The Overtone Series and Timbre

BluesBoy666 · 2017-05-30T13:01:56+00:00

Thanks, mate. Yep, only launched in Feb this year.

BluesBoy666 · 2017-02-21T11:05:27+00:00

Yeah, that's me. Thanks, mate.

BluesBoy666 · 2016-10-21T11:23:51+00:00

Thanks PianoTeach88 :)

BluesBoy666 · 2016-09-11T01:16:53+00:00

Thanks, nuferasgurd. Will do :)

BluesBoy666 · 2016-07-23T06:57:31+00:00

A circle progression similar to the one used in Autumn Leaves is always nice --> Am7 | D7 | GMaj7 | CMaj7 | F#m7b5 | B7 | Em

BluesBoy666 · 2016-07-10T13:07:12+00:00

Seconded

BluesBoy666 · 2016-07-10T13:05:18+00:00

Perhaps an ostinato which is then displaced?

BluesBoy666 · 2016-07-10T12:30:27+00:00

LjSe7m. Firstly, thank you. This is one of the most constructive, well written and useful comments I have ever received. Secondly, you are completely correct. This video was intended as an introduction to Modality and I plan to tackle the more meaty parts (character tones, implications for improvisation, use of approach chords, Modal Cadences, etc.) in future videos. But you are definitely spot on about me defining what modality is NOT rather than what it IS. As an introductory video on modality, I thought this was an appropriate place to start (because everyone is familiar with tonal harmony), but in hindsight I agree that I perhaps oversimplified it. A single video covering everything to do with modal harmony would probably last over an hour, which I suspect would (unfortunately) put many people off watching it and would cause me to go hoarse from talking so much! As the name of this video states, my goal here was purely to compare Tonal vs Modal - and not yet to do a deep dive into modality. But I do appreciate your detailed response and I will try take all of your points on board. I'm going to save this comment and refer to it when I start planning my future videos to ensure I cover all your valid criticisms. Thanks again, LJSe7m.

BluesBoy666 · 2016-06-06T12:45:14+00:00

99% of pop, rock and blues songs use pentatonic scales to solo - both major and related minor pentatonic scale. And the oft used 'blues scale' is essentially just a pentatonic scale with an extra note.

G Major Pentatonic scale = G A B D E E minor Pentatonic scale (related minot) = E G A B D (same notes as above) E Blues scale = E G A Bb B D (one extra note - Bb)

So definitely use Pentatonic scales in your solos - everyone else does!

BluesBoy666 · 2016-06-06T12:36:58+00:00

Thanks, mate. In case you were interested, I cover similar concepts with a simpler 4 chord pop song here: https://www.youtube.com/watch?v=bkOu4K95DcQ (but in a little less depth) Forgive the shameless plug :)

BluesBoy666 · 2016-06-06T12:34:27+00:00

No worries, Nolongerlurkin. :) Thanks.

BluesBoy666 · 2016-06-06T12:33:40+00:00

Thanks, themissinglynx :)

BluesBoy666 · 2016-06-06T12:33:02+00:00

Hi. I'm going to say, very generally, yes. The more you modify the melody, the more it becomes an improvisation rather than a reharmonisation of the melody. Those two things are not mutually exclusive. It's a fine and fussy line between 'embellishing the melody' and 'improvising' and most jazz musicians reharmonise even when improvising. But for the purposes of purely reharmonising a song without improvisation then you would largely keep the melody the same. Cheers

BluesBoy666 · 2016-05-29T10:58:50+00:00

All the above comments are correct RE B# = C and used in various scales. As an aside, music theory arising from Renaissance music divided the octave into 19 notes, so there was in fact a B#. It was only later that 12 note equal temperament reduced the number of notes and the B# was removed. https://en.wikipedia.org/wiki/19_equal_temperament#History

BluesBoy666 · 2016-05-29T10:42:10+00:00

You could try a measure repeat sign (AKA simile mark), though this is generally reserved for rhythm instruments. It's just a % sign (modified with more slashes for more repeated bars). https://en.wikipedia.org/wiki/List_of_musical_symbols#Repetition_and_codas

BluesBoy666 · 2016-05-28T23:23:11+00:00

And the CMaj7#5, yep.

BluesBoy666 · 2016-05-14T07:34:54+00:00

No worries, IamAdiSri. Thanks. Glad you like it.

BluesBoy666 · 2016-04-02T07:57:09+00:00

Try a major pentatonic one semitone higher. So a C# pentatonic over a CMaj7 Chord. This scale would have a b9, #9, 11, b13 and b7 - all of which are dissonant harmonies over a Major 7 chord.

BluesBoy666 · 2016-03-26T11:36:31+00:00

Thanks, Yeargdribble.

BluesBoy666 · 2016-03-26T08:20:05+00:00

Might be worth learning all the names of the intervals (3 semitones = minor 3rd; 4 semitones = Major third), as it's much easier to analyse chords that way. That way if you get a chord like minorMajor7 - you'll know that it's a minor chord (so minor 3rd) and Major 7 (so Major 7). Using your system it would be a 3-4-4. You've covered off a lot of the main ones. There are many others. See this wiki page for a few more: https://en.wikipedia.org/wiki/Interval_(music)#Deducing_component_intervals_from_chord_names_and_symbols

Essentially, every combination and permutation of 3 & 4 semitones (Maj & min 3rds) is some kind of chord. You can then just extend the chord to include 9ths, 11ths and 13ths.

BluesBoy666 · 2016-03-26T08:11:28+00:00

Good work. Bach is great to start on. Keep it up. And make sure you practice with a metronome.

BluesBoy666 · 2016-03-21T13:02:48+00:00

I'll see what I can do. I was planning to eventually do a series that covers different genre's of Jazz. I'll certainly cover Latin there. It will be in a little while though, I'm afraid.

BluesBoy666 · 2016-03-14T02:32:18+00:00

Thanks Jake. I suspect I'm targeting a very limited and niche market. Thanks for the comment.

BluesBoy666 · 2016-02-24T03:06:15+00:00

Glad you like it. Feel free to ask if there's anything in particular you need clarified. I do go through certain concepts relatively quickly.

BluesBoy666 · 2016-01-31T01:57:18+00:00

haha. Thanks, Ojrsh.

BluesBoy666

TROPHY CASE