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Hello, and welcome today. 
We will be looking at an example

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of how chromatic mediant 
relationships can Sound by 

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creating an expected harmonies, 
and also some tips on things you

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can do with rhythm to surprise 
your listeners, here is a 

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snippet of the example. 
We'll be looking at and Jump 

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Right In. 
Okay, before we go into 

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chromatic medians, we have to 
understand what a mediant is. 

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It is basically a third 
relationship above or below the 

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note, we are using as reference,
for instance, if you are in the 

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c, major scale and use Z as a 
reference pitch, the third 

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above, it is an e and that is 
its natural mediant. 

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If you go the other way around, 
The third below C is the A and 

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that is the sub median of see, 
these relationships, occur with 

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peaches chords and even 
tonality. 

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He's in this case, because we 
are in the c, major tonality the

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median of C would be an E minor 
and its immediate would be the a

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minor chord. 
But if you change the chord 

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quality of any of these chords, 
for instance, if you would have 

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an E major instead of E minor, 
you would be interested. 

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Reducing a chromatic tone to the
c, major tonality in this case, 

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it would be the G sharp. 
That is basically the reason why

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it is called a chromatic median 
cord relationship. 

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You can also go from C to E 
flat. 

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Major you would still be 
introducing chromatic tones in 

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the c major tonality and 
maintain the third relationship 

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between c and e flat. 
Usually, the court quality is 

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involved in these relationships 
are maintained. 

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Meaning that if you are Are 
using a C major chord. 

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Then the following Court could 
be either an E major or E flat, 

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major and a major or a flat 
major. 

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If you want to learn more about 
this, please follow the links in

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the description to read more 
about it in the blog. 

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Now, let me show you what I did.
Using mostly chromatic media and

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relationships. 
Throughout this music example, 

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I'm starting on the c major 
tonality and here we have the a 

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minor and F major chords that F 
would be the submit event of a 

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minor after that, you hear the F
sharp minor which is the 

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chromatic sub medians of a 
minor. 

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So A little bit of back and 
forth between natural mediant 

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and chromatics of media. 
And in this case, there are lots

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of other examples in this bit 
like from B flat major, to D, 

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major and then another 
chromatic. 

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Median between a major to see 
major that are basically used to

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return to a minor and returned 
to the c major tonality. 

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As you can see, this is a nice 
way of navigating between 

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tonalities as an alternative for
using dominant chords or Are 

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substitutes, here's how it 
sounds. 

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In another part of the track. 
I also played around with 

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chromatic median, quad 
relationships and this time you 

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can hear me going from C sharp 
to an E major and then go to a c

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natural, a major, and then 
return to C sharp. 

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In the last four bars of this 
section, we still have chromatic

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median relationships, but not 
always like in the case of e to 

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a major or in the end when we go
from F sharp major to E major. 

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Here's how it sounds. 
I was a bit heavy on the 

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chromatic, mediant usage for the
purpose of demonstrating how it 

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sounds but you can use this 
chord relationships. 

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Interspersed in more, common 
chord progressions like in a 

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4-5-1 where you can use a 
chromatic medians to add some 

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and predictability to harmonies 
like this one. 

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What you heard was see going to 
f and then a flat which is the 

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chromatic mediant of F that in 
turn resolves, half step down to

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G as a tritone substitute. 
And finally, G goes back to see.

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You are not limited to the usage
of chromatic mediant 

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relationships, only between 
chords or four chord 

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progressions. 
You can also use it as a way of 

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establishing a relationship 
between tonalities as is The 

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case in the beginning of the 
initial section of this track, I

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started with a minor and E minor
chords and then I use a d half 

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diminished and the G minor 7 
chord the latter, do not belong 

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to C major, but they do belong 
to E, flat, major tonality. 

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So there is a chromatic median 
relationship that was 

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established between c and e flat
tonality. 

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I also use this device to return
to a minor at the end of this 

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section, the d flat major sharp 
11 court, that hints to the 

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lydian mode comes from the 
A-flat, major tonality and is a 

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major third apart from the c, 
major tonality to, which I 

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return to 
another idea for using third 

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interval relationships, is by 
applying it to court sequences. 

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Like in this example, where you 
have an, A and E flat, major 

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chords that are transposed a 
major third up, giving place to 

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C sharp and G major chords. 
Here's how it sounds in context 

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because I was working with 
chromatic medians and we have 

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lots of modulations going on. 
I thought about why Have some 

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type of modulation in the temple
as well. 

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So my final tip for today is 
about Rhythm throughout the 

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track. 
I played around with different 

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measures of Divisions while 
maintaining the same base Tempo.

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In this case, 122 BPM, to create
the impression of speeding up or

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slowing things down a bit. 
All I did was basically use a 

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4/4 time signature but instead 
of having the regular four beats

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per measure, I would have five. 
Six or even seven beats per 

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measure in a 4/4 time, signature
to imply a change in the tempo. 

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This is different from having a 
44 and then switching to a 5-4 

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time signature because if I 
maintain the same tempo I will 

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only have an extra beat per 
measure without feeling any 

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Tempo changes. 
This is a nice way to surprise 

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your listeners and introduce 
some novelty. 

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Here are some examples in 
context here. 

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The bar is subdivided in five 
beats and then Goes to seven 

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beats per measure. 
Now we briefly go from Seven 

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beats to four beats per measure 
and then use six beats per 

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measure to introduce their 
triple time, filled in a 4/4 

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time signature. 
Then finally move back to a 

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5-bit, subdivision near the end.
This is one of the ways you can 

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use to create. 
What is called the metric 

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modulation. 
There are other ways you can do 

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this by using polyrhythms, but 
we won't be covering it now. 

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Explore these ideas and try to 
incorporate them in your 

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songwriting. 
Check out the links in the 

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description and visit the blog 
for more detailed explanations 

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about the presented Concepts. 
I'll leave you with the full 

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track. 
It's all for now. 

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And until next time, happy 
composing