Why Classical Harmony Doesn't Work Anymore

Surely no style of music is objectively the best. I think the music that sounds best to you is probably the stuff you were exposed to when you first became interested in music. To me it was the rock music of late 1968. I was eleven. My taste has expanded across the Western tradition at least 500 years back but no more than 20 years forward.

the holy trinity of trying too hard to be authentic while having no unique personality
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authentic cadence

I think this kind of studies are very limited. It's like we forget a.our early brain development has huge impact on how we become and our likes and dislikes. People who were trained in classical trash talk other music, maybe they'll "accept" jazz because it's academic(they'll say it's okay because of its complexity). People who weren't trained in classical will gravitate towards vocal music.

um, you do realize that there's lots of rock without distorted guitars?

Rock didn't really change anything, because all music is built on what came before it. Case in point: Bohemian Rhapsody is a classically based work built within a rock framework. Or look at the Beatles' Eleanor Rigby. It really comes down to the order of the chord progression and technique. Add some electricity and drumbeats and wallah, you've got rock music. Jazz artists use the Baroque style of improvisation. But there are composers who would swear were from our time. The opening of Franz Berwald's Symphonie Singuliete comes to mind. As well as the sonatas of Schmelzer and Stradella.

In the flat 7 resolving to 1 in this video, what are the notes that make up the flat 7 chord and the 1 chord? Thanks!

Wait! 12-tone is a leftie! Lets goooo

Awesome study.

The bottom line is that authentic cadences evoke classical - especially PAC. 1. Rock is not Classical 2. It’s influenced by Blues and that’s already sufficiently different to Classical harmony (nonfunctioning IV7) 3. Modern Rock (and other post-rock genres) are influenced by Punk which is defined by anti-establishment ideas, like original Rock. As a consequence, PAC and variants sounds “square” and cuts the very root of what makes non-Classical just that. Sure, can you sneak it in? Yes. But if you rub it in people’s faces as happens regularly in Classical, you’re going to ruin the mood. Naturally, burying it in distortion, vocals, drums, synth textures, and FX can mask the otherwise naked effect.

TL;DR: PAC has its basis in the overtone series so it’s bound to sound natural. However, because it’s so associated with Classical and Rock is supposed to be rebellious and has distortion, using that cadence as much ruins the mood.

I really enjoy these videos but the icing on the cake is always one or more little stand-out doodles. A quick throw-away Feynman Diagram in this one was excellent.

Rock is not a Genre that can be described as in melodic or harmonic principals alone, it those items in relation to a certain quality of Rhythm.
Rock= Rhyrhm.

Oh I can make it work anyway but I can play circles around Coltrane with the style of Mozart.

I think this kind of research is a bit pointless. The excessive simplification of a complex system as is the case with music theory leads to unreliable results.

Classical harmony doesn't work anymore? hello? 12 tone is not the only harmony in classical music! Also the natural minor a b c d e f g a was used in classical music way before the blues or rock. They also use the V I alot in rock.

Ethnomusicology is a pseudoscience.

Also, the rock example didn't end in a plagal cadence, it was a very obvious I V motion. How can you have a musiv theory channel if you cannot hear basic stuff like harmonic function?

They don't understand what an authentic cadence is. It doesn't need a V chord, it doesn't even need a dominant chord, the second to last chord just needs to have a dominant function to the final chord.

Uh it works if you have a fuckin' ear. I have two music degrees and parallelisms still drive me fucking nuts. Also the bVII is a piss-poor version of a functioning V chord.

Don't dumb your art down; make them come to you

What is the exact question and why does it matter? 😀
From the title I expected to learn about statistics of specific cadences in classic vs "Anymore " - something that came after.

so....classical wins?

Schönberg approves

White supremacy, why do you invade everything?

There seems to be an implicit insinuation here that rock music grew out of classical music, making its own structures feel distantly alien as a result, but rock music grew out of folk traditions that didn't necessarily have any tonal/functional considerations in mind (in the classical sense of those terms). So of course techniques for analyzing and understanding classical music of the common practice period is going to feel clunky and inelegant at best when one attempts to apply them to rock. It would make more sense to sturdy the structures of folk music that led into jazz and blues and then into rock and roll to see where its connective ideas come from.

Slightly off topic, but in my experience, classically trained keyboard players in rock bands always have trouble with the idea that Van Morrison's garage standard "Gloria" is in the key of E rather than A -- i.e. it clearly resolves to E rather than A despite its D-A-E chord progression. (This applies as well to the countless other rock songs based around a bVII-IV-I progression.)

I once read somewhere that part of the reason this progression sounds so natural to (rock) guitarists, especially those who are self-taught and not schooled in music theory, is that it arises so naturally from guitar standard tuning (EADGBE).

Ironically, my first memory of this is from a melodic death metal song by In Flames called The Jester Script Transfigured.

Does synthwave and its variants also use different rules

Cadences and which notes lead on to which other notes is a slippery topic. The harmonic series has some relevance here but its not the only factor by a long way. I think teaching classical cadences initially is useful thing even if they end up not being used. Its useful because it draws your attention to the possibility of creating hierarchies of notes which can be used structurally to create specific effects. Once you get the hang of that you don't necessarily need to stick to the basic classical model, indeed most 20th century classical composers did not.

if this dude dosen't keep his fingernails a reasonable length I'm going to have to block his channel

not really following, sorry for being stupid.

To me calling the authentic cadence "the most satisfying" seems weird
To some it may feel like that, but to me it sounds kinda underwhelming
Like it just kinda... ends

Intermodulation on a piano is also inevitable. When playing a single key. Hey, but, so, this is actually an Ad for Ableton Live? Hmmmmm.

monkey thumbnail

No one's mentioned the Spanish cadence (Am, G, F, E), how much rock music has depended on that over the last sixty years?

So what

Phrasing any maxim as “just” or “solely” is naturally not a path towards being a well- rounded musician. As there are not any bonafide methods of getting rich quick, it also stands to reason the same goes with anything worthwhile. You don’t need a lesson plan to prove that preposterous notion. It’s the old joke, “how do you get to Carnegie Hall?”

While I studied classical and work as an orchestra musician, I've been enjoying experimenting with absolutely anything goes in my jazz originals, especially the song endings. Campgrounds for Monks is a good example. The song just deconstructs. Zoomed out across the albums, it's evident the jazz is influenced by symphonic literature, like Shostakovich. There are other ways to frame cadences besides harmonic progression and voicing, not to say zero chord movement would be so convincing. And yet who else has been in long one chord jams with other musicians?

let's remember Lennon/McCartney knew Blues and parallel keys then George Martin would make suggestions to them , he had a degree in Classical Composition, so the final result you may analyze the Dorian/lydian sound , chord progression , and everything else
but Paul's bass lines are a combo of major and minor or pentatonic blues

let's not forget Girshwin studied classical.
this writing spend a lot of time talking about V I when what you study at a jazz school day 1 is tri tone subs on ii V and the fact V7 is every chord in a 12 bar I IV V.
it is notable to look at really simple pop music and find the major Lydian sound
and how the 4 chord can be subbed with the 4 of Melodic Minor and the diminished ladder associated with MM
the title of a video could be Functional harmony vs modal harmony and why the 2 need each other 😃♥️

if you just listen to the chords to Short Walk by John Scofield you hear how chord quality can build and release tension and even Suspensions and sound altered as well all in the same C major/ A minor scale matrix .
who ever makes this video is missing the point .
the point is you have a V7 chord and you can play the major scale over it with Whole 1/2 diminished and get both major and minor pentatonic .
you can sub a vi for a ii and a IV for V or I
you can change major 1 to minor 1 and have parallel keys .
listen to Paul McCartney
David Bennet Piano is so much better at explaining with real song examples

this is like out of control babble, classical composers did other theoretical variations on the phlagal cadence just look it up on wiki.
they were using b7 to 3 and many blues elements all the way back at Back Partita #3 , I think Charlie Parker even quoted the bass movement to partita in Au privave

You never learned to hold the pen correctly?