Naming All The Chords For Some Reason

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Title	:	Naming All The Chords For Some Reason
Lasting	:	21.17
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Views	:	49 rb

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Comment from : James West

What’s funny to me is that the Subverted Dominant relationship is actually commonbrbrIn fact, it’s used as a loop and it’s looped so often that you might recognize this as the Dorian Vamp
Comment from : G B Ren

Tonnetz looks like a chemistry thing 🧐
Comment from : Sierra

Someone had to do this, and I'm someone, so: I am the very model of a major modal mediant 😁
Comment from : Listen Hear

i expected him to be like "C Cm Cº C+ C5 Csus Csus2 Csus2/4 C6" etc
Comment from : Yvélluap

Every time I hear someone mention George Crumb I remember that his son was my university composition professor
Comment from : Everest Jarvik

No but I love it 💕
Comment from : Pixa

Wow, I thoroughly enjoyed this video As both a music lover and songwriter, I find it immensely helpful to have names to associate with what I hear, as I can recognize chords and relationships more easily It also helps me to build a bag of tricks for composing so I can try out sounds when I need creative inspiration This is one of my fav videos of yours so far!
Comment from : James White

4:27 that atom is a Lithium Isotope 8
Comment from : Asher Monsey

I would really like to know what radiohead song uses the broken mediant!
Comment from : Michele Morselli Composer

Notes of the g- triad can be found in an E7altered chord, which resolves to A-, all that theory jargon is good for the class room, brbut has little bearing on inspiration: theory is also good for remembering something spontaneous FWIW
Comment from : elkeism

You're my favorite kind of person :)
Comment from : TribalScience

Just my opinion but I think calling it the "exochord" makes it sound like those two chords have a way stranger relationship than they actually do, and it alludes to a pretty obscure and technical quality about their relationship Like, in the key of G minor it's just the tonic travelling to the V of V, which you hear in jazz all the time, or in the key of D major it's just a modal shift between iv and V, two chords that both really want to resolve to D, something you hear a lot in romantic era classical music per se
Comment from : Zoe Hardee

G to Ebm is a stripped down version of the Tristan chord
Comment from : Zoe Hardee

The subtitles for 12 tones metronome (:50) say "tick tick tick tick tock" but clearly to me it sounds like "tock tock tock tock tick" This to me is clearly the least important issue in music
Comment from : James OKeefe

You mentioned Riemann, so you must know about the tonnetz It's a great tool for exploring chord relationships graphically, which is perfect for a YouTube channelbrbrWhy did you choose not to use a tonnetz as the basis of your exploration/explanation? What was gained by NOT using it?brbr(I just now subscribed and hit the bell)brbrEDIT: Aha! I wrote this comment after watching only the first 5:21, when you introduced the parallel relationship without the tonnetz I should have been more patient My apologies Thanks!
Comment from : Jim Plamondon

In "Let It Go" from Frozen, near the end of the chorus over the lyrics "let the storm rage on" there's a slide from Cm to B I just wanted to point out that I knew an example of one of the ones you said was rare and that made me feel smart lmao
Comment from : Patrick Hodson

Thank you🌌
Comment from : Samantha Nor

If you’re interested in seeing a visual representation of transformational relationships, a tonnetz is a lattice diagram which organizes triads by transformation Really the only way I know of naming transformations is by P, L, R, S, H, etc and combinations of those, which I agree is very limited and also not very descriptive Also, I laughed out loud when you got to hexatonic poles to realize you need to explain what that is, I too ran into that problem last semester
Comment from : Christa

No, this was definitely not a waste of time – it put into words a lot of the tricks a non-music-major like me already uses to make music Please keep making these :)
Comment from : Edison DiBlasi

You should do a review of After Dark by Mr Kitty
Comment from : Wyatt Evancheck

Hi, I’ve been thinking about this a lot since you posted it, which I hope says something in its favor I just have a simple suggestion, which is to prepend “rising” or “falling” as needed based on the nearest root motion to indicate direction That makes it possible to specify a snippet of a progression without referring to key For example, I was just playing around with a “falling major modal mediant followed by a falling major balanced mediant”, which rolls right off the tongue Maybe I should stick with C, A, F But thanks for this anyway!
Comment from : Joel Barnes

I had stumbled upon this Gm—A relationship when I was listing all the chord relationships by distances between notes (in the chromatic scale)brI came to an interesting result (hope I got it right), that by moving each note in a triad no further than by a step, from Gm you can go to ANY major/minor triad except A and Dbm (and from G to any triad except Fm and Db) Although you can do such a transition even from Gm to A (and for other 2 chord pairs) if you consider them as G Bb D D -> A A C# E, so the voices can split or mergebrIt’s also interesting that although Gm—A sounds weird without context, it is found as iv—V in harmonic/melodic minor, which are two very common degrees in a very common scale
Comment from : garx

this is useful, because modern 4-chord loops don’t have an unambiguous root, so you need to ignore the key and think in relationship between triads
Comment from : garx

Cool, finally I know I used “broken mediants” in a piece for years ago… 🥳😁
Comment from : DanielHuschert

yo dude, I've always wanted to learn music thoery, but it just seemed like there are gaps in the traditional aproach Ideas like these are exactly what I am looking for Thank you!
Comment from : Nakos Kyranos

The exochord is incredibly common in music, consider it's just iv-V, which is everywherebrbrAs for the broken mediant, I can think of a few songs which do that The Beatles have In My Life, in which you have F#m-B-Dm-A, or vi-II-iv-I Similar thing in Anna (Go To Him) also by them, though it's a cover, where you have G-Gm-E-A-D, or IV-iv-II-V-I, so the other way aroundbrbrThere's also Woodkid's Guns For Hire from Arcane, with Bbm-C-Ebm-F, or i-II-iv-V, so you also have two exochordsbrbrI also came up with a thing with the chords Am2-F#(#4)-B9-Dm7 essentially (it's kind of my own nomenclature but I think it's pretty self explanatory), where you have two broken mediants
Comment from : Al the Alligator

Interesting place where this chord relationship appears Punch Brothers, The Blind Leaving The Blind Movement 1 around 8:42 Nice piece, you should check it out if you haven’t before!
Comment from : Chase Pendleton

Love the way your mind works, gives affirmation to mine!
Comment from : FeloniousPunk

Love this!!!!!!!!!!! Educational, necessary, entertaining! Thank you!
Comment from : FeloniousPunk

Hehehehejejejeje, I don't feel it was a waste of my time I'm pretty sure I've tried all those combinations at some point in time But I've never thought of them formally in that way Thankya!
Comment from : slowpunkforslowpunks

Isn't the the I-III relationship called a major chromatic mediant? I know chromatic mediant is a little ill defined but that's what I've always seen it described as
Comment from : allie

Next make a unique name for all of the 24,200 possible pairs of 3 notes
Comment from : Brromo

Where to get the paper
Comment from : AINIEL YABUT

This is what I came here for
Comment from : Animus Invidious

Alright, trading places, I'll make the doodles and the buhduhdums, but you're still going to end up talking and typing most of the day 👍🏻
Comment from : Ampersand Risotto

Exochord is the prefect name You nailed it
Comment from : Brice Johnson

I'll be the first to admit this one went a bit over my head as well explained as it is All I came away with is "It is the very model of a major modal mediant" And really that makes the view worth it
Comment from : Josh Keppeler

I'm a mostly homebound chronic pain sufferer, but I can't do what you do, so I'll just keep enjoying it here :)
Comment from : craenor

Been thinking about the "broken mediant" relationship I've used every single relationship in here (this is only major and minor chords, so that's to be expected) musically except that one, AFAICR it doesn't make sense It's like the black lodge It's the least human 12edo major-minor chord relationship It's the gateway to Area 51 I guess I'll call it the Janet chord
Comment from : Gizzy Dillespee

German here: brThe word Tonnetz consists of two individual words:br-Ton (note)br-Netz (web)brbrTherefore the correct pronunciation is similar to how you would pronounce non-native in English, that is, there is a subtle pause between the two n‘sbrThese compound words are a quirk of the German language 🤷‍♂️
Comment from : crswer

This is something I've been thinking about for years as you don't hear a ton on how chords relate outside of the context of a key which even early on into getting into music I thought was a pretty damn odd over sight Probably why my band teacher got this certain look any time he looked at any of the small sketches I did that where intentionally with out a key It's just such a out of left field kind of thing to willing forgo a key entirely that it lead to some interesting conversations with him But it's a technique I've slowly been figuring out for years now as I like a lot of the results it's tended to lead me towards musically I've found working with out a key tends to make it easier to make my music more emotive by simply relying on the inter relationship between just the chords themselves
Comment from : Gamewitch

Why do you hold the pen in your right hand in the intro when you are left handed?
Comment from : KyuuketsukiKun

We need a musicphile channel just like number- and computerphile
Comment from : EinfachSim

Watching this felt like having your job for 21 minutes so now you have to feel like an independent filmmaker in New Orleans as restitution
Comment from : Armakk

On the contrary: understanding chord relationships without reference to key is a great way to open up one's palate of available colors I'd PDF this b*tch and get some loot! LOL
Comment from : Tom Belknap

Forgive me if you've already covered this in another video, but since it jumped out at me: should I take it as significant that the lydian and mixolydian scales relate in both name and this relationship you point out *(16:45)?
Comment from : Tom Belknap

you fixed the least important problem, now fix the most unimportant problem
Comment from : Imperial legionnaire

You say it was a waste of my time, but this is one of the videos that has made me most inspired to make some music
Comment from : Isaac Weston

I need to hear that spice girls' song so badly now
Comment from : Ramiro D

Not all heroes wear capes
Comment from : jamie goss

I won't lie, I love your videos so much, and I think I've watched every video on your channel and at least half of them multiple timesbrbrBut once you explained the problem you were solving I justbrI'm gonna need to watch this in short bursts, I don't think I have the attention span for this one
Comment from : Old Goat

this is a much more important problem than the first one
Comment from : Alvs Notes

That Subverted dominant you got there? Pink Floyd does that a lot Especially on DSOtM
Comment from : Steven Martin

This video is fun and your drawings are getting so good! #knewyouwhen
Comment from : Michael Epstein

OMG ENTRAPTA OMG AT 4:33
Comment from : Laniakea

Great video with concise and I believe pretty clear explanations on what you wanted to say with chord relationships
Comment from : Atom-T

Hey can you please do we built this city
Comment from : ImaginArt

this is the sort of obscure obsessive content that i clicked subscribe for, 10/10brbrNow do it for all twelve tones, with all inversions/voice leading combinations, and discerning ascendent and descendent root movement Also root movement by semitone/major seventh Would make a nice 20 hour video I reckon
Comment from : aldeayeah

Any chance of releasing an infographic naming and picturing all of these chord relationships? I would love to print a poster and hang it in my studio as a songwriting reference
Comment from : dkerwood1

i like your funny words, magic man
Comment from : Nicreven

Don't be so modest, O God of Music I've been sitting here hammering out two chord vamps in my head from the relationships All cool in their own way It's actually pretty dang stimulating
Comment from : Farfetched Tangmo

Everything is diminished
Comment from : BlindTeo

Parallel In mathematics, parallel lines do not intersect, whereas G minor and G major intersect in all steps except the third It's more logical to see G major and A flat major as parallel, with no notes in common But, any two major scales have the same interval separation, so they're all kind of parallel to each other and yet G major and D major only differ by one note Anyway, obviously, parallel is used in a very particular way in music, pointing out that I think it pays to not get too obsessive about naming things
Comment from : Geoff Pointer

How the heck are you going to mention a Spice Girls song contains a rarely used chord relationship and NOT tell us which song???! Rude
Comment from : Joshua Willis

We need a followup video on the sound and use of these
Comment from : Alex ander

"Exochord"? That's cool I just always called it "Gregg", with two "G"s
Comment from : John Boley Jr

"[Broken Mediant] also shows up in a spice girls song" wut
Comment from : raekuul

I like this!
Comment from : Nugboy 420

I have learned more about musical concepts from you and your elephants than most textbooks Thank you I love these deep dive videos!
Comment from : Daniel McCready

I’d accept the trade lol
Comment from : KayJay (kjl3080)

"I'm not the God of music, I'm just a doofus with a YouTube Channel"brI love this
Comment from : dothedao

This is how music theory gets subtly more complex over time
Comment from : Weyoun Six

“Why am I like this?” Autism doesn’t like us lol In all seriousness you’re attempting to unlock more secrets to theory that a lot of folks don’t really know yet It’s a waste of time if you don’t value that time Time enjoyed spent wasting is not time wasted
Comment from : Yeller

I have waited for this video my entire musical life
Comment from : Pesos Gouda

Mildly curious what your take on Subwoolfer's Eurovision hit would be
Comment from : Elrayn

I've never thought about any of this, but that's what I'm here for Also, my life kinda sucks and you don't want it :P
Comment from : Carla M Blessing

@12tone Will you publish this naming convention anywhere more "formal"? I suppose what I am asking is whether you think that this may gain traction in the music theory world?brbrThis comment also does show my age as YouTube is probably considered a formal and attributable source these days :)
Comment from : Stuart P

I saw one of my album titles on your thumbnail and had to watch, great video man very informative and I like that you made names your own
Comment from : Unalive

I understood about 3 of those words, but I still watched the entire video Thanks for the entertainment and music theory blackhole
Comment from : Jim A

I personally don't think this is an unimportant problem
Comment from : Tim Seguine

This video was certainly not a waste of my time I loved watching this man expand my musical knowledge at 3am
Comment from : Josh L

You are the very model of a modal major mediant
Comment from : Ben Spiecker

I'm only 3:40 in and just need to say this is why you exist
Comment from : Nathan Cook

What you formally identified as "Terzschritt", I've been calling the "Creep Leap" -- especially when the two chords are G major and B major
Comment from : Mal-2 KSC

Thanks
Comment from : TheGoodGoodMan

You may please waste my time some more thanks :)
Comment from : Roland Deschain

Music theory is one of the few areas in which I would consider myself to be a true pragmatist The simplest answer to "why isn't there a name/category for X" is most always "because naming/categorizing X has not been deemed useful or meaningful by some critical mass of people" That's not a value judgement of any sort, it's just a reflection of music being a socially mediated activity You can tie yourself into knots trying to rationalize hypothetical scenarios, but even the most hypothetical of scenarios are still rooted in experience -- you can't formulate a hypothesis without some point of reference
Comment from : Ethan Schwartz

Wait what? It was a waste of my time? I thought that G-G# mi sounded quite nice and probably wouldn't have thought about it otherwisebrbrEdit: I just realized that I already was working on something that uses a slide relation (A# & B minor), nevermind it was a waste of my time
Comment from : JGHFunRun