doesn't really make sense, but all of the implications do sound pretty convincing when played. This would be a great topic for a video!

[@12tone]

Yeah, I've definitely seen people argue for the idea of rootless voicings, and it has some merit but I tend not to be a fan. It feels like a way of avoiding analyzing a chord on its own merits although to be fair so is excluding notes in the voicing as non-harmonic decorations, which I've done and would happily defend as valid practice. I suppose it's personal preference: If you hear the chords as having a root that's implied but not played then that's a totally reasonable way to analyze it too! It just doesn't really work for me.

[@Paul_K_]

I'd argue the root is less important than the 3rd and 7th if you're trying to use a shell triad functionally, giving 3-5-7 as another option. But I guess then you'd just end up with a diminished triad anyway. I guess that's the reason why [ vii dim ] --> [ I ] sounds good. It's just a V7 with a shy note

[@12tone]

Yeah, true! I just think that, if you get rid of the root, it becomes hard to view it as a chord based on that root instead of just a triad built on the third.

[@taxtengo7427]

pman5595 I agree in that the root is not that important in all cases. i chord without the root can still sound like a i chord in many cases. Sometimes it feels more like a iii but it really depends on the chord progression.

[@alicewyan]

This is really interesting! I studied quite a bit of music & music theory in the day, but always love to keep learning. Would you recommend any books about these topics at all?

[@12tone]

Good question! Honestly, most of my work is based more on reading articles and talking to other theorists than it is on books: I tend to find most academic theory texts unnecessarily dense. If you're looking into theory textbooks, though, Harmony (Fifth Edition) by Walter Piston was the one that my college classes used, and it's pretty good. I've also heard good things about Hindemith and Tchaikovsky's books on harmony (amzn.to/2uyPwyc and amzn.to/2eOJ151 ) although I haven't read them personally. If you're just looking for reading, though, the journal of the Society for Music Theory (www.mtosmt.org ) is pretty excellent as well. It tends to be about more esoteric topics, so if you need to review the basics it's probably not the best place to start, but if you're looking for recreational music theory, it's one of my main sources.

[@alicewyan]

Thanks a lot! I'll check them out - partly I love learning the "new stuff", but also I need some basics from time to time to fill in the gaps.

[@brunomocellin]

With Drop 2, Drop 3 and Drop 2+4 chord voicings, within its inversions, sure it will be a bigger number!. Also, a video about this theme would be very nice =)

[@matthewramroop]

Won't arpeggiating the inversions give it a different sound when compared to its' parent chord?

[@12tone]

It can! Depends on context. And then there's the question of whether that sound is different ENOUGH to really count as a separate chord as opposed to just a different voicing of the original. The lines are kinda fuzzy, which is why set theory does away with the idea of "chords" in the first place!

[@matthewramroop]

12tone Cool, but do you have a video up on the music theory behind different chord voicings nonetheless? I hear jazz musicians like to experiment quite a bit with chord voicings, but find it odd that some of these chord voicings have notes in them that aren't even in the "chord", let alone the scale.

[@12tone]

I don't think we have one on chord voicings in general, but we do have some on tensions, which'd be the added notes that aren't in the chord. Our main video on them is kzbin.info/www/bejne/gqK2i2djgJiFnKs although that one's a bit old now. I'll add chord voicings to our list!

[@goodnightosaka]

That's the first time I've heard someone call the augmented chord a jerk

[@MikeontheMandolin]

Very cool. How are you syncing the illustration with the audio? It's a neat technique.

[@12tone]

Thanks! I'm actually doing it all manually: We film as normal, which usually takes about an hour, then I go through and, for each written section, I cut that part out and speed it up to whatever speed it needs to be in order to match the audio. It's a long process (An hour of editing produces maybe about two minutes of final footage) but I'm really happy with the results!

[@MikeontheMandolin]

12tone cool, another method. Record the audio, then play it back at a quarter speed while you draw. Then speed it up in post so it's synced. Love your channel.

[@12tone]

We actually tried that early on, to make the notation speed consistent, but in order to get the drawings right you have to slow it down so much further than you'd think. We were notating at something like 5 BPM so that we'd have time to draw everything neatly. It winds up being easier to just write and draw at whatever speed I want and then fix it in post, at least in my experience.

[@MikeontheMandolin]

12tone very cool, thanks for the insight!

[@xavierviolin]

What are incomplete chords (in this case that triad with stacked 2nds)? Are they simply chords without a dominant?

[@bernardoestrela6029]

i fucking loe this channel

[@kjuivfbfjhv]

Great videos. Little disappointed after you mentioned 19 possible triads plus inv's and you didn't list all of them. At least the root triads. Are you including sus2 chords in that list? Because really (as I'm sure you know) they're inv's of sus4 chords. I have my own list of triads + inv's and having difficulty coming up with 19. Could you list them please? Keep up the amazing work.

[@12tone]

Yeah, sus2 and sus4 chords are both FN3-9. Here's a full list of all the pitch class sets: en.wikipedia.org/wiki/List_of_pitch-class_sets I'm counting all the 3-note ones.

[@Enogimka]

As a musician who has started to really like to learn some more music theory by myself last week I finally discovers what is the major and minor key of a song you play. Last night I thought about transcribing the chords of a song I wanna arrange so it was an amazing I wanted to write the chord of a song I wanna write the score *Clara theme from Watch_Dogs that is in C minor. And at the fourth chord Of the song I couldn't find the proper name of that (F Ab C Eb) chord and with you video I figured out it might be a 7th chord. Originally I thought it would have need a diminish because it was one note in the scale bellow. I see the notes as a 12 chromatic notes but the way 7th seems to work is with the 7 notes of a normal wester scale. Sadly it's too late tonight to search for it and understand it. Last night I went to bed at 3am while thing about all of that and it wasn't solve be4 going to bed last night Im watching it b4 going to bed so 'll get into it to understanding it tomorrow. :)

[@12tone]

Glad we could help! And yeah, that looks like an F minor 7. Good luck with the rest of it!

[@Enogimka]

12tone seriously your vids really helps me to learn and understand some new music theory each days. I might not understand it after watch it but once I find it's practical utility and I can use it in whatever I do that's when I fully understand it. :D Thanks again and have a good day!!! :)

[@AidanMmusic96]

Have you considered doing a video on pitch-class analysis as an extension of this? :)

[@12tone]

Yes! Musical set theory is one of those topics that I think I find more interesting than my audience does, so I keep trying to sneak in videos about it when I can. Same with tuning systems. One day I'll convince people they're actually amazing...

[@NateSassoonMusic]

great video!

[@12tone]

Thanks!

[@Kieselwyrm]

How far into the future are you planning for your production of videos?

[@12tone]

Honestly? Not very far at all. I have a list of topics I'd like to cover some day, but for the most part I don't decide what I'm working on next week until I finish this week's video. We used to plan a little further ahead, but I find I get the best results when I just make whatever I get excited about that week, so now it's a pretty open-ended process.

[@Kieselwyrm]

Well, that's good to know. Thanks for answering! I just was kind of curious about it. (^-^)

[@clarinetadventures7683]

this is awesome!

[@12tone]

Thanks!

[@cogwheel42]

*mourns the loss of annotations*

[@12tone]

Same...

[@jeroenfigee]

so much knowlegde and a fun way to bring it. But it's way-2-fast ! lol Thanx for uploading this and you got And a thumbs-up And a subscripton! Great work, those vids.

[@rs.groove]

Nice!

[@IsaacMyers1]

55 shapes, right? Not note combos?

[@francescomanfredi]

Five hundredth like, what a privilege! Such a stupid comment for such a deep lesson is just to create a little dissonance in your power chords!

[@amargou]

This guy is a lefty!

[@mikeb6572]

Great Video. One Question. Isn't a power chord a 'double stop' technically?

[@12tone]

Good question! As far as I understand it, the term "double stop" refers to a playing technique on stringed instruments, not a theoretical construct. A power chord can be played as one, but it can also be played with a doubled octave, which would make it three notes instead. So yes, it can be a double stop, but it doesn't have to be.

[@barrymccockiner4828]

12tone question, how exactly do you analyze power chords? a lot of songs use power chords as the progression, but then how can you tell major/minor, or what scale they're in? or does it make more sense to think of them as part of the melody since they're just a root plus a fifth?

[@12tone]

Often, chords that use primarily power chords will use them in one of two ways: Either they'll be very basic progressions, (I-IV-V-I is a pretty common one in punk.) in which case they're really easy to analyze by chord function, or they'll take on a more melodic role, in which case you're better off analyzing it like a melody. You don't really see advanced functional harmony performed with power chords. It just doesn't work.

[@mickschilder3633]

Forte notes: aka maths

[@nzubechukwu]

Amogus chord

[@midodon4294]

Try tritones.

[@bebopuser]

these kind of video are nice because they share alot of great stuff that im already adding to my playing, but dude im Chilean and my english is not the greatest thing so that added to the fast talk i think im missing most of the content. Just an advice my man, this is complex and needs to take his time. SLOW THE F DOWN

[@12tone]

Thanks! Yeah, I know I have a habit of talking a little fast, sorry! If it helps, youtube does have a slow-down feature, and you can always rewind if you miss something.

[@bebopuser]

after all it is a nice work the one you are doing here. keep it as great as it is!