adamneelyyoutubecomments - Tumblr blog

adamneelyyoutubecomments · 2 years ago

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i hate my son so i spin him to hell

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adamneelyyoutubecomments · 5 years ago

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why hello there, thank you for sticking around. i thought i would uh, talk a little bit more about some theoretical concepts i did not talk about in the main video, just for time reasons. you know, if i- (slight chuckle) - talked about all the stuff i wanted to in the main video, it would've been way too boring, way too dry, and in this more, uh, informal, off-the-cuff aspect, i might inject a little bit of uh, levity and wit.

so, here we go. so there's something called the "anhemitonic pentatonic scales". and in a- an ann ene he mt ito ncic pentantoci dsfjsd - jeez, i can't talk... in those scales, you don't have half steps. anhemitonic- no half steps. major pentatonic scale's anhemitonic. minor pentatonic scale's anhemitonic. and they're really awesome for us, and we use them because they're anhemitonic.

half steps are kinda hard to work with. now, the major scale has two half steps, it has them between b and c and it has them between e and f, but it doesn't have consecutive half steps. why's that important? well, you hear all this harmony, all this sounds nice! and one of the reasons why it sounds nice is because in none of those scales and in no combination of anything, really, can you ever have consecutive half steps. if you ever had a scale that has consecutive half steps, like maybe [blues scale sound], the c blues scale, you couldn't really use some of the chords in that. for example, this chord, if i used this- those are all notes from the c blues scale. it sounds... well, i wouldn't say horrible, it sounds really crunchy. mmmmmmmrrmmm. yeahhhh.

and those-[slight chuckle]- those sorts of scales which have consecutive half steps might not be great for harmony. so, what i wan-wanted to try and do, is i wanted to try and create a compendium of all of the scales that would be good for harmony. all of the seven note scales that would be good for harmony. a- uhhhhh.... and basically that would mean that, you know, wouldn't contain consecutive half steps. so. major scale... does not contain conse-consecutive half steps. other scales which don't contain consecutive half steps include... [facecam shrinks] the melodic minor scale, the harmonic minor scale, and then also a little-used one which is called the harmonic major scale. you might not have heard of that, but it goes like this- [major scale b6 sound] it's the major scale, with the flat... uhh, flat 6. yes. the flat 6. (clicking, lip smacking)

so i'm 'onna lower these, i'm 'onna minimize these... (sibelius pages are minimized)... so... let's talk a little bit more about that dorian brightness stuff, and then we'll go into all of the other scales which do not have consecutive half steps. um... the dorian scale's really interesting, for a lot of reasons. one, you know, the stuff that i talked about in this video, because if you take this dorian brightness idea, take all of these scales and relate them into-back to dorian, in terms of how many notes are changed... back to dorian, uhhhmmm... it inverts to the opposite polarity. so lydian inverts to locrian, you can see right there, ionian to phrygian, mixolydian to aeolian, et cetera. (inhale) there's some other things that are interesting about dorian, (lip smack), uhmmmm... it's radially symmetric... to the perfect fifth. what the hell do i mean by that? okay, radally... ray-dee-ah-lee symmetric. (inhale). if i take a c, and then i build up a perfect fifth up from the c, and then build a perfect fifth down from the c, i have the notes... f and g. so far, i have these three notes. c, f, and g. [quintal chord sound].

if i do that again, if i take an f.... which was down here, but i've just sort of jumped up here, and build down a..... fifth... i get a b flat... if i take that g... im gonna move it up down here and then move up a perfect fifth... i have a d! so far, we have the notes c, d, f, g, b flat. if we do that process one last time, we take the b flat, do a perfect fifth down from the b flat, we get an e flat, and then we take the d and do a perfect fifth up from the d, we get an a... all of the sudden... we have a dorian scale! oh my gooooosh!

so we say that d- d.... or, sorry, dorian... is radally... radially symmetric, and oddly enough, thats also how the pythagorean tuning comes about... pythagoras of yes, the pythagorean theorem, came up with this... with this method of tuning scales based upon perfect fifths going out in opposite directions, and he basically would create a dorian scale... so, dorian as sort of the basis of harmony and the basis of brightness and balance, and this sort of weird system.. has a long history. it goes back to the ancient greeks. and if you, like, listen to it, just sort of with an ear for brightness, an ear for like, light and dark, the beginning of the scales kinda dark... and then it kinda lightens up a bit towards the top... so its a nice yin-yang balance of bright on top, and sort of dark on the bottom. aweseome.

okay, so dorian as the center of the major scale is awesome, but it gets a little bit more deep than that... because, if i take up the melodic minor scale, bring this stuff up... (slight pause, lip smack)... you see all this stuff? this is all the brightness back to dorian... in other words, these are all the notes that you need to change in lydian #5, which is the third mode of the melodic minor, in order to get dorian.. in this direction. (breath)... and here's the interesting thing, it also inverts like this. going back to dorian! so lydian #5 inverts to locrian b4... the opposite polarity, again, this is all arranged by brightness relative back to dorian in the major scale. hmmmmm.... interesting.... (breath)... um.... the plot is thickening a little b

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adamneelyyoutubecomments · 5 years ago

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gonna be retiring this blog for a bit b/c I just found out that Adam Neely is, as a matter of fact, heterosexual. see you

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adamneelyyoutubecomments · 5 years ago

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