Developing Your Harmonic Language - Part 1: The Role of Modes
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- čas přidán 25. 07. 2024
- PART 2: • Developing Your Harmon...
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Some pieces with various different harmonic languages:
Lili Boulanger - Trois morceaux pour piano: • Lili Boulanger - Trois...
George Walker - Molto Adagio from String Quartet No. 1: • String Quartet No. 1: ...
Fanny Hensel - Piano Sonata in C Minor: • Fanny Mendelssohn - Pi...
JJay Berthume - Movement 2 from Symphony No. 1: • Symphony No. 1, Mov. 2...
Amy Beach - String Quartet in One Movement: • Amy Beach - Quartet Fo...
William Grant Still - Three Visions for Piano: • Video
If you're interested in taking a lesson with me, I'm currently offering them over Zoom for $40/hr. Email me at jordanmholloway@gmail.com if you're interested! - Hudba
The visual example of the different modes and differences went by ENTIRELY too fast. Of course, I stopped the video to understand what you were talking about, but it might be useful for general audiences to appreciate your valid point. Thank you, Jordan!
Noted, thank you for the feedback! :-)
I found another gem that deserves "SUBSCRIBE". Thank you.
Watching your videos has made me realize how ignorant I am when it comes to music. I can turn on the radio and listen to some great music, but never understood the art of composing and orchestration. I have learned some terms from viewing your videos and am very impressed with your ability to share knowledge and instruct others. However, I'm afraid I am a lost cause when it comes to trying to follow and understand all that you share. Still, I enjoy watching and listening. Continue to excel!
your channel is a gem! fantastic video, really clear too :)
Thanks so much for your support, glad I could be of service :-)
Really great info here, Jordan. I know that for a long time I struggled to break out of the major/minor realm of music, and I see that same struggle with a lot of other young composers. Even then, I ended up swinging almost too far away from harmonic structure as a result and becoming paralyzed by a complete lack of harmonic structure, and so I think your emphasis on establishing the "dialect" of a piece is spot on. Great job, it's cool to see your editing and general production develop over these last few videos!
Thanks Nelson
It's pretty damn cool to see this video by Jordan along with Nelson's kudos and comment! The whole... "how do I break out of major/minor" thing is RAMPANT I believe. But the composers who juggle their use of dissonance with complete aplomb can be some of the greatest models (I'm thinking about several of the 20th-century Russians.... Shost/Prok/Strav ..... and, drumroll, even Mahler (omg). In essence, they have created sound "worlds" within each of their works.... like constructing a dialect for each work. Not rocket science... simply a departure from minor/major/church modes and instead a use of more novel scalar collections by which to abide (and stack vertically as well as use linearly) very congruent with the last bits of advice in this video. Now, there are some composers who sound truly and ONLY like themselves from piece to piece. These guys and girls speak one consistent language .... and fluently to be sure. They create a "cake mold" and bake their cakes over and over again. Is that who you wanna be? Or is your hunger for musical language more...... cosmopolitan? What a provocation!! (applause) ;) ;) ;)
Thanks, Jordan. Really helpful, as always!
Glad to hear it, Mike!
Great video! thank you.
Glad you liked it, thanks so much for watching!
I've never managed to come to grips with Lydian mode, so I'll do a bit of experimentation to see if I can make a simple tune that sounds like that rather than just major mode in the key a 5th up.
Lydian is one of my faves! :D best of luck with your experimentation; the do-mi-fi chord is an excellent one for grounding the key :)