So let's go ahead and do a little bit of chord progression using the second-part theory here. In the first episode, we talked about how to use your senses to write chord progression, but I'm sure it will make a lot more sense after you watch the previous video.

So without further ado, let's dive right in. Welcome to Theoretical How to Make Code Progress. Using theories to make a chord progression starts with the scale of a song. You want to make sure that you've got your base scale of C major in C major, 

and then you want to make sure that you've got all your chord progressions and you can transpose it up and down and you can scale it up and down. So I've got a C major scale that, you know, we all know that's the seven notes of the white keyboard, 

do-re-mi-fa-so-la-ti. That's why I hung a key filter on it, because that's how you know that when you hit that other note, other than the C major key configuration, you didn't hear that sound. 

I'm going to scale it, and then I'm going to do some chord progression. I don't know if we have any gamers. I'm going to compare Mars science to a game. And while that's just for fun, it's definitely going to help you understand it 

and remember it. There are three different roles in Mars science. There's tonic, dominant, sub-dominant. When we were in elementary school, we learned grand staff, treble clef, and bass clef. That's what this is. Anyway, these three roles

are interesting. Let's call each one a tanker, dealer, dealer. You can use roll, you can use Overwatch. The tonic chord, the tanker, is the one that holds the whole ensemble together in the front and the back of the chord progression.

And that's probably the most essential role group of chord progress. The dominant, we'll call it the dealer. That's the next most important role after the tonic chord. Sometimes the dealer's behind the tanker, or sometimes the tanker's behind the dealer to protect the dealer.

If you compare this to the progress of your chords, here's what happens. There's a dominant progression in the tonic, which is a good hook progression to get into at the beginning of a chord. You know there's a DOMINANT Tonic progress.

Connecting it from a dominant to a tonic is going to be a very common progress. The third chord is the sub-dominant. Let's call it a healer. It doesn't do anything without a tanker or dealer, but if you mix this healer into the union,

it becomes a very rich and powerful chord progression. I'll give you an example. If you go from dominant to sub-dominant, it's going to give you a nice, natural progression midway through your chords. Conversely, sub-dominant dominant

connections can be much more natural and effective. So we can also end a song with Subdominant Tonic. It's not used as much as a Dominant Tonic, but it's still a pretty typical way to end a song. Just because a lot of people use it in churches,

It's called a church ending. I'll let it slide. So this is an example of a game, and it's kind of fun to break it down into roles, where each role has a character. The tonic chord can be one degree

major, three degree minor, or six degree minor. You can call it 1-3-6 for convenience's sake. One degree major is the underlying chord. Three degree minor, six degree minor, that's the proxy chord for the tonic.

By the way, one degree on a C major scale is C, three degrees, six degrees is E minor, and one is A minor. For the dominant chord, you just need to remember 5 degrees. The 7-degree dominant chord is the proxy chord for the dominant.

It went into the coffin. So you just need to remember 5 degrees. In the C major scale, that's G. Subdominant chord is four, major two minor. On the C major scale, it's F major chord, D minor chord.

I'll memorize all of them. The tonic chord is one, three, and six degrees, and the dominant is five degrees, and the subdominant is four and two degrees. The first one, five and four are the main three chords.

Third, sixth, and second. They're the substitute chords. And by the way, one, five, four on a C major scale, all three major chords are in major code. Three, six, two on the other hand, they're all minor code.

That's a bit too much, but those are fundamental theories that you need to know and are the foundation of Mars science, so even if you rewind it, you still need to understand it. Then let's get started. Let's get started.

So we've got three roles here: Tonic, Dominator, and Sub-Dominator, and you can think of them as being the combination of four people. TAD, SDT, but you seem to know them. Tam Wind SDD. You seem to know these combinations

and various types of things. The combination I'm showing you as an example is TamD SDT going on. So we seem to know how to create a combination of six types of chords we mentioned earlier. So I've created a mixture of all

of TD SDT T. So I'm going to listen to a few examples of it here. One degree Major seems to know her. 5th degree Major, and 4th degree Major. Ending with 1 degree Major again. It's composed of three main chords,

so it's a natural process, but it can be very boring. It's also comprised of major chords, so it doesn't feel tense at all. If you add a minor chord, a proxy chord, you can add tension. At the end, I'll change the 1 degree major to a 6 degree minor,

a proxy chord, so that it flows smoothly, and I'll change it to a chord progression that makes it tense at the end. There you go. As we went from this four-degree-major to this six-degree-minor-minor, that's when the tension really kicked in.

What if instead of using a six-degree proxy code for the tonic, you use a three-degree minor? This time, we went from 4 degrees to 3 degrees Celsius, so the tension is increasing. That should give you an idea of what's going on.

There are three roles: tonic, dominant, and sub-dominant. Second, there are six characters in the three roles: one, three, six, five, four, two, there are six codes. Third, if you form your own combination

and place these codes in place, you're a code breaker. Using theory to make a code jam, that's it. Simple, right? So I know I've worked out a combination of 16 possible ways to do it, but I think you don't need to do anything crazy like this.

Instead, just input the right code from this combination and come up with a combination that will sound better to you. I've listened to all of them, and I like this one. Let me give you an example. So I've got a C major here.

That's going to look really lame. That's going to look really basic, so I'm just going to drag the whole thing. I'm going to move the songs one by one and change the scale of the songs. Now, it's amazing, every time you do a transfer,

the mood of your code progression changes dramatically. There's a feeling on every scale. There's a lot of this stuff out on the Internet. But you find the scale that you're looking for when you're doing the transference with your ears.

I'm on C major and I'm down four spaces and Oh, yeah. G Sharp? I don't think it's G Sharp Major, it's going to be A Flat Major. And then from there, it's going to be exactly what we talked about in the first movie.

We're going to go voicing, tension, and then go from there. The mid-notes go up an octave in the middle. And then in your first code, you're going to type a line in your fifth note, and then you're just going to go

click, click, click, click, and then you're going to listen to it until you find the one that you like. Don't put the tension notes at the top. Take them down an octave. And then you just keep trimming it until you're happy with the tension notes.

And that's code done. Let's listen to that and wrap it up. We did one where we did the Theory of Making Code II and it's easier than you think, right? Actually, Mars science, music, is really difficult and really rich.

It's even harder if you know what you're doing. That's why I've been putting off studying about Mars science. Until now, I'm not sure if Mars science is necessary to make music, but knowing it certainly helps. For me personally, I don't think you need to study too much

and I don't think you need to give up too much. But if you haven't seen the video, you should. I wish you all a lot of fun with your music, and I'm always rooting for you. I promise that you'll come back with better content next time.

I'm the producer of this show, Arthur Nova. Thank you.

코드 진행 만들기 2편 / 코드 프로그레션 찍는 법 / Chord Progression / 화성학 기초 [알쓰노바]

프로듀서 알쓰노바

이전 동영상을 참조하여 코드 진행에서 두 번째 부분 이론을 사용하는 방법을 설명합니다.

코드 진행의 기초로 음계(C장조 예시)를 사용하는 개념을 소개합니다.

C장조 음계와 그 음을 설명합니다.

C장조 이외의 음을 식별하는 키 필터를 언급합니다.

코드 진행 역할(토닉, 지배적, 서브 지배적)을 게임 내 역할(탱커, 딜러, 힐러)과 비교합니다.

진행의 필수 토대가 되는 토닉 코드를 설명합니다.

지배화음의 역할과 조화화음과의 관계를 설명합니다.

서브 지배 코드를 '힐러'로 도입하여 다른 코드와 함께 사용하면 진행이 더욱 풍성해집니다.

일반적인 코드 진행(도미넌트-조화, 서브도미넌트-도미넌트, 서브도미넌트-조화)을 설명합니다.

각 코드 유형(조음: 1, 3, 6, 도미넌트: 5, 서브도미넌트: 4, 2)에 사용되는 음계 도를 자세히 설명합니다.

진행에서 장조 및 단조 코드의 사용과 장조 코드가 긴장감에 미치는 영향에 대해 설명합니다.

'교회 어미'(하위 지배조)를 언급합니다.

주요 코드 도수와 그 역할을 요약합니다(조: 1-3-6, 도미넌트: 5, 서브도미넌트: 4-2).

조, 도미넌트 및 서브 도미넌트 코드(TAD, SDT 등)의 다양한 조합을 표시합니다.

언급된 조합을 사용한 코드 진행의 예를 제공합니다.

주요 코드만을 사용하여 샘플 진행을 분석하고, 단순함과 긴장감 부족에 주목합니다.

마이너 코드(프록시 코드)를 통합하여 진행에 긴장감을 더하는 방법을 설명합니다.

세 가지 역할, 여섯 개의 캐릭터(코드), 그리고 조합을 만드는 과정을 요약합니다.

실험을 장려하고 귀에 듣기 좋은 조합을 찾도록 합니다.

코드 진행을 다른 키로 조옮김하는 효과를 시연합니다.

귀를 사용하여 진행에 가장 적합한 음계를 찾는 것을 강조합니다.

음악 이론의 복잡성과 풍부함에 대한 마무리 발언입니다.