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[307.22s -> 320.34s] Augmented is the same, one semitone larger. But one semitone smaller is called diminished. There is no minor version of the perfect intervals. I know you're still wondering why some intervals are perfect and others are major. I haven't forgotten. We're getting there.
[320.34s -> 332.26s] So, this first interval is a perfect fifth, because G is natural in C major. But, if it's made a semitone larger, it's an augmented fifth. And, if it's a semitone smaller, it's a diminished fifth. Same thing for fourth.
[332.26s -> 346.13s] This is a perfect fourth. One semitone larger is augmented and one semitone smaller is diminished. Also, the perfect octave can be made augmented or diminished by making it a semitone larger or smaller. A perfect unison can be augmented
[346.13s -> 360.43s] But a diminished unison isn't really a thing. Remember, an interval is always evaluated by the key of the lower note. If you had a perfect unison and made the upper note lower, then you've actually made it lower than the first note, and now nothing makes sense. It's kind of like dividing a number by zero.
[360.43s -> 370.16s] It makes things complicated. So, to review, a major interval is any second, third, sixth, or seventh where the upper note appears in the major scale of the lower note.
[370.16s -> 377.73s] A major interval that's been made a semitone smaller is known as minor, two semitones smaller is diminished, and a semitone larger is augmented.
[377.73s -> 390.38s] A perfect interval is any unison, fourth, fifth, or octave where the upper note appears in the major scale of the lower note. A perfect interval that's been made a semitone smaller is known as diminished. If it's been made a semitone larger, it's augmented.
[390.38s -> 402.91s] And that's half of what you need to know about intervals. In part two, we'll cover intervals larger than an octave, what to do if the bottom note isn't in a major scale, and inversions, which will finally explain why some intervals are perfect and some are major.
[402.91s -> 407.73s] Be sure to like, comment, share, and subscribe for more videos. Thanks for watching!
[1.33s -> 13.01s] Color. It plays a vital role in design and everyday life. It can draw your eye to an image, evoke a certain mood or emotion,
[14.03s -> 27.70s] even communicate something important without using words at all. So how do we know which colors look good together and which ones don't? The answer is simple. Color theory.
[28.98s -> 43.70s] Artists and designers have followed color theory for centuries, but anyone can learn more about it. It can help you feel confident in many different situations, whether it's choosing colors for a design or putting together the perfect outfit.
[45.26s -> 56.02s] All it takes is a little insight, and you'll be looking at color in a whole new way. Let's start at the beginning, the very beginning, with a refresher on the basics.
[56.85s -> 71.06s] Remember learning about primary and secondary colors in school? Then you already have some knowledge of color theory. Red and yellow make orange, yellow and blue make green, and blue and red make purple.
[71.86s -> 84.88s] If we mix these colors together, we get even more in-between shades, like red-orange and yellow-green. All together, they form what's called a color wheel. You can probably see where it gets its name.
[85.65s -> 99.89s] Now, let's take it one step further with hue, saturation, and value. These are terms you might never see in daily life, but they're the key to understanding more nuanced colors, like all those little paint chips at the home improvement store.
[101.71s -> 114.80s] Hue is the easiest one. It's basically just another word for color. Saturation refers to intensity. In other words, whether the color appears more subtle or more vibrant.
[115.86s -> 128.88s] Value has to do with how dark or light the color is, ranging from black to white. As you can see, this gives us many different shades, from a deep reddish brown to light pastel pink.
[130.16s -> 142.67s] So how do we put this all together to create professional-looking color schemes? There are actually tried-and-true formulas based on something called color harmony that can help. All you need is the color wheel.
[143.92s -> 156.88s] The easiest formula for harmony is monochromatic because it only uses one color or hue. Just pick a spot on the color wheel and use your knowledge of saturation and value to create variations.
[157.01s -> 169.90s] The best thing about monochromatic color schemes is that they're guaranteed to match. An analogous color scheme uses colors that are next to each other on the wheel, like reds and oranges,
[170.29s -> 184.18s] or cooler colors like blues and greens. Don't be afraid to play with the palette and create your own unique interpretation. That's what these formulas really are, merely starting points to help guide and inspire you.
[185.97s -> 194.48s] Complementary colors are opposite each other on the wheel. For instance, blue and orange, or the classic red and green.
[195.02s -> 203.60s] To avoid complementary color schemes that are too simplistic, add some variety by introducing lighter, darker, or desaturated tones.
[205.14s -> 217.14s] A split complementary color scheme uses the colors on either side of the complement. This gives you the same level of contrast, but more colors to work with, and potentially more interesting results.
[218.83s -> 225.49s] A triadic color scheme uses three colors that are evenly spaced, forming a perfect triangle on the wheel.
[225.78s -> 233.94s] These combinations tend to be pretty striking, especially with primary or secondary colors So be mindful when using them in your work
[235.70s -> 247.76s] Tetradic color schemes form a rectangle on the wheel, using not one but two complementary color pairs. This formula works best if you let one color dominate while the others serve as an accent.
[250.51s -> 259.73s] There are a few classic do's and don'ts when it comes to color. For instance, have you ever seen colors that seem to vibrate when they're placed next to each other?
[260.24s -> 275.02s] The solution is to tone it down, literally, and there's a simple way to do it. Start with one color, and try adjusting its lightness, darkness, or saturation. Sometimes, a little contrast is all your color palette needs.
[276.50s -> 289.30s] Readability is an important factor in any design. Your color should be legible, engaging, and easy on the eyes. Sometimes that means not using color, at least not in every little detail.
[289.46s -> 297.10s] Neutral colors like black, white, and gray can help you balance your design. So when you do use color, it really stands out.
[299.18s -> 310.70s] Every color sends a message. It's important to consider the tone of your project and choose a color palette that fits. For example, bright colors tend to have a fun or modern vibe.
[311.15s -> 321.46s] Desaturated colors often appear more businesslike. Sometimes it just depends on the context. You'd be surprised how flexible color can be.
[322.83s -> 337.49s] You can find ideas for color schemes in all kinds of interesting places, from advertising and branding to famous works of art. You can even use a web resource to browse color palettes or generate your own.
[338.06s -> 347.06s] Even experienced designers take inspiration from the world around them. There's nothing wrong with finding something you like and making it your own.
[348.50s -> 356.94s] Everywhere you look there's color, color, and more color. It can be intimidating to use it in your work, but it doesn't have to be.
[358.22s -> 367.02s] Just keep experimenting, and remember what you've learned about color theory. Soon, choosing great-looking colors will feel like second nature.
[370.00s -> 379.82s] We hope you enjoyed learning the basics of color. Check out the rest of our design topics including typography, images, and composition.
[1.01s -> 6.06s] In this video you will learn the names of the scale degrees.
[24.59s -> 38.00s] A scale degree is the position of a particular note on a scale relative to the first note of the scale. In other words, each note in a major and minor scale has a name that matches its function.
[39.41s -> 53.26s] Each note of a major and minor scale also has a name. Tonic, supertonic, mediant, subdominant, dominant, submediant, leaning tone, and then tonic again.
[54.29s -> 58.26s] The tonic is the name of the first note of a scale.
[59.66s -> 70.40s] This is the tonal center or pitch center of a piece or a song. Where do these names come from? The word dominant is inherited from medieval music theory.
[70.40s -> 84.88s] and refers to the importance of the fifth above the tonic in music. The word mediant means middle and refers to the fact that the mediant is in the middle of the tonic and dominant pitches.
[87.50s -> 96.40s] The Latin prefix super means above, so the supertonic is the second above the tonic. This is the only super interval.
[97.87s -> 111.73s] The Latin prefix sub means below. The subtonic, submediant, and subdominant are the inverted versions, meaning below the tonic, of the supertonic, median, and dominant.
[112.50s -> 127.25s] When the subtonic is only a half step below the tonic, it is called a leading tone. Let us show this a different way. Here is the tonic. The dominant is a fifth above the tonic.
[127.57s -> 141.62s] The subdominant is a fifth below the tonic. Between the tonic and the dominant is the mediant. Between the subdominant and the tonic is the submediant.
[142.32s -> 151.25s] A step up from the tonic is the supertonic. The step below is the subtonic or leading tone.
[151.89s -> 165.70s] So when you put these names in a scale, they are in this order. Tonic, supertonic, mediant, subdominant, dominant, submediant, subtonic, or leading tone.
[165.70s -> 172.46s] And here is what you have learned today. Keep practicing, and I will see you in the next video.
[172.88s -> 184.58s] If you liked the video, please hit like. If you would like to see more videos, please subscribe to my channel. You can also leave a comment or a question in the comment section below.
[0.40s -> 14.08s] Functional harmony is a set of rules you can use to create logical chord progressions that sound quote-unquote right. It may sound complicated at first, but it's actually pretty easy. So let's go ahead and jump in. First, let's take a look at this diagram.
[14.08s -> 23.01s] Here we see all the chords within the key of C and then we have numbers underneath them sort of to represent them with Roman numerals. If it's an uppercase
[23.01s -> 31.50s] Roman numeral, then it's a major chord. If it's lowercase, it's minor. And if it's lowercase with the little diminished symbol, then it's, you know, a diminished chord.
[31.50s -> 43.74s] And by the way, I'll have a larger graphic at the end of this video. I'll put a timestamp up there for you, and it will show multiple keys so that you can use it as like a reference point along with this diagram using Roman numerals.
[43.74s -> 56.03s] So we have all the chords in the key of C, and we've numbered them and such, but the real question is, what order do we play them in, in such a way that, you know, it sounds like it should? To start off, we need to name a few different types of chords.
[56.03s -> 70.35s] The one chord and the three chord are called tonic chords. They're like the home base. They're kind of what everything revolves around. Ultimately, you're going to end with your one chord, right? That's the big chord you hear at the end of your composition or your chord progression.
[70.35s -> 79.62s] or whatever. So keep that in mind. Those are kind of the home base that we're trying to get to. Then we have the dominant chords. So that's going to be the 5 and the 7 chord.
[79.62s -> 93.07s] And then the last group of chords we have are the subdominant chords, which is everything else. It's going to be the 2, the 4, and the 6. Here's how things flow. Tonic is our home, or our root, like we said before.
[93.07s -> 104.11s] So we start from the tonic, and then from tonic chords we can go anywhere we want. We can go to a subdominant or a dominant, whatever. Once we get to a dominant, the dominant chord always wants to go back to the one.
[104.11s -> 116.46s] If we go to a subdominant, subdominant chords want to go to dominant. So your progression would either be a tonic chord to a dominant chord and then a tonic, or it could be like a tonic to a subdominant, then dominant.
[116.46s -> 125.39s] and then tonic, so that's sort of the way it works. Now let's go back to our first diagram. I'm going to put a T for tonic chords underneath the 1 and the 3.
[125.39s -> 139.60s] and then I'm going to put just a quick abbreviation for subdominance under the subdominance, and an abbreviation for dominance under the dominant, so that you can kind of, just looking at this graph, see how things are functioning.
[139.60s -> 147.57s] So let's actually go ahead and make up a chord progression. We'll start with our I chord, that's kind of a given, and let's go to a subdominant chord. So we'll go to the IV chord.
[147.57s -> 157.76s] And then from there, we're going to go to a dominant chord, which will be our V chord. Usually you want to go to the V chord for your dominant chord. It sounds a lot better than the VII in a major key, especially.
[157.76s -> 167.73s] But then we'll go from our 5 chord back to our 1. So we're just going 1, 4, 5, and then 1. So tonic, subdominant, dominant, tonic. Alright, listen to how this sounds.
[176.50s -> 188.98s] Alright, now let's do a different progression. We'll start with the tonic chord, and then we'll go to the IV chord again, a subdominant. But now we can go to any other subdominant we want to before we go to the dominant. So we're going to go to our IV, and now let's go to the II.
[188.98s -> 196.88s] And then from the 2, a subdominant, we'll go to the 5, our dominant, and then back to 1. So now we have a slightly longer chord progression. Check out how this sounds.
[206.42s -> 218.19s] Now here's another example where we play two tonic chords, and we go through three subdominant chords, then our dominant chord and our 1, right? So we're going to go 1, 3, 6, 4, 2.
[218.19s -> 223.76s] five one right so you see the kind of the flow here um check this out it sounds really cool
[239.34s -> 251.41s] Now, you may have noticed how a lot of times we're ending our chord progressions with a 5-1. And that's actually very normal in Western music. It has a name. It's called a cadence. There are a few exceptions to this rule, though.
[251.41s -> 261.49s] And there's some other, like, cadences that we have. They're very specific, though, and they're not used all the time. The first one that you see a lot is the 5 going to the 6.
[261.49s -> 271.71s] So instead of going to the 1 at the end, the 5 goes to the 6, which is weird because that's a dominant going to a subdominant, but it's one of those exceptions that you can use at the end of your chord progression.
[271.71s -> 283.70s] This makes a really cool sound. Just for the sake of comparison, let's do a 1-4-5-1, and then let's do a 1-4-5-6, so that you can kind of hear the juxtaposition of the two.
[302.70s -> 313.12s] So that's called a deceptive cadence when you go from the 5 to the 6. We call it deceptive because your ear kind of expects the 5 to go to 1 because that's what you hear all the time.
[313.12s -> 324.35s] but because it goes to the 6th, it's deceptive, quote-unquote. So, that's one cadence. There's another cadence that we should also take a look at called the plagal cadence. Sometimes it's called the amen cadence because you hear it often in hymns.
[324.35s -> 336.62s] So in this cadence, you're going to go from the 4 to the 1. So that's super crazy. Now we're going from a subdominant to a tonic, right? So that's kind of breaking the rules again, but it actually has a very pretty sound.
[336.62s -> 350.38s] So let's do an example real quick. We'll go 1, 2, 4, 1. So we're going tonic to two subdominants and then back to tonic. A little bit weird, but it actually has a very pretty sound to it. Check it out.
[358.42s -> 372.19s] Alright, that's pretty much all you need to know, but let's go ahead and take a look at minor keys. Everything here is actually the same. As you can see from this first diagram, everything looks a little bit different, the chords, but everything still functions the same.
[372.19s -> 384.29s] The 1 and the 3 are still tonic chords. The 2, the 4, and the 6 are still subdominant. And the 5 and the 7 are dominant. So all the same rules apply here.
[384.29s -> 394.83s] Let's make a quick progression here. We'll go from the 1 to the 3, both tonic chords, and then let's do a subdominant. So we'll do the 4, and then we'll go to the 5 here, and then back to the 1. So give this a quick listen.
[408.40s -> 422.18s] All right, that's pretty much it. Here's that larger graphic I was telling you about earlier. Hopefully you find this helpful. I have not all the keys, but a good number of the keys that you would normally be seeing along with the Roman numerals.
[422.18s -> 433.12s] So check this out, start kind of experimenting with playing these progressions in different orders following these rules, and let me know if you have any questions. And also as an added note here at the end...
[433.12s -> 446.56s] don't be afraid to kind of do whatever you want you don't have to follow these rules you don't have to go in this order um this is it's good to kind of know these rules as a guideline but it's not the end of the world if you like if you play some
[446.56s -> 460.06s] random chord progression and you think it sounds cool, that's fine. You can go with it. There's nothing wrong with that. I, for a long time, thought you had to do only functional harmony progressions, but you really don't. You can kind of do whatever you want.
[460.06s -> 466.38s] So that being said, knock yourselves out and best of luck to you guys. I'll talk to you next week.
[0.85s -> 5.65s] In this video you will learn how to read this.
[29.84s -> 40.45s] A major seventh chord is formed by adding another third above the fifth of the chord. There are five different seventh chords. Major, dominant, minor, half diminished, and full diminished.
[40.45s -> 53.01s] A major seventh chord has a major triad and an interval of a major seventh above the root. To make it a dominant seventh chord, lower the seventh a half step. To make it a minor seventh chord, lower the third and the seventh a half step.
[53.01s -> 65.58s] To make it a half diminished 7th chord, lower the 3rd, 5th, and 7th a half step. To make it a full diminished 7th chord, lower the 3rd and the 5th a half step, and the 7th a whole step. Let us start with the C major 7th chord.
[65.58s -> 78.90s] The notes C, E, and G make a C major triad and the note B is a major 7th above the note C. To make it a C dominant 7th chord, lower the 7th from the note B natural to the note B flat. To make it a C minor 7th,
[78.90s -> 92.51s] Lower the third from the note E natural to the note E flat. To make it a C half diminished seventh, lower the fifth from the note G natural to the note G flat. To make it a C full diminished seventh, lower the note B flat to the note B double flat.
[92.51s -> 106.40s] Let us make a G full diminished chord. Start with a major triad using note G, B, and D, and a major seventh above the root, which is the note F sharp. Lowering the seventh a half step from the note F sharp to F natural would make this a G dominant seventh chord.
[106.40s -> 117.36s] Lowering a third a half step from the note B natural to B flat would make this a G minor seventh chord. Lowering the fifth on the note D natural to the note D flat would make this a G half diminished seventh chord.
[117.36s -> 126.21s] Lowering the 7th from the note F natural to the note F flat would make this a G full diminished 7th chord. Let us make an E full diminished 7th chord.
[126.21s -> 137.60s] Make an E major triad with the notes E, G sharp, and B, and a major 7th above the root with the note D sharp. To make it a dominant 7th chord, lower the 7th with the note D sharp to D natural.
[137.60s -> 149.95s] To make it a minor 7th chord, lower the 3rd from the note G sharp to G natural. To make it a half diminished 7th chord, lower the 5th from the note B natural to B flat. To make it a full diminished 7th chord,
[149.95s -> 163.22s] Lower the 7th from the note D natural to D flat. Let us do one more. A F full diminished 7th chord. Make an F major triad with the notes F, A, and C, and a major 7th above the root with the note E.