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Cam K Coffee
Registrace 1. 12. 2016
5 chord Progressions EVERY Songwriter Should Know
These are the top 5 Chord progressions every Songwriter, Producer, and Composer HAS to know before writing.
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THE CLASSIC
THE JAZZ
THE DOOWOP
THE AXIS
THE CIRCLE
Follow me on instagram @camkcoffee
THE CLASSIC
THE JAZZ
THE DOOWOP
THE AXIS
THE CIRCLE
zhlédnutí: 423
Video
SQUASH- Mimi Jones w/ Left Bank Big Band
zhlédnutí 56Před 5 měsíci
MIMI JONES SWINGS INTO COLUMBIA!!! As part of their 2024 Jazz Festival, the University brings renowned bassist, composer, and educator, Mimi Jones to perform as a guest artist with their premier Jazz Ensembles. This piece, entitled, "Squash" arranged by Cameron Coffee, features Christian Moreno Cova, Mimi Jones, and Nigel Ouzts playing luscious beautiful melodies over a very singable melody. Bu...
OPUS No 2: Ground Control
zhlédnutí 51Před 8 měsíci
CAMERON COFFEE DOES IT AGAIN!!! In his second installment of epic jazz ensemble pieces, Coffee delivers a cinematic experience to listeners with his spiritual successor to his multi-movement piece "The Night Mare's Gallop". This time... in space! Recorded October 25 with the Left Bank Big Band, USC's premier jazz ensemble. Soloist Dr. Matthew White - trumpet Nathan Duval -trombone Matthew Floet...
UNHOLY- Sam Smith Marching Band Arr. Cam K Coffee
zhlédnutí 233Před rokem
Little arrangement of Unholy by Sam Smith that I whipped up. For More Scores check out www.camkcoffee.com/store
QAHWAH by Cameron Coffee W/ USF JAZZ ENSEMBLE 1
zhlédnutí 116Před rokem
QAHWAH by Cameron Coffee W/ USF JAZZ ENSEMBLE 1
CREAM ‘N SUGAR- Cameron Coffee w/ USF Jazz Ensemble 1
zhlédnutí 420Před rokem
CREAM ‘N SUGAR- Cameron Coffee w/ USF Jazz Ensemble 1
FALLOUT WITH IGGY by Cameron Coffee w/ USF Jazz Ensemble 1
zhlédnutí 86Před rokem
FALLOUT WITH IGGY by Cameron Coffee w/ USF Jazz Ensemble 1
How To Write A Banger Ep 3 (Theme and Variations)
zhlédnutí 71Před 2 lety
How To Write A Banger Ep 3 (Theme and Variations)
How To Write A Banger Ep. 2 (Jazz Waltz)
zhlédnutí 162Před 2 lety
How To Write A Banger Ep. 2 (Jazz Waltz)
How To Write A Banger (Episode 1: Wind Quintet)
zhlédnutí 416Před 2 lety
How To Write A Banger (Episode 1: Wind Quintet)
THE NIGHT MARE'S GALLOP by Cameron Coffee w/ USF Jazz Ensemble 1
zhlédnutí 285Před 2 lety
THE NIGHT MARE'S GALLOP by Cameron Coffee w/ USF Jazz Ensemble 1
The funny thing about Independence Day (Star Spangled Banner)
zhlédnutí 50Před 3 lety
The funny thing about Independence Day (Star Spangled Banner)
FASTEST WAY TO BE AMAZING AT JAZZ IN 3 EASY STEPS!!!
zhlédnutí 77Před 4 lety
FASTEST WAY TO BE AMAZING AT JAZZ IN 3 EASY STEPS!!!
When Anyone Tries To Compliment Me On my Playing
zhlédnutí 39Před 4 lety
When Anyone Tries To Compliment Me On my Playing
Wait but how do we kick for D?
What a Beautifully arranged composition! Cudos’ to Cameron Coffee’s creation and the ensemble 😊
Nice one. Short and informative. I like it 👌🏻
This is a really great video. I would love some even simpler stuff. You're a good teacher for sure
Thanks so much, I’m going to try to post a mixture of easier to understand concepts and more advanced stuff.
I was told by someone with a doctorate in music composition that the circle/cycle of fourths was everything - he told me to call it the cycle of resolution. He said it's more useful than the circle of fifths. Do you agree? And Fallout music is incredible! I have a tattoo from a song I first heard in Fallout 3. Those songs changed my taste in music forever when I was a teenager.
Honestly yeah. Outside of Sonata form and other Western European art music, the modulation to a key a 5th above is far less common. That’s why I tend to think of things in versions of the circle of fourths. The chromatic circle of fourths clearly shows how each chord will resolve and while the circle of fifths technically also can do that, it’s backwards. At the end of the day, there aren’t any hard rules, just conventions so whatever way of understanding the concepts works for you is correct
Also on fallout! I’m thinking about analyzing how the show uses the music to help craft their story telling and comparing it to the games. My writing has definitely been changed by “orange colored skies”
@camkcoffee it was Into Each Life Some Rain Must Fall for me 💙 I first heard it in Fallout 3 15 years ago and now Ella is my GOAT. I would LOVE to hear your thoughts. The world-building element through the music to me is unreal.
@@camkcoffee I feel like I'm drinking from a fire hose 99.7% of the time. Then something clicks... but not often 😭
🙌
Great vid, keep it up! Very useful video for harmonic beginners such as myself. The circle of 4ths is incredible!
Love it
🙏🏾🙏🏾
Great job! Thanks for that. (It's refreshing to see younger people still caring about music theory, i.e., harmony, chord progressions, etc.)
I’m so glad you liked it! Harmony and theory is my bread and butter. I love it!
Hey dude, nice work. Video's great, but to be honest, the concept seems a bit redundant. I don't see how it really changes anything; saying "play 'Lydian/2' over a V7 chord" is identical to saying "play mixolydian over a V7 chord". It's the exact same note collection with the same implied root. The way I understood what you were saying is that you've basically reinvented modes but based around Lydian instead of Ionian. I just don't see the impact or benefit of doing that. I mean, Lydian itself is "Ionian/4" as you would say it, and mixolydian would be "Ionian/5". Am I misunderstanding?
Hey! Yeah so the concept is pretty similar to standard understandings of modes. A couple of things are different however. For one, I’m reducing Lydian down to 13#47 which is why I call it a Lydian chord cluster. Then I put that chord cluster over different bass notes. Now what makes this important is by using the Lydian chord cluster over certain bass notes, we get sounds that are extremely indicative of particular modes. For example FABE/D is a minor 6 chord. Only one mode of Ionian has a minor 6 based from the root. Compare this to something like a Cmajor7/D which would be “Ionian over 2”. This sound could imply both Mixolydian and Dorian so it’s not as useful at identifying the “Dorian” sound
Another benefit of using Lydian/ X is that you are importing the brightness and openness of the Lydian chord cluster into other modes. This is what gives each of the sounds an “ethereal sound”.
Great video, you did a good job with this
Lydian is just Ionian over four 😂
All modes are defined by their unique usage of the tritone.. This is what I think you meant to say.
This was mind-blowing and incredibly useful, One chord cluster to rule them all. 😁 Just subscribed. 😃
Yeah man, loved this! What about a Lydian approach for b2maj7 (in a minor key) and would you still call that a Supertonic? It's my favorite chord btw 😂
"The f*ck are modes?" -Our lord and savior barry harris. I rest my case.
Very interesting and thought provoking idea, although wouldn't this same logic apply for any other mode? Also the voice audio is very quiet, but that might be intentional(?) either way good video!
You communicate perfectly.Well done on great teaching !
Why do you use Lydian as your basis of understanding the modes. Everyone I've ever met uses Ionian as their basis. The only difference between the 2 is the #4 of Lydian. It makes a lot more sense to use Ionian as a basis, because then you can then define modes using just 4 and 7 of the root major scale. Also, one could argue G major is C Lydian, but if it doesn't contain a 4 chord, or if the song resolves to something other than C, it's an unnecessarily complicated way of saying G major.
Very cool! Thanks
Really interesting! I always struggle to make that chord = mode conversion. That's just not how I think about it, but for some reason this makes way more sense to me.
The problem I have is that I am visual. I need the shape of the chord either on guitar or piano to see what notes can be play based on what you said. Showing one example was good, but I need more. Also I want to know how the circle of fifths and fours could be applied to this.
I've never understood why major is considered the parent scale of the modes when Lydian makes more sense. That way it is just a case of flattening one note each time to get to the next darkest scale from brightest lydian to darkest lochrian, cycling around the fourths to flatten first; flatten F# to go from C Lydian to C major, B to Bb for C major to C Mixolydian, E to Eb for C Dorian, A to Ab for C Dorian to C Aeolian, D to Db for C Phrygian, finally G to Gb for C Lochrian. Carry on the pattern would be C to Cb which move it to Cb Lydian. So Lydian is the one to treat as the one that contains all the other as if you start on C major and follow this cycle of fourth you dont get C Lydian you get Cb Lydian, and the flattening one note at a time to get progressively darker seems logical too.
Because Ionian produces 3 simple triad. Every other mode produces otherwise.
What does 3 simple triad mean in this context? They all produce the same set of triads but in different order
@@rbndr 3 major triads for its 1, 4, and 5th - (1st, 3rd, and 5th being the most common chords underpinning harmonic movement)
@@foljs5858 ah ok that makes sense. I still think it makes more sense to me to consider Lydian as the parent scale when it comes to modes. As modes identity comes through most strongly through melodic movement rather than harmonic. I don't think functional harmony works with modes, and some chord changes can alter perception of the mode to major etc. Also just feels much neater, start at Lydian and achieve all the other modes with same root by cycling though and flattening fourths. Find it easier to apply thinking in terms of bright to dark and flattening notes as needed. Just conceptually makes sense to me, where as prioritising common harmonic movement as the reason major is the parent scale seems a bit detached from the use of modes
@@rbndr Yeah I guess is more elegant (neater). Personally I'd also like to not separate notes and sharps/flats or in the piano e.g. black and white notes. Music theory would be much more symmetrical if all 12 semitones were considered the same thing and not have C prioritized. The patterns for major, minor,modes, etc would be trivial to see without the naming adjustments because of keys etc. Then we'd need A to L though to cover what's outside C.
I mean… There are melodic modes, there are harmonic modes. There are at least 62 different unique hepratonic scales, multiply it by 7 and u got modes. Soo… not all. Onlu diatonic.
I can't believe that in all my studies it never jumped out at me that the tritone interval that you can find in a major scale is comprised of the two notes that will characterize all seven of the modes, that is crazy. And when it comes to the lydian locrian dilemma... I would say the tritone works just fine to differentiate lydian from the other happy neighbor modes where is the locrian, many times being considered the odd man out, is distinctive enough that I don't think it would be confused for Lydian and especially if you're just using this technique for good comping or if you want to quickly identify the best notes to put on the strong beats of your Improv lines. Not that I can think that fast yet but the theory is there
This lesson was so cool it got me wood shedding all afternoon. Tons of implications with this understanding. On top of that this has major implications for a way to quickly grab chords and know the exact Associated scale. I'm likely going to make a lesson my channel where I definitely Point people back to this lesson that was such an eye-opener. I'll leave a comment when I do
Check out Rick Beatos take on modes .
I wish you had annotations, so those of us who already know undersrans modes can get to the meat of your ideas. Also it would be cool if the background music matched the chords that you were talking about, when you're talking about them.
Wow. So interesting. I’ll play around. Thank you so much. .
Check out the book Modal Jazz Composition and Harmony by Ron Miller
Agree with the other comments. This is absolutely amazing. I don't understand it.
Everyone thinks about music differently, personally I think this way of thinking is redundant. You can say every mode is Dorian, Phrygian etc. you can do it with any mode not just Lydian. So why would you pick Lydian instead of the major scale? V chords are F Lydian over G but they're also C major over G. The advantage of thinking in terms of the major scale is that I think you get all the advantages you discussed plus you are grounded in the key of the song, you don't have to do the extra mental gymnastics of thinking about offsetting and arbitrary mode over a bass note. Like I stead of thinking "this is V of C major so play Lydian on the note a whole step below the V aka F Lydian" you can just think "this is V of C major so I play C major". This is why I and many others dislike chord scale theory, it is just a short sighted way of trying to simplify improvisation that ends up overcomplicating it. Instead you can just keep track of the key you are in, so instead of thinking of chords as the "origin" object that you pick a scale to play over, i.e. instead of thinking of the scale coming from the chord, you just think of the chord coming from the scale. If you play a V chords that means play the 5th, 7th, 9th, 11th notes in whatever key you are in. So you think of the scale first, and derive the chords from it.
Well, although you *can* do this with any mode, the Lydian is kinda distinguished as the 'majorest' mode of the seven, as locrian is the 'minorest'. There's an inducible ordering of the modes via interval strings (semitones between successive pitches) ranging from 1221222 (locrian) to 2221221 (lydian). How much importance one gives to that is another question.
I think the idea is to make melodic lines that center on the right notes to 'sound' lydian But I agree, just think in major and switch which notes you empasize melodicaly for the same effect
nice video, fix your sound tho..
I mean you can say the same for every mode. This is not exclusive to Lydian. This is one of the main diferences between the George Russel method and the Berklee method.
Can you elaborate a bit? Like you're saying if you did a "dorian cluster" over any bass note it would be the essence of dorian?
> This is not exclusive to Lydian. No, but it's more symmetric with Lydian in the center.
Improvising with George Russell's concept, once you've got the parent scale, then you can choose a modal genre to add spice
What if I put A on the bass. Then I have an Asusb13 chord? shouldn't it be a minor chord for aeolian?
Yeah Aeolian is the only one that I think needs the C for added context because I agree, Aeolian should be minor with a natural 9 and a b13. Good catch
do not use background music while explaining something. It's awful. Especially in videos explaining any musical context it's nogo.
Great video! Can you explain a little more about the C^7#11 example? How did you determine the chord is actually in the key of G vs another key with an F#?
It's not possible in any other key - if you go through them in the circle of fifths, G major is the first key with one sharp (f#), D major is the second with an f# and a c# - which already rules out the c natural root of C^7#11. Every key further to the right keeps the c# (and f#) and only adds more sharps, leaving G major as the only possible key.
i get the concept, but how is it any better then thinking of other scales or modes
One way that this can be used differently from just using scales and modes is that you can craft pentatonic melodies that maintain a sense of tension because the tritone is ingrained in the cluster. Lydian is the brightest mode so by thinking of melodies not as inherently different, you’re importing the brightness of Lydian into the 6 other modes. It’s not a “better” system per se but it is merely another tool in the box. Hope this helps. Thanks!
Cool vid. I guess you only really two notes a tritone apart (or that and one extra note) on the top to imply any mode because then you're reaching the brightest and darkest notes of each mode every time. The only time it becomes ambiguous is when you have either a lydian or locrian bottom note, but if you just add one more note in the chord then it'll indicate which scale you're in no matter what - and this can be any note in the scale. Ie. w/ C Major modes F will always be the darkest note of a mode and B will always be the brightest. If you have an F and B on top of a C it can only exist in Ionian (4 and 7), F and B over a D can only exist in Dorian (b3 and 6), F and B over E can only exist in Phrygian (b2 and 5), F and B over F can exist in F Lydian or F Locrian, but if you add in any note of C D E G or A then it can only exist in Lydian, F and B over G is only in Mixo (b7 and 3), F and B over A is only in Aeolian (b6 and 2) and F and B over B just needs that extra note to not be possibly Lydian.
Yeah all that is absolutely true but what’s great about the 4 notes in the Lydian chord cluster is that they will also distinguish between alterations of modes. For example while all you need is DFB to make a Minor 6 (omit 5), adding an E natural will distinguish it from Dorian b9 (which is built from Melodic minor) and adding an A distinguishes it from Dorian b5 (built from harmonic major). Great insight!!
@@camkcoffee Ah ok, I like this idea. If that’s the case tho there are still two modes within the melodic/harmonic sets that could be implied, those being dorian #4 (4th mode of harmonic minor) and, surprise surprise, melodic minor itself. So you’d need a G to indicate there’s no #4 and the C to indicate there’s no raised 7, but now you’ve just got a diatonic cluster :/ Either way I still like this technique and it can be adapted to leave certain modes available and other modes closed off.
Man, as a music theory nerd, this blew my mind. What a cool concept! You deserve more much subs
Thanks, that means a lot. Hope you stick around!
super interesting! hard to wrap my mind around, it would be cool if you gave a demonstration of how to use these lydian chord clusters to compose music!
Great suggestion, I’ll try to keep that in mind for future videos. In summary, just like many melodies can be built from the pentatonic scale, you can also make melodies from this Lydian chord cluster which will give your melodies an open and colorful sound because your hitting all of the color-tones of the mode. Though this works best if your music is somewhat modal, it’s certainly not a rule. Thanks!
I barely understand any of this as I am mostly just curious about music theory, but I like videos like this that explain relationships between different concepts throughout music theory. This is awesome, I'm definitely exctied to see more from you!
Thanks! I hope you stick around!
Hi, found you on IG, got curious by the theme of the video, got on the piano and now I’m here
Hey! Thanks for checking me out. I hope you stick around!!
Very interesting theory idea, looking forward for your next videos
Thank you for this video
❤❤😂lol too fun
Good tips.👍
I could totally see this as a soundtrack for a Hitchhiker's Guide to the Galaxy-esque short film, where the cast flies to different planets. Banger
I love it
Thanks, my band teacher wants to wait to teach us until everyone has one but the one person that doesn’t have it doesn’t go to that school anymore
19000😔 (I have other pets but that’s just cats and dogs/ I live on a farm)