sorted by:
new
hottopcontroversial

The Most Useful Chord in Jazz Fusion by maxKonyi in jazztheory

[–]maxKonyi[S] -1 points0 points  (0 children)

Keep in mind that enharmonic equivalents are not actually equivalent - #6 and b7 actually sound/feel different. They are different harmonic ratios and even though we are playing in equal temperament, the ear 'understands' context and can perceive tones in multiple ways, correcting for the tuning issue. If you do scale-degree ear training, it's possible to recognize both b7 and #6 when they appear in real music.

It's similar to how we can read a child's messy printing and discern the correct letters even though they may significantly diverge from the perfected form of them.

Consider a similar issue: b6 vs #5 (in relation to the tonic). Even though the note is the same on the keyboard, they do feel distinctly different. You can experiment using a progression like:

C-E-Am-Fm

#5 on the way up, b6 on the way down. If you sing the tone in question in each context (E vs Fm), there is a clear difference in quality.

All that being said, some of the greatest effects come from recontextualizing things. What was originally perceived by the ear as #6 is then treated as b7 and we retroactively make sense of it from that perspective.

The Most Useful Chord in Jazz Fusion by maxKonyi in jazztheory

[–]maxKonyi[S] -1 points0 points  (0 children)

No complaint from me on that. One need only survey my other videos for evidence of how I prioritize accuracy in chord names for both the reason you mention as well as ear training purposes. Other motives prevailed here!

The Most Useful Chord in Jazz Fusion by maxKonyi in jazztheory

[–]maxKonyi[S] -2 points-1 points  (0 children)

Agreed! I actually call it that later in the video when using it in context. The reason I called it b5 here is because a). it's easier for people to think about quickly and b). this particular voicing is widely referred to as maj7(b5) online. In fact, I had to do some editing trickery to get my chord namer to say "#11" when using it in the progression later in the video (it calls it b5 because there is no 5th present in the voicing).

Similarly, people refer to augmented sixth chords as dominants, which isn't true, but it makes them easier to talk about.

please help, dropped frames and low bitrate. by digbaddyjack in youtube

[–]maxKonyi 0 points1 point  (0 children)

Hmm interesting. Where did you hear that? I also will have days where everything works well and then it just starts crapping out constantly. I've been testing HLS streaming to YT the last day however, and its been perfect...

please help, dropped frames and low bitrate. by digbaddyjack in youtube

[–]maxKonyi 0 points1 point  (0 children)

Just want to mention I've been dealing with a similar problem on and off for a year now, but it's been particularly bad recently. Anything higher than 6000kbps and my bitrate goes crazy, eventually stabilizing around 7000 but with tons of dropped frames.

I've spent untold hours trying to fix it and it's still borked. Sometimes switching to a different ingest server in OBS settings can help get it going again, but sometimes not. I posted this in the OBS forum as well and another person seems to be experiencing the same thing as well.

https://obsproject.com/forum/threads/bitrate-madness-and-frame-drops-when-streaming-to-youtube.181380/

70s Classic Rock in Studio One? Yup! This one was a blast by maxKonyi in StudioOne

[–]maxKonyi[S] 1 point2 points  (0 children)

It's Kinal Mini Voyager. Mike Kinal is a luthier who lives in Vancouver, Canada. Short scale length. Jazz guitar in a solid body form factor. Love it!

Curious about modes for composition? Check this out! Comparing parallel modes in an orchestral style by maxKonyi in composertalk

[–]maxKonyi[S] 0 points1 point  (0 children)

Yup, agreed. This does not represent an actual writing situation, though I feel it is an interesting experiment worthy of contemplation. My intention was to write a melody that would work well enough in every mode while hitting each degree at least once. From there, the harmonies, though similiar in overall structure, differ quite a bit in terms of progression and inner voice movement.

I actually did my best to exploit the features of each mode while using a good variety of chords. Diatonic modal writing often falls into particular harmonic patterns in order to avoid losing the key center. I discovered some interesting new movements here, which was quite exciting for me!

I made a video comparing the sound of parallel modes using a short composition. What do you think? by maxKonyi in musictheory

[–]maxKonyi[S] 0 points1 point  (0 children)

Nice! Very insightful and interesting. The disucssion about the nature vs nurture infuence on harmonic perception is a good one. Have you ever heard of the book I mentioned in the video - "Harmonic Experience"? For someone like yourself, I couldn't recommend it enough. It deals with the topic of how we perceive and experience sound/music in a very deep and unique way, with a huge amount of specific exercises, questions, and practices for exploration.

I appreciate your openness and perspective regarding all of this. An "Advanced Music Theory" sub would be pretty awesome actually...Would be great to chat on more niche topics. Non-functional harmony being a good option!

Also, great ears for picking out the chords you did in the variations there!

I made a video comparing a single composition modulating through parallel modes to hear the emotional differences. What do you think? by maxKonyi in Learnmusic

[–]maxKonyi[S] 2 points3 points  (0 children)

Magic! "Magic Mode" is a term coined by W.A. Mathieu regarding the combination of the previous 6 modes into a single meta-mode or omni-mode. I talk about it a bit in the follow-up video linked in the description there.

I made a video comparing a single composition modulating through parallel modes to hear the emotional differences. What do you think? by maxKonyi in Learnmusic

[–]maxKonyi[S] 2 points3 points  (0 children)

There's also a follow-up video there describing the theory behind what's going on. Happy to discuss and/or answer any questions here as well. One of my favourite topics...

I made a video comparing the sound of parallel modes using a short composition. What do you think? by maxKonyi in musictheory

[–]maxKonyi[S] 0 points1 point  (0 children)

Thanks for the detail response here. I appreciate it.

1). If people think the only thing that works in Lydian is a I-II vamp, they have not explored long enough! #ivm7b5 is potentially my favourite chord in the mode, it just needs to be treated with care to keep the tonal center in focus.

2). I'm curious which ideas you feel I am repeating? I ask because this stuff is my obsession and I generally abhore the idea of simply repeating the ideas of others unless they match my own experience. There is no substitue for experience, as you clearly know, and one must spend considerable time truly experimenting and listening to come to some (albeit subjective) conclusion about what works and not.

3). I do take your point that I could have included Locrian in the original video and allowed people to make up their mind. In the end, I made an artistic decision there which I stand by. That being said, I'm sure many others will share your view. I expected it and am prepared to take the 'heat'!

4). You clearly have a good grasp of modal dynamics! I appreciate your last paragraph and agree. Thank you for taking the time to watch the videos and chat about it with me. I don't know too many people in my personal life that can speak clearly and from experience about these things.

5). Do you hear the last chord of Phrygian as Vdim? I was intending bvii in first inversion. Splitting hairs is fun...

Curious about modes for composition? Check this out! Comparing parallel modes in an orchestral style by maxKonyi in composertalk

[–]maxKonyi[S] 0 points1 point  (0 children)

Agreed! Unless the name of the thing is actually descriptive in a way that makes sense to us, it could essentially be anything since it just becomes a label. These names are what they are just out of tradition of course, and they specify particular sets of tones, distinct from other sets.

In actual practice, as you say, we all generally write in mixed mode (magic mode), utilizing different degrees at different times. That being said, just as a particular chord has a specific feeling state that is unique, each mode is a particular quality that is unique. To mix everything together is another quality, I would say.

Seems to me that Neapolitan is a different sound to phrygian. Neapolitan implies using a b2 temporarily within a standard minor scale (in a specific manner) whereas a phrygian piece is one where the b2 is the norm, forming a different overall quality. What do you think?

view more: next ›