Music Composition: Dissonance = Emotion

hi everyone I'm Rick Beato today is everything music we're going to discuss if you can really create emotional music without using anything other than white notes no chromatic notes allowed no blackness blah no even if they happen really fast no graceless I'm talking just white notes let's talk about how to do it I have a saying I like to use dissonance equals emotion what do I mean by that anytime you have a half step or a tritone in a scale those are places where the emotion comes from there's a reason that the 5:1 cadence is developed over the past 500 years it's that tritone of after being in a g7 chord that wants to expand outward to resolve to the tonic chord of C major before we go on let's do a quick review of Cadence's 1/2 cadence is any chord that resolves to a 5 5 quart being the at the end of a phrase let's say if it ends on 5 that would be half cadence and authentic cadence is a 5 to 1 cadence a Plato cadence is a 4 to 1 cadence sub-dominant atonic a deceptive Kings is the 5 chord going to any chord but one so accepted cadence could be 5 resolving to 6 and C major would be the G chord or g7 resolving to a minor cadence has create a sense of resolution this is really important in this whole idea of creating tension and creating emotion in music a perfect authentic Kings is a 5:1 cadence where both cords are in root position okay B the G chord in the C chord or g7 C both a root position and it ends with the tonic as the highest note of the 1 chord so C would be as beehives note of the 1 chord that would be a perfect authentic cadence and in perfect authentic Ayden's would be anything where any of these steps were not followed let's look at it this way we have C major scale here if we give every note a number scale degree here four five six seven and we're back to eight the time okay the one chord obviously is the tonic chord the four chord is the sub-dominant the five chord is the dominant now these are the most important chords that have developed in western music what's going to look at what notes are contained in these well the time accordingly of c e and g okay as the g which is the dominant note in it the subdominant chord has FAC let's get see it's got the tonic note in it but those got the note F and that's a crucial note there why because that notes the fourth scale degree wants to resolve down to the third scale degree because of that half-step that creates that harmonic ball that's where your play go cadence comes from okay the a moves down by step so that really doesn't have it kind of pull in the dominant chord I made this a g7 chord okay we have a couple things here we have the B which is the leading tone which wants to move up the C okay and we also have the F which wants result down to the e so that actually contains both of the distances in the scale when you hear a perfect fourth interval many times that interval can be stable if it's in a second inversion major chord or if it's uses a sus for suspended for it's unstable and it wants resolve down to the 3rd like a C suspended for C F G or the app wants to resolve back down to e to give you a major chord that's why it's called the suspension okay so this dominant chord has a stronger pull to the tonic because it contains two of the dissonant intervals that are related to the half steps in the scale so I say say this all the time those half steps in any scale no matter what mode it is no matter what it's from the harmonic minor scale in the melodic minor scale wherever there are a half steps those are the important places to look that's what gives you your chord sounds SP gives you more modal voicings that's what makes your lines interesting you want to look for those things that would create your harmonic movement in western music the fourth scale degree in the seventh scale degree that's why we have a sub dominant dominant the playful cadence the for one cadence has only one dissonant note and it results down so from F major to C major the dominant atonic kings v one cadence contains two distances especially with the seventh chord if it's just a straight triad you still have the leading tone which is leading you up to the tonic the fourth or the seventh the flat seventh of the G seventh but the fourth of the scale wants a result down to the third of the scale or the third of the C major and the third of the g7 chord which is B which is the seventh of the C major scale wants to resolve up to see that once resolved down in the V want to resolve up that inherent structure within the major scale of those distances which revolve around the two sets of half-steps in the scale need F and B to C that's where all the action takes place now I'm not talking about lyrical content I'm just talking if we're strictly in the instrumental realm the F to B of a g7 chord wants to resolve to the in C of a C major chord the F once result than the E and the B once resolved to C so what do you do with a half steps in the C major scale okay that EDA app can be used in three different ways you can have simple minor second interval you could play a voicing like this if you like a minor nine sound D minor 9 you could take the en app and play them like this and we can play an a Aeolian sound so get that so I've made it either a minor second a major seventh or I can make it a minor nine [Music] and I've got out there on your second I take you moving up the octave so I can have to beat those are my three possibilities with that and that will bring certain flavors when you add it to your voicings if you put it in the middle of your chords it can't have one sound okay so if I play this if I play a minor like that and I have that major seventh right in the middle one has a real interesting sound if I play that minor nine in the middle of a chord it's going to give you a completely different vibe let's say I do it like this so I use that minor nine interval right in the middle of that C major chord okay now I can do the same thing with that interval of B to C in the scale so to B B to C it can be C to B is a major 7th and B to C is a minor 9 and you can create sounds using those they can be voicings they can be melodies these same principles work on the guitar as well using the notes B and C and E and F create the same kind of tension and emotion just by playing let's say an A in the base I'm going to use this Y 9 in are going to use me and then there's my minor 9 interval and I'm gonna solve it [Music] [Music] resulted to see [Music] so here's a quick piece I composed using only the notes of C major and trying to exploit those distances in there to create a sound and emotional sound that will make you not even realize that you're not hearing any note outside of the key there's no passing tones there's no nothing there's no secondary dominant secondary diminished seventh chords it's only C major check it out [Music] you [Music] I used some videos of my kids I like to make these movies we can watch later that are scored these little little short vignettes anyways I start out with the opening so I go right up octave in the violence sea and then to do an F major seven leave this delay to the first inversion D chord rare super key G over me [Music] that's a little voice in there then I go up to mimic the intro line D D G into an a an otherworldly voicing that doesn't have a big root on it so it's a FG continue there [Music] I was want to make sure you have a seam line happening with the counterpoint [Music] I'm trying to incorporate all these different voicings that we're talking about the distances with the half-steps with the major sevens with the minor 9s I also want to have a progression based that's why I'm using half major seven those spread drag like that are really powerfully voiced in the strings and even though they're in inversions that they're there especially when they're inversions they sound great and then incorporating some more of these modal sounds too but the distances are where that emotion comes from when I hear that voicing like this because of this way the intervals are spread because there are seconds in the middle and you have the seventh you have that major seventh up on top it gives an otherworldly sound to it and that those are the kind of things that you want to use to create emotional content doesn't matter if there's any extraneous passing tones or anything like that all you need are some half steps all you need is the major scale and you can create some incredibly beautiful emotional music that's all for now please subscribe here to my everything is YouTube channel and if you're interested in the Beato book which has all these concepts in it you can go to my website Rick Viacom and get it there thanks for watching

Channel: Rick Beato

Views: 326,820

Keywords: Rick Beato, Everything Music, Film Scoring, composer, film score, film music, music, tutorial, film score (musical genre), composition, scoring, film, soundtrack, emotional music, berklee college of music, games, television, sample, electronic, sound, shawshank redemption, music for films, techniques, emotion, piano, tips, lesson, music theory, sad music, music education, art, melody

Id: yuhSUZGWC0E

Length: 13min 46sec (826 seconds)

Published: Sat Jul 15 2017