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0:00
Back in the day, you know, talking a few hundred years ago, people thought that an interval called the tritone was very, very devilish, and this is what it sounds like.
0:08
No, I'm just joking, it sounds like this.
0:11
What's up, everybody?
0:11
My name is Jacob Collier, and this is Music Theory Support.
0:21
We have a question from David Brown: 'I don't know the difference between pitch and timbre.'
0:28
Pitch and timbre are two very different things.
0:29
The pitch of a note is how high or low the note is.
0:31
So here's a high note, that's a C sharp, and the pitch is quite high.
0:36
And here, that's a very low note, that's an E.
0:39
Timbre is the kind of texture of a note, or the quality your note has.
0:42
So I play a note, right, E flat, and then I sing, "Oh, that's an E flat."
0:52
They're the same note, they're both E flat, but one has the timbre of a MIDI piano, and then the other is a, oh, it's a human voice.
0:57
So, both very important variables, I'd highly recommend you explore them both.
1:01
I love this question.
1:01
Her name is Rachel Chop Suey, and the question is, "OMG, like what the hell is reharmonization?"
1:10
Well, reharmonization is when you take a harmonization and you sort of, um, shuffle it up a bit.
1:10
Just so you know, there are infinite ways to harmonize everything.
1:10
But just by way of example, let's take the song "Hey Jude," which you probably do know, and if you don't know it's pretty tragic, I'm not gonna lie.
1:10
Now, "Hey Jude" I think is in an F major.
1:10
So if I harmonize that melody, it's gonna go something like this, right?
1:10
So when we think about reharmonization, we take that melody and we think, "How else can we harmonize this melody?"
1:54
This is these first two notes, right?
2:00
Well, what other chords go with the note A?
2:01
This is the note A.
2:01
Now, what other chords go with A?
2:04
There's tons of them.
2:04
For example, D.
2:04
Whoa, that's cool, it's completely different sound, so crazy.
2:16
So he means C, that's the one he meant.
2:18
But what are the, what other chords go with G?
2:19
Well, like E flat, for example.
2:20
Whoa.
2:23
So suddenly we've got, it's like, what are you doing, bro?
2:29
And then they all have different feelings, there's not really right and wrong, it's just what do you feel is good, what do you feel is right?
2:43
That, Rachel, is what reharmonization is.
2:47
Here's an excellent question from Ethan.
2:52
Hi, and Ethan, what's up?
2:49
And the question reads as follows: 'What would you call the second mode of the major pentatonic scale?'
2:56
And see, it's the note C D F G and B flat.
3:00
I've seen suspended, Dorian, pentatonic, some other terms.
2:59
I love this guy, I use it a lot, but I'm not sure what to call it, suggestions?
3:03
Well, this is the sound of it, so I guess that's what it's called, really.
3:08
This is a question from Scott just now.
3:10
It's a short question, very simple, very important.
3:11
It's, 'What is middle C?'
3:14
Middle C is, is the note that's kind of in the middle of the piano, kind of, kind of.
3:20
Because you've got C, you've got C, you've got C, and you've got C, you've got C, and you've got C, and then in the middle you've got this one.
3:27
But yeah, what's called C4?
3:30
It's like the fourth C on the piano, and I guess it's like the most accessible C, which is itself the most accessible key.
3:37
Here's a question from Ralph.
3:40
Question: 'Is it ever too late to learn piano keyboard?'
3:42
I'm about to enter my fourth decade of existence, and I told myself this year for my learn something new, it would be piano keyboard.
3:48
Ralph, it's never too late to learn anything in life, and I would highly recommend you learn the piano keyboard.
3:54
There is bottomless discovery and creation and storytelling and enjoyment to be found.
3:59
It doesn't matter how old you are, there's, there is no cap on how relevant music can be in one's life, so I highly recommend you do it, and I'll hold you to, I'll give you a call, Ralph, in about two years time.
4:13
Next up, a question from Roy Wall.
4:10
The question goes, 'Why does music theory sound good to our ears? Is it science? Someone please answer.'
4:18
I guess, first of all, music theory doesn't really sound like anything.
4:23
Music theory sounds like parchment.
4:23
Music sounds like stuff though, and I guess the honest truth of the matter is, uh, no one really knows, it's a bit of a mystery.
4:31
Next up, here's a question from Trivia Mafia: 'What's the saddest key in music?'
4:37
There is no answer to this question, there's not one so objectively saddest key.
4:42
Some people tend to, well, opine that minor chords and major chords tend to reflect certain moods, which I think to a certain point they do.
4:50
So we take, you know, E flat minor versus E flat major, one perhaps slightly brighter than the other.
4:58
Yeah, now I personally think what makes a chord sad is not necessarily whether it's major or minor, but the context within which you hear the chord.
5:07
So say I'm in A flat minor, for example.
5:09
Sometimes I'm in A flat minor, right?
5:13
If I go, say I did that, most of those chords are major chords.
5:24
That last chord, for example, is B major.
5:27
But if I go, that's really sad to me, the context of B major coming from A flat minor is what makes that sad.
5:35
First of all, I have to commend this username, Human Equivalent of Arson, and the question is, 'Can someone explain the circle of fifths to me because it's gibberish and means right now I've come to realize uh circle of fifths?'
5:56
Well, there are 12 notes on the piano, right, here they all are.
5:56
And one of the best ways to display these notes is in a circle.
5:56
So this is a circle, and the circle of fifths goes C, and then it goes G, and then D, A, E, B, F, that's at the bottom, six o'clock, then it goes C sharp, A flat, E flat, B flat, F, C, that's a circular fifths.
5:56
I find this a really useful resource, um, because keys that are close to each other live in a kind of similar space, and chords that are far away from each other, they have a very different relationship, but you can see some of those patterns very clearly.
5:56
Every note is a fifth apart, which is also, as you may have learned earlier, a fourth, it's the same thing, you also say it's a circle of fourths for all I care.
5:56
Here's a very good question from Anthony Rice Music.
5:56
'What's the music theory concept that you find interesting? #music #musictheory.'
5:56
One music theory concept that I find interesting that I haven't already mentioned, swing percentage.
5:56
If you take a little bit, if I go, that's really swinging, that's like really hard.
7:12
So there you go, there's a music theory concept that I find interesting, and you may not find it interesting, and I don't mind.
7:18
Here's an absolute classic question from Janet Brooks.
7:21
What's up, Janet?
7:21
'What is the devil's interval, and why is it so evil?'
7:24
Back in the day, you know, talking a few hundred years ago, people thought that an interval, the tritone, was very, very devilish, and this is what it sounds like.
7:35
No, I'm just joking, it sounds like this.
7:39
Here's another one, there's another one, there's another one.
7:46
The tritone by nature is not resolved at all, it's very uncomfortable to stay here.
7:53
It's called a tritone because it's three tones added together, and in the USA you would say it's a whole step, but here in the UK we see a tone.
7:59
A tone is this distance, so you've got tone, tone, and tone, three tones added together, there's a tritone.
8:05
Going back to say, you know, the 1500s or so, there wasn't really a good use for this interval because a lot of the music that was written there was built out of fourths and fifths, right?
8:17
The idea of doing this was completely insane, and so it was such a dissonant sound with no context that all people could say, it was, 'This must be Satan, this is, this is the devil speaking through music.'
8:29
In jazz, we like dissonance, and it's really interesting.
8:47
Here's an excellent question from Janet Brooks.
8:48
I think this is the second question from you, Janet, I'm glad you're asking so many good questions.
8:52
'How do you change a C major chord into a C minor chord?'
8:55
I've been there, let me tell you, I've been there.
9:00
Well, I think we've all been there, you've got a C major chord and you just think, 'I want this to be C minor,' and it's a very, very simple equation to solve.
9:00
You take the E and you weigh her down, one, two, three, that's a minor chord, just, just make that, make that third slightly flatter, put some weights on it, you know, give it some luggage or something.
9:20
Yeah, here is a more practical question from KK.
9:23
'What do the piano pedals do?'
9:23
A piano, uh, has normally three pedals.
9:27
The pedal on the right, which is a bit like the sort of accelerator, you can say the gas pedal, that one, uh, is called the sustain pedal, and so when I play lots of notes with no pedals pressed down, they are what's called staccato, but they're short.
9:43
If I put the pedal down, sustain pedal down, they sustain, and when I lift the pedal, they cease sustaining, that means I can go, and all the notes ring, and when I release the pedal, they all stop.
10:01
It's kind of like magic.
10:01
So then there's a pedal on the left of the, of the three, is usually what's called a soft pedal, and what the soft pedal does is it makes all the notes just slightly quieter, and this is good, say if you have like, um, sensitive roommates, or it's just very late, or you're just not in the mood for making loud noise.
10:16
Now the pedal in the middle, um, I know of two uses of this, of this pedal.
10:22
One is what's called, um, the sostenuto pedal, I play a chord, I hit the sostenuto pedal, and only those notes are sustained, and around those notes I can actually still play staccato notes, right, which is kind of fun because it means that certain notes will stay, certain notes won't sustain, and you can change that chord all the time, so it's almost like a sort of halfway sustain pedal where you choose which notes you would like to sustain.
10:22
The other use of the middle pedal, sometimes in upright pianos like the one that I have at home, is, um, the mute pedal, and so I have a bit of felt inside my piano at home that goes when you put the middle pedal down, and when you lift it up, then it comes off, and that bit of felt, it makes it sound really, really warm.
10:57
It's like you put a blanket over all the, you literally do put a blanket between the hammers and the strings, so when you play it goes instead of banging, and there's a really beautiful kind of softness about that sound.
11:11
Excellent question here next up from Richard Jarrett, blue heart: 'What's the difference between 3/4 and 6/8 time?'
11:22
There are different ways in which you can divide time and space within music.
11:22
Now there's actually a lot in common between 3/4 and 6/8 because 3/4 and 6/8 take up the same amount of time.
11:22
If you're good at maths, you would've already noticed that.
11:22
The main difference between these two time signatures is where, where the emphasis is.
11:22
So with 3/4, there's an emphasis that happens thrice within that space: one, two, three, one, two, three.
11:22
And with 6/8, the emphasis happens twice.
11:49
Waltzes, right?
11:49
Any fans of waltzes amongst listeners, leave a comment below.
11:52
Uh, waltzes are in 3/4 famously.
12:07
And what's a good example of 6/8?
12:07
Um, there's a tune called, uh, "My Bonnie Lies Over the Ocean."
12:07
So, thank you, Lenny, and I hope that helps in your rhythmic quandary.
12:33
Here's an interesting question from Nick Berry: 'Why are the black and white keys on the piano keyboard spread the way they are?'
12:40
I don't really know, I'm not exactly sure why, but I guess I'd say that all of these notes are, are naturals, you say C natural, D natural, E natural, but you have E flat or D flat or F sharp, these are different versions of these natural notes, and all the sharps and flats, those are the black keys.
12:57
So you've got the naturals and you've got the sharps and the flats, and the sharps and flats are always the most interesting notes because they really add stuff, they add color, they add interest, they add motion.
13:08
So it's laid out where a tonality in its basic form is the white notes, and then the black notes are all of the kind of tributaries that lead out of that tonality.
13:17
Here's a question, uh, from Trakdo, and the question is, 'Does music theory matter anymore?'
13:24
I would say the short answer to this question, 'Does music theory matter anymore?' is, is I, I don't know if it ever really mattered.
13:30
I don't know if anything really matters actually, but I think that as a musician, the more options you have to intuit through or with, the more interesting your palette is.
13:40
There's absolutely nothing to be ashamed of of zoning into the things you like and trying to understand them in more detail.
13:46
So yeah, does music theory matter anymore?
13:48
Sure it does, but nothing really matters, so I wouldn't take it too seriously.
13:51
Hope you have a good time.
13:57
This is a question from Joe Weisenthal: 'Do the different keys, presuming the mode stay the same, have distinct characteristics? Like is there any other objective difference between a C, F sharp, etc., besides higher or lower?'
13:57
Joe, it's a great question.
13:57
The short answer is yes, every key has a different characteristic from every other key.
14:18
It's one of the joys of traversing the world of music is changing keys, at least that's, you can quote me on that, that's one of my favorite things to do.
14:21
If you take a different frequency, you know, take a, that's a different feeling from, yeah, it's different, different vibe.
14:53
Every key is a new world, and so the more ways you have of changing key and opening doors into new keys, the more exciting it is to be a human on planet Earth.
15:03
Ladies and gents, that concludes this session.
15:05
Thank you for such brilliant questions, I hope that I've been remotely helpful, and it's been wicked fun answering them all, and it's made me think on my feet, which is great.
15:14
Thanks for sticking around, let's do this again sometime.
15:14
Catch you later.