Music Theory Masterclass 1: Drilling the Basics

streaming Hello everyone, happy Friday, today is going to be a master class. I guess they're all master classes, but we're going with a 45-minute class, the typical length of a whiteboard class, delving into the

basics

. Many of you are like men. Why should we keep going over the

basics

because these are things everyone needs to know? However, we're not going to start with a circle of fifths, but I'm going to start with my offer today, discount code rb 700 60 off my biato book bundle is a 700 page 40 ear training course pdf. I get a lot of questions and comments about my top 10 Spotify countdowns.

How do I discover the song so quickly? I've talked about it here many times. Auditory training. Nothing else. you have to keep doing it all your life you have to be able to recognize intervals you have to be able to recognize chords how they sound if they are major chords minor chords add 9 chords their 4 chords whatever as soon as you hear it I have to recognize the quality of the chords of the What we will talk about today. I'm going to start with basic triad formulas. Okay, now I've arranged it like this major augmented minor diminished.

I always talk about major minor than diminished and augmented. Not now. Don't use diminished and augmented chords as much, but you'll use them in things like solos and you'll hear them in older songs, '70s stuff, '80s and '60s stuff, you'll hear diminished chords in your augmented chords, very common, so it's good. so the basic formula for a major chord is one three five, okay, one three five, so we always refer to the major scale, so if I take a C major scale here, all the white notes, that's a C major scale. C major, so I take the first note and the third note. and fifth note of the scale now everything I do with those notes to alter those notes the one three five we are always going to be related to the triad one three five major or major scale okay, so the major chord is one three five so this it's a major third perfect fifth okay, it's not important to know what the interval actually is, but next up is the augmented chord one three sharp five so the only difference between major and augmented is that the fifth is raised in semitones so here is C major this is augmented, so the g fifth moves to a sharp five every time someone talks about augmented, they mean a sharp fifth, okay, now minor, the formula is a flat, three five, okay, it just implies what it says, you take the third of the A major, the e and move the E flat which is a minor chord, then a flat three because I flat the third of the major scale and then five, okay, now diminished, I always think of diminutions related to minor diminution is a flat, three flat, five, okay, so you take a minor chord.

There is C minor and low fifth in G half a step to G flat, then C E flat G flat which is a diminished chord which is the formula for the diminished chord you memorize these formulas how you memorize them you write them down and repeat them a lot, as if you were memorizing anything in my book and in my ear training course starts with how to build chords well, it starts with intervals that you both do, but the next thing is how to build chords and you start with how to build a triad, okay, so you learn to recognize it by sight and by sound right or by formula and by sound, what are the other types of chords you have?

The other types of triads we talk about these all the time, we have the sus two, okay? The sus2 chord I'll put a little divisor here, it's one, two, five, that's the formula, so you take a major triad and you move the three third notes from the right of the scale to the second of the scale, so we say one , two five, which is a sus. two chords you hear sus2 chords all the time very very common you have seen it and you know that you see dsus2 if you play the guitar you see these chords all the time in the chord charts the next chord is sus4 it is also common a formula sus4 is one four five well one four five okay this would be c sus4 why it's called suspended okay because the third is suspended up and your ear wants to hear it move down or if it's a sus2 your ear wants you want that note to go up Okay, now there are two more triads which are very common and what I call one is the Lydian triad.

You won't find this in books, except in the automatic book. Okay, one sharp, four five. Okay, once again, let's say I take one, four, five, c, sus, four, one. four or five sharps, okay, that would be a Lydian c triad, you think of it as a sharp four, okay, and then we have the Phrygian triad, okay, we'll talk about these modes in a minute, one flat, two fives, It's okay, if we go one two. five its two and I flat the two move it down half a tone one flat two five that would be a Phrygian triad in c.

Well, now there are a couple of other triads that you would find in the major scale. One of them would be the sus4 floor five the other would be the uh uh the floor sus sorry floor two floor five we are not going to talk about those now those are not so common those are they are common but they will not be common as far as we know because these they're the basics they're all common these are commonly used these are things you want to be able to hear if I turn off the keyboard at the bottom you want to be able to recognize these things by ear the second chapter of my ear training course, I think it's the second chapter, and the third chapter, billy, where the triads, I think, is the third chapter. uh we practice the triads over and over again, you listen to them, you practice and then you have the test rounds and keep track of your scores of your high score, you'll be played a series of chords and you know you'll be, that's major, that's diminished sus2 sus4 lydian, you have to be able to hear them, no, they'll all change key all the time, but eventually, once you listen to them enough, you'll start to recognize the interval combinations.

Now you want to be able to recognize these harmonic meanings played as harmonies all together so you understand that. I don't need to know. that's c c f sharp g true, but I can hear those notes in the chord, you don't have to have perfect pitch to be able to hear those notes, you just have to be able to learn to distinguish them and that comes from focused listening. One interesting thing here, um, many of the top mixing engineers who mix the most famous records historically have been in their 50s and 60s, even now you might wonder, wait, some have been in their 40s, but they usually aren't. young people whose hearing is theoretically impaired become excellent at doing this because their brain is able to recognize things, um, anomalies eq if something is too 1k if it's too 4k if it's too 150 hertz if it sounds, you know, wow or something like palm muting, for example, this is from experience, it's the same kind of ear training that you do to learn these things, you just learn, you learn to recognize these sounds, the woofiness is equal to this, um, the harshness is equals 3k nasal equals 1k, okay, so these things are commonly used. and it's all part of developing a vocabulary of recognized sounds.

Well, these are the triads you want to know now. Next we want to talk about chord scale relationships. Well, then let's do it. We're going to go back to the larger scale here and we're going to ah, don't you just love the whiteboard stuff, like being in class? Actually, maybe not, so the major scale, the major scale, again, like I said, is going to be 1 2 3 4 5 6 7. I'll put notes on c d e f g a b now these are the notes of c major each degree of scale has a related chord, it always goes in the same pattern those of you who have seen this who have watched my live lectures here before harping on these things all the time.

Because? Because it's great. That's how you learn to discover songs really quickly when I'm doing these Spotify top 10 countdowns as soon as I hear the first chord. I identify it as a major chord, there are only three major chords in a key, so it's the four or the five. As soon as I hear the second chord, I know what the other chords in the progression will be like. oh rick is going through the songs beforehand, no, things like never changing key contemporary songs, the place where ear training really comes in handy is when you're trying to understand Led Zeppelin, the Rolling Stones, the Beatles, XTC or you know any band .

Aside from what you know and Sound Garden, they have really complex chord progressions, eh, those are the things that you have to have especially good ears to hear well, but contemporary pop

music

and contemporary metal, the lists that I've gone through are simple, they simply are. I listen to the song I start, I start listening, okay, I know what that is, I know it doesn't have that, that's okay and I can predict what's coming next, that's because I understand how chord progressions work, okay, so the chord in major the key is always major, so the chord would be C major, the two chords are minor, the three chords are minor, we use lowercase Roman numerals to indicate uppercase Roman numerals to indicate major chords, okay, all these are triads, the circle here means diminished, okay, so the two chords in C major are D minor, I use minus for minor, that's a common e minor to minor and this is b diminished, okay, so we have C major D minor e minor f major g major a minor b diminished now here's something interesting Many contemporary pop and rock songs use suspended chords, what I call constant structures, so what I like to do is review the major scale and talk about the chords that are related to each scale degree plus their associated suspensions, for example.

C major we are on the only chord in the key of C, you can have c sus4 or c sus2, so I like to be able to have my students recognize what the accidentals are if I have a for each scale degree that each chord is built on. each scale degree recognizes what the two accidentals are if you move the third of the chord to the next note in the scale or the third of the chord to the next note of the scale, okay, then the second chord in the key of C is D minor and this It may seem like I'm going fast because I'm going fast, but you can always rewind these videos and watch them over and over again, you can watch them at a speed of 0.75 and it will sound like the information is moving slower, okay, everything is In my book, did I really tell you I have an offer? my May mega sale. um, you know, I never put up my videos.

I never do it. I never tell anyone to subscribe. I don't know if you guys will realize that until the end. of the video when people click on it and I sell my book and I sell my ear training courses so I put this about how I support my channel with these things and I put them at the end because people get tired of hearing me talk about and I make sales here because you know I appreciate you tuning in and this is the only time I can really promote something from my store and these are tangible things that you can buy that will help you learn these things. the formulas for these things are there, watch the video with me and just follow the chapters, okay, uh, rb 700 is the discount code, okay, if you want to support the channel, you like my content, this is how you do it , you do it too. by subscribing and ringing the bell, I never tell people to ring the bell, ring the bell, please, um, so these are the seven chords in the key of C.

I did C major and then I raised the middle note, the third, one scale step, so it's c. its four or go down a scale step to c its two I go up to the next chord d minor d its four d sus2 e minor e sus4 e phrygian let's talk about that because it is related to the mode that goes with the third chord f major the four chords fly lydian ok one sharp four five f sus two g major g four g sus two a minor asus4 asus2 b diminished this would be um a sus4 uh chord five flat and this would be an a chord a flat 2 flat 5 now we don't need to talk about the constructed chord in the seventh scale degree because today we're talking about the basics, this is a little more complex, we usually don't have these chords associated with the locrian mode or the leading tone here. but you do it when we get to the 7th chords, we're going to get the dominant chords here, okay, so those different tri, those different things, uh, we have the Lydian triad here associated with the four chords, we have the Phrygian triad associated with the three chords, that's because there are modes that go with each scale degree, the mode that goes with a chord is called ionic, okay, I'm going to write it like that because I can write sideways and that's how it is in my biato book . that when you have these things lined up they are very easy to memorize, so cionian goes with one chord dorian goes with both chords it would be d dorian correct e phrygian g i n I always spell phrygian wrong I wrote it right there fly lydian lydian is the way that goes with the chord iv mixo-lydian goes with a v aeolian chord goes with the chord six and locrian goes with the chord seven okay, so these C major scales the modes are c ionic d dorian e phrygian f lydian g mixolydian aeolian and b locrian those are the seven modes of C major now we know that C major are all the white notes, so if I go from C to C that's Ionian if I go from D to D in a C major scale that gives me all the combinationsintegrals of the Doric mode comes your Lydian triad from G to G is G Mixolydian a to a in C major is an Aeolian or a natural minor okay b be is b uh Locrian okay those are the seven modes of C major that each major scale follows exactly the same Ionic Dorian Phrygian pattern lidio aioli and locrio you might want to invent some kind of thing with that billy, do you have one or not that goes with that?

If anyone has one, put it in the chat. What is that? someone commented one. I don't play

music

at full volume. I don't play loud music at lunch. That is incredible. Wow, but I do play music at full volume. I play loud music at lunch. Um, that's great. I don't play music at full volume. in lunch Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian okay, the next way to break them down that I like to talk about is to group them well, major one chord four and five remember blues blues is the one four five well, the major chords in a major key is the one chord, the four chord and the five chord, the minor chords are two, three, six, two, three, six and the diminished chord is built on the seventh degree of the scale, which has a small diminished circle again meaning diminished, okay, now these are all. the triads in the key of C major now there are also seventh chords if you add a seventh in each of these triads, so here is C major and then I add a seventh here, this would be C major seven if I take this shape and move up. to the major scale and it gives me all the seventh chords.

You notice that all the spacing is the same. Okay, so you have C major seven D minor seven E minor seven F major seven G m uh uh G7 G dominant seven A minor seven B minor seven flat five or B half diminished and then go back to C major seven okay, it should be easy to visualize. with the keyboard on the screen there now all I need to do is do this like this C major seven D minor seven E minor seven F major seven G seven A minor seven and then this last one you would go like this for half diminished but I like to type B minor seven flat five so I put a minus seven and a flat five okay now these corresponding Roman numerals would change they're two I just know you write these things there like g7 would be that seven minor half diminished major things I can't help it I'm a completist um I'm a completer it's obsessive-compulsive behavior I know but it really bothers Me there, okay, these are the seventh chords in the key of C.

The seventh chords always follow the same pattern two, but it's a little different here. This, to group them, you have to group them a little differently. You know what I learned on my first one. Guitar lesson with Tom Rizzo back in the '70s, he taught me this stuff, he taught me the triads and the 7th chords in every major key and I actually have the book and he just put squares around it and I still can't teach it . teach it the same way thanks tom tom is a great guitarist tom must be probably tom probably only about 10 years older than me or so okay so the major seventh chords are on scale degrees one and four on the right one major seven four major seven C major seven F major seven minor seventh chords are found in the two three and six just like the minor chord scale degrees we now have the correct dominant seven the old g7 in this case the dominant seventh is finds in the five okay and then the seven flat minor five is found in the seventh scale degree seven minor seven flat five right, I mean, minor, I don't even need that minus because it's the seven is minor minor seven flat five okay, so These are the seventh chords in each major key when I am listening to the new Bruno Mars song, what was the name of the song?

Does anyone know that song? Let the door open. Let the door open. Thanks, Billy, leave the door open. So whenever you have r b, soul or neo soul, they're usually going to use seventh chords, okay? and these. The seventh chords are these type of chords that come from the major scale, that's how it is now in the Bruno Mars song, they have some uh chords that they modulate and they have some chords like, for example, they will have um uh, this chord that they have in reality, I think. they have I think this starts on f major then they go to that's like that, billy sounds good and then um, where does it go after that?

I'm trying to think I can't remember it, but it does that and that has the g uh it has an f f over g which is another common chord these are chords that would be a g 11 chord or a g uh 9 11 g sus 9 11 chord. so um f over g is what we call it these are chords still from the major scale, that's why you need to know these 7th chords if you're going to play earth wind and fire bruno mars anything that's derived from 70's soul music or neo soul fun any funk music anything you have to know seventh chords um I was listening um uh earth and fire wind fantasy, I'm going to do what makes the sound cool, I think in that song and the part of the guitar it's all seventh chords and it's all diatonic seventh chords, but that's not all seven two diatonics, it changed the key all over the place, it's incredible.

There are so many chord changes in that song, it's great, but the cool thing about the guitarist is that you have strings and trumpets in there, but the guitar leads the charge with all the hip chords, the guitars, you don't even notice it until when I just put the traction of the track here you'd be like oh my god the guitar part is everything in the song it's amazing and it uses all these kind of 7th chords like this okay once again these formulas are in my book I hate keep insisting. But this is my only chance this week, discount code rb 700 if you want to support the channel so I can continue making videos.

I mean, I want to keep making videos for a few more years at least. This is how I can do it. Don't accept corporate sponsors. I have a Gibson guitar on the way. I'm going to donate all the money to charities for that. I think I already mentioned it anyway, but I don't do any sponsorship or anything. like so, so I feel like if you're going to buy something to support the channel, you get something for it and it's knowledge, so you're paying for knowledge, it's like half a guitar lesson or something. Okay then. these are seventh chords related to the major keys, very important screenshot, the things if necessary, but the way to learn them is to just sit down and write them and write them and write them and write them and write them and write them because that's how I learned it I learned it I learn it I learn it again every time I teach this right I'm doing it I'm relearning it again now I'm reinforcing those patterns in the brain okay okay so next I want to talk about minor scale chords okay, I'm going to talk about a minor, so you have a few different types of minor, you have a natural minor, you have a melodic minor, you have a harmonic minor, the natural minor is probably the most common with the raised fifth degree of the scale, so if you take a key minor minor if you take all the C major chords and start with the sixth chord of a minor, well these are all the same chords and that becomes the only chord, that's how chords work, that's why it's called relative minor because it is related to the parent or the relative major, so it will all be the same chords, so what would have been the sixth chord in major, a minor that becomes the diminished B becomes the two, the C major becomes three D minor becomes four a minor becomes five so on, so the minor chords would be uh one minor two are diminished three is major four is minor five is minor but a lot of times we change it to major we put it in parentheses uh six is ​​major I'm looking for a capital Roman numeral and seven is major but this is actually six flat and seven flat and I like to put three flat here I'll tell you why I do that so there's no confusion this is how I do it you learned patrick right so there's no confusion so I'm going to minor is the chord b diminished is the two chord c major is the three chord uh d minor is the four chord e minor is a v chord many times it's e major right if it's melodic or harmonic minor um, then F major and G major, okay, now if I have a chord progression like um, you've heard it a billion times, okay, that's the end of the stairway to heaven , that jimmy page soul is over, that's really, you could say, okay, that might be six five four in the key of C, but stereo heaven starts in minor, so it's in minor, so in It's actually one to seven, flat seven to flat six, okay, so these are all the C major chords, do you think? of this as a tape loop, okay, now what modes go with these, the same modes as in major, they're just shifted around aeolian is the only mode, just the other name for aeolian is natural minor, okay, so this is the natural thing, these are the chords. from a natural minor, the two chords are Locrian, so we are uh, so we are Ionian, we are Dorian, we are Phrygian, Lydian and Mixolydian, okay, the modes work the same if you are A minor or C major, it's the same mode, you just start in a different place, okay that's how these things relate, where it gets complicated is when you get to the melodic minor and the harmonic minor, so let's talk about the formulas for these, actually let me talk about the formula for a minor, I say one two flat three four five flat six flat seven okay, sorry I crammed it in there, it's all in my book, so that's the formula for the natural minor scale, now we also have the melodic minor scale, this is going to produce completely different chords, okay, this is a little more complex, these are not really the basics, these are a little more than the basics, a melodic minor and I'm not going to go into this because it's going to be for the future , for the next master class, we are going to address this topic: a melodic minor in a harmonic minor.

I want to show you what the formulas are for these melodic minors one, two, flat, three, four, five, six, seven, harmonic, minor, one. two flat three four five flat six ups flat six seven okay now, um, if I take a C major scale to turn it into C melodic minor, I just flat the third, the third note of the scale would normally be E, but I change it to E flat because from that you get a completely different series of chords, so it starts with C minor, then it goes to D minor and then it goes to E flat augmented.

Now it's not important to talk yet about what chords are here, I just want to talk about the formulas, so when people say minor, you have to say well, what kind of minor, is it natural minor, is it melodic or harmonic, melodic is more or less For jazz music, most people use it, although Stevie Wonder writes songs in melodic minor, he is one of the few people. that's because stevie wonder is amazing, okay, harmonic minor in harmonic minor, if you like metal, if you like neoclassical metal, if you like ingva, if you like any of them, give me some guitarists who are neoclassical people. they use minor harmonic billy all of them yeah marty marty Friedman paul gilbert uh yeah I'm sure all the neo metal neoclassical metal musicians use the minor harmonic okay the minor harmonic differs when you hear this two flat three four five flat six major seven this interval is called the augmented second now the augmented second interval is what gives the scale its correct sound and that's why you have another whole series of chords that go along with this um all of these things are in my course discount code of ear training rb 700 and my biato book bundle, my 700 page pdf, I go over all this stuff over and over, and over and over, so you hear these things, so when you hear a song you think: I know what That's it, I know what that is.

It doesn't matter what the tuning is, it doesn't matter if it's metal, if it's pop, if it's rb, if it's jazz, if it's rock, if it's indie rock, it doesn't matter, they use the same vocabulary, you just have to learn the only things that The things that get difficult are when you have weird tunings on the guitars, if it's Joni Mitchell or it's a tack controller and you have some alternate tunings, you're like, okay, I can hear what kind of chords they are, but I have to figure out which ones. It's the tuning comes first, that's the tricky part, but again, that's something you develop.

There's a song called Daughter by Pearl Jam that's in the verses of the third second album and at the beginning, Stone Gasser, whoever is playing the rhythm, I assume it's him, strums everything. the chords open up and it's an open g tuning that's how I knew how to learn to play the song because he quick just picks each note and goes oh okay or uh she talks to the angels counting black black crows counting, I'm thinking about the county girls, black rose, the black crows, uh, that's an open tuning in e major, that's the only way to get those chord voicings, we can get them another way to make them sound like that is to be able to work it out by ear once again when I hear those things I recognize itinstantly oh, that's an alternate tuning because I hear the sound of how the strings react, it's just you know or if it's Keith Richards, I know what an open G tuning is, I know what an open C tuning is the tuning It sounds like it's joni mitchell, I know what dad sounds like, I know what drop d sounds like, if I'm playing Tool, if I'm playing Sound Garden, if I'm playing Allison Chains, I know those drop tunings, I know what.

They sound like I know the kind of chords that can be produced by those who know that

theory

tells you about all these things as soon as I hear the first chord in a black hole G, I know I'm fine, that chord is a sus chord. right and the only way to play that chord is if you're in drop d that's the only way so knowing the

theory

I know the sound of that chord or the chord right before the uh or before the end of the progression when it comes to E flat sus I'm fine, that chord can only be played, it's not even on the guitar, it's not in standard tuning, that low E flat, so that's fine, it's obviously drop d and then you hear the d open d and you say, it's okay, I definitely have this, drop d, okay, once again, ear training, it's a vocabulary of recognized sounds, okay, billy, you said something, you have a question, maybe it's time to ask questions, okay, did you?

What do you have?, okay, you ask. Let's see Rossi composing. I've learned a lot of theory from you, Rick, but I still have a hard time writing because I can't relate the chords in music to a style or rhythm. Any suggestions, um, relating theory to a style. Wait, since I can't relate this, the music chords with a style rhythm. Any suggestions, well, it really depends. what kind of music you're writing, okay because every kind of music uses a different vocabulary, a different harmonic vocabulary, a different rhythmic vocabulary, uh, when it comes to harmony, because here we're talking about harmony, the understanding of diatonic chords , understanding the secondary chords and the and the median chords that are related to the key are really important, okay, this is where you know, you know, when I was one of the things I asked Joni Mitchell when I met her for dinner. was: do you write? did you always write? music first and she said yes and all the songwriters i have ever known other than elton john elton john got his lyrics from bernie topping i met elton john in a studio here in 2004 and i met him and benny billy and bernie toppin and bernie He finishes the lyrics and passes them to Elton and Elton creates the music now which is very strange to me, he's the only person I know who actually does that, I think of all the Beatles songs I've read in the entire universe, was the only one.

The song that John Lennon actually had, um, he had the lyrics first and then he came up with the beat, but Joanie told me that she would come up with the syllables first, which is like most people come up with. syllables and then they will find the correct one. kind of diphthongs and things like that to come up with the lyrics that go with them that sound like the melody that they're singing, so you know, that's how you know how to use the theory if I say okay, I want to use these chords you know I'm going to write a song with one four five and six or four one six five something like that or I want to get out of it I want to try something different what's a chord I can use? a major three chord or I use a secondary dominant chord, something like that, so that's one way to do this, so it's important to memorize these things.

Well, Thomas B says I keep finding these strange chords on the guitar flying blindly, even though I may be. slow sometimes I worry if I learn too much I will lose an element of creativity is there any truth to that? No, there is no truth in that. I'll give you a great example: Beethoven Bach, Mozart and every jazz musician, every rock musician, I mean most people. they're professionals they know what they're doing they know what all the chords are stephen tyler chris cornell knew exactly what they were playing not everyone does, but most professional musicians just know they know what chords go together and uh and if you learn things like john williams when he writes themes for things, he's writing the entire orchestration, i don't know anyone more creative than john williams, i mean, forget about the main themes, all the incidental music for the hundreds of movies. you noted or by many it's crazy it's mind-blowing a score for a major motion picture is 800 pages long a two-hour musical score orchestral score people who know things who know music who know how to orchestrate for a full orchestra who are incredibly creative whether hans zimmer or bernard herrmann thomas newman james newton-howard john williams they are all incredibly creative people and they know all these things and if they don't know it they hire an orchestrator who knows it well so it has nothing to do with creativity most of the Creative people know these things, Jacob Collier, whoever it is, they know it, so no, the answer is no, learning things doesn't make you less creative, it makes you more creative because when you recognize things you can learn more things when I hear something, ya I know that.

That's right, that makes me more or less creative no, it makes me more creative because I can think of a million things to do and make them my own based on the things I've heard, I know what it is, so, oh, I can use that , but I'll change it and I'll get it right, but if I have to sit there and search blindly to figure out what this note is and I have to sound it on the guitar or whatever and it takes me five minutes to find every note right, how do I do it? to be creative when doing that?

If I know boom, that's a major chord, that's a Lydian chord, I know what to do with those things, I like the sound of that, take that linear chord and maybe I'll put that note in the root or maybe I'll go to that, you know, it's a good question, although it's actually a very, very common question, um, tough, uh, I can't see your last name, can you tell us more? detail about bitonal chords how to compose with them i hope my question comes to you as a big fan uh for tonal quartz bitonal chords are not really things for this particular

masterclass

here, but for total chords that would be bitonal chords Okay, so there would be triads over bass notes, we call them bitonal chords, but they come from different scales outside of the major scale, not all of them are the first chord I played this chord, it could be c phrygian, that chord is actually beautiful, right, but? once you start getting into this chord that comes from a different key which comes from a different key which is g diminished diamond uh that's actually Phrygian etc. and so on and so forth these bitonal chords sometimes come from keys majors, sometimes they come from distant keys or scales away the diminished scale the augmented scale they might come from come from yes, um, the lydian augmented scale, uh, they will come from modes, generally they will come from modes of the major scale, melodic or harmonica minor, okay, great question though, um marissa says how do you discover songs by ear on the radio?

In the same way as what I'm talking about, I'll usually hear the movement of the bass. I will recognize the chords instantly due to ear training. I'm going to say rb 700 one more time if you want to support the channel you buy something in my store but you buy something and they are things you can learn to know for the rest of your life. The thing about music theory and ear training is that it is evergreen. it never changes it's been the same this is western music theory but you can do it if robbie shankar when you see him talk about ragas he talks about them in relation to scales he talks about mass he talks about moving mass things like that he knows eastern and western could you really identify him with west ?

There is a great video on YouTube. He was a genius at playing the sitar. So these things that you learn are there for life, they inform you with everything you hear and also, they really stimulate your creativity. The more you learn, the more possibilities you have to experiment with things, a lot of people I'll just say this here in my closing, a lot of people want me to delete these tops when I listen when I make these Spotify. playlists people want me to delete the music and I don't delete the music. I try to look for positive things there because it's music of our time and children's time and if it wasn't popular, yes, of course, these things are paid for. because somehow, or they used to get paid for chart position and stuff like that, but now pretty much whatever gets the most streams rises to the top, it's best for Spotify or Apple Music to do that, so what get the most streams The most? um, Led Zeppelin was the biggest earner on Spotify last year from what I heard.

I'm not sure I need to verify that, but someone told me that's the case, which is pretty incredible, right, so I try to look for positive things if you trash people's music, kids today don't listen to you, so that, um, the best way is to try to teach people other possibilities. When I hear the Bruno Mars song, I'll even cheer for it. If it's a spin-off of Earth Wind and Fire or a lot of the stuff that came out in the '70s, great, I want more people to spin-off stuff that came out in the '70s, that would be awesome, so you guys are great, thank you very much. the next

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I never don't publish it. I did it once on Instagram two weeks ago. I won't do that anymore. I don't like doing it, whatever it is. I go live when I'm ready, usually on Fridays, sometimes on Saturdays, so people always ask me that's like when I do a thumbnail and I'm like, Billy, you're ready. That's when I go live, okay, we'll see you guys, have a great weekend shot. careful