Music Theory for Electronic Musicians, Part 3: Extended Harmony

What we've done here is we've taken a major scale and we raised the fourth scale degree. Right. That's all we've really done. So we're gonna look at these in two different ways. That's one way. The first way. Does anything look kind of similar here in the way we organize our scale? Yeah, they're actually kind of lined up to be. That's kind of related to where we get our scales. Not entirely. I mean, a lot of it has to do with math. But there is this idea of music of the spheres. It's kind of interesting. It's okay. I'm willing to roll. So this chord progression is cool, but it's not cool enough. The reason is it's not really very Dorian to me. Let's see how that works with our drums. Not bad. Hey, everyone. Welcome to Music Theory for Electronic Musicians Part 3. I am Jason Allen. I will be your teacher for this class, as I was for the first two classes. These two. Those first two, Music Theory for Electronic Musicians 1 and 2, have been my most successful classes. I've heard from thousands and thousands of students that have taken those classes and been making better music because of it, and just makes me so happy. So I decided to dive in and make a third one at Popular Demand. What we're going to be doing in this class is kind of a. I took a lot of the suggestions that I had gotten for a third class and kind of compiled them all together into this one group of things called. That I'm calling kind of Advanced Harmony. What people wanted to know about. A lot of people wanted to know about modes. So we're going to talk about modes. A lot of people basically wanted to know how can they do more interesting chord progressions? How can they write something that sounds cooler than just using a, you know, like a one, four or five type chord progression? And there are a lot of things you can do in this class. We're going to talk about modes. I already mentioned. That's going to get you out of that. Another thing that I threw in here is this thing called chromatic mediants. That's something that if you take a traditional music theory class, you won't encounter until the really advanced stuff. But because I hear it in electronic music all the time, I hear producers using these things that in the music theory world we would call chromatic mediants. I decided to throw them in here. They're not that complicated. They just don't come up until later into the curriculum. But using those, you'll be able to make much more interesting chord progressions. I bet we're going to talk about pentatonic scales using pentatonic scales, and then just a whole section on just working with advanced harmonies. Now that you've got this huge bag of tricks, how do you actually, like, produce music using all of these things? There's just too many things to choose from at this point. So I'm going to walk you through a couple of the tips that I do while I'm producing to kind of make sense of it all. And then lastly, I'm going to give you what a lot of people want to know about also is these things called exotic scales. I'm going to go through, like 20 or 30 of them in this class. They're just kind of these scales that are around and you can use to invoke certain feelings, certain emotions, and even certain geographic areas some of the time. Also in this class, I'm gonna be making a lot of sessions and a lot of tracks. So if you are an Ableton user, you don't need to be an Ableton live user to get the most out of this class. But if you are, I'll be giving you a whole bunch of tracks that I'll be making in this class that use all of these techniques. I think there's nine of them. So nine full sessions. And with those, you can play around. With those, you can mix them, you can add more to them, you can take away. You can even release them as your own tracks. I don't care. They're totally yours. So with that, let's dive in. I have a lot of great content for you in this class. I hope you decide to take this class and jump in with me. Let's get to work right away. Off we go. Sam.