J. Anthony Allen introduces modes like Aeolian and Phrygian, then moves into counterpoint, the compositional technique Bach and Mozart used to layer melodies. He promises to teach the rules so you can break them later.
J. Ju. End up now on the relative minor, right? But we have a fancy name for that and it's called the Aeolian mode. And the idea was Phrygian was the mode for enthusiasm. It would fix what's physically wrong with you. There's a lot of stories about this kind of thing, about how the modes affected people very directly in ways that, you know, scales and music and different keys and modes and things don't really affect us. Lydian mode, sixth one, a G, Mixolydian mode, the sixth one, an Aeolian mode. Even if you're writing a pop song, Contrary Motion sounds good. So this is something that you can think about in any kind of music you're writing. That if you have the opportunity to do Contrary motion, first and foremost, it tells all the rules put together. Tell us what? What's going to sound good. Good. In a very traditional sense. Now, like all rules of music theory, and you've heard me say this a hundred times, that if we follow all the rules exactly, then we end up with kind of boring sounding music. But it's really good to know all these rules so that when we're writing our own music, we can choose which ones to ignore and break in order to make something stunning. Right? So knowing the. Hey everyone. Welcome to Music Theory Part four, Modes and Counterpoint. In this class, we're going to be talking about a lot of different things in music theory. We're getting a bit advanced. This class gets you almost all the way to the end of what would be my first semester of college music theory syllabus. So if you were taking a college class in music theory, by the end of this class, you should be pretty close to having completed all the material that would be given in the first semester. So that's a lot, you know, that's like, you know, at least three hours a week for four months of stuff. And I've kind of compressed it all into these first four classes. Maybe it'll drift a little bit into the fifth class. I think it will, but that's okay. You're still really close to finishing a nearly full college level music theory curriculum. In this class we're going to be talking about the modes. We're going to start talking about the modes and what the modes are, how they work and a little bit of the mysticism around them. There's some things related to the planets and early religion and Greek cities. It's very. They have a very interesting history. But more importantly, we're going to talk about how to make some music with them. And then after we get through with the modes, we're going to start talking about counterpoint. Now, counterpoint is something that if you look at the traditional composers like Bach, Mozart, Haydn, Beethoven, all of these composers considered counterpoint to be one of the most fundamental concepts to writing music, more so sometimes even than harmony. This was one of the key things that you had to master in order to be a great composer. So we're going to spend a lot of time in this class talking about the rules of counterpoint, how counterpoint works and how you can use it to make your music better, and also so that you can spot it in other music. So please join me in this class. It's gonna get real deep. We're gonna have a lot of fun in this class, but we're also gonna cover a ton of stuff in this class. So I hope you're into it, I hope you decide to join us, and we will see you in our first lecture coming up right after this. Hal.
