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greg dalessio
เข้าร่วมเมื่อ 27 ม.ค. 2010
วีดีโอ
Descending fifths
มุมมอง 8K4 ปีที่แล้ว
Discusses chord progressions whose roots move by descending fifth, especially as they appear in Jazz standards.
Classical vs. Jazz Harmony
มุมมอง 6K4 ปีที่แล้ว
Discusses the differences between classical harmony and jazz harmony and some reasons for why they developed.
Functional tonal harmony 3: Secondary dominants
มุมมอง 8K4 ปีที่แล้ว
Part three of three. Discusses the use of secondary dominant chords in tonal music.
Functional Tonal Harmony 2: Minor mode
มุมมอง 16K4 ปีที่แล้ว
Part two of three. Discusses harmony in the minor mode.The three versions of the scale: Natural minor, harmonic minor and Melodic minor, and why we use them.
Functional Tonal Harmony 1
มุมมอง 43K4 ปีที่แล้ว
Part one of three. Discusses consonance and dissonance, construction of the major scale, tendency tones, and harmonic function.
Thread for Flute, Cello and Piano, Greg D'Alessio
มุมมอง 594 ปีที่แล้ว
Thread for Flute, Cello and Piano, Greg D'Alessio
Now's the Time for Alto Saxophone and Piano, Greg D'Alessio
มุมมอง 1044 ปีที่แล้ว
Now's the Time for Alto Saxophone and Piano, Greg D'Alessio
Veil for Flute, Violin Viola and Cello, Greg D'Alessio
มุมมอง 1584 ปีที่แล้ว
Veil for Flute, Violin Viola and Cello, Greg D'Alessio
Greg D'Alessio, String Quartet, fourth movement, "Spirito ad Acqua"
มุมมอง 1104 ปีที่แล้ว
Greg D'Alessio, String Quartet, fourth movement, "Spirito ad Acqua"
Greg D'Alessio, String Quartet, First Movement, Aura Dolce
มุมมอง 564 ปีที่แล้ว
Greg D'Alessio, String Quartet, First Movement, Aura Dolce
Greg D'Alessio String Quartet. Second movement, Voci di fuori
มุมมอง 214 ปีที่แล้ว
Greg D'Alessio String Quartet. Second movement, Voci di fuori
Greg D'Alessio, String Quartet, 3rd movement, Sotto a quei sassi
มุมมอง 1058 ปีที่แล้ว
Greg D'Alessio, String Quartet, 3rd movement, Sotto a quei sassi
Greg D'Alessio, Sono Sola for Chamber ensemble. Performance by the Slee Sinfonietta, 2011
มุมมอง 958 ปีที่แล้ว
Greg D'Alessio, Sono Sola for Chamber ensemble. Performance by the Slee Sinfonietta, 2011
Greg D'Alessio. Veil, for Flute, Violin Viola and Cello
มุมมอง 2958 ปีที่แล้ว
Greg D'Alessio. Veil, for Flute, Violin Viola and Cello
Wow! RIght from the beginning you have laid out concepts I have struggled to make clear when presenting theory to very low level musicians in 1 hour workshops.
👍🏻
bro just randomly drops a 16 minute video explaining music and it´s existence
8 years of music theory and this 16 minute video is the eye opener lol...
incredible video!
Great! So precisely and exploratory! Many many thanks!
This should be in every in intro
Just wow❤ took me long enough to understand harmony. The kind of harmony I get searching yt is chord and dominant 7ths. I finally understand how I feel when I play and listen to music. always thought it's hella complicated coz jazz. like how do you even build tension where or how and for how long
Greg, this is incredible, many thanks from Spain!
Really amazing! After many years I finally understood something about harmony and function if each chord! Thank you for your help!
I don't suppose you have versions of your documents available to download?
So, functional harmony fits perfectly the major tonality. The minor tonality has to be adapted - by adding the harmonic and melodic scales - to attain similar effects to those that are attainable in the major tonality. Is it possible to adapt other modes of the diatonic scale in a similar way? Has something like that already been done successfully?
patrick warburton
Great and informative video!!
Thank you ❤
Thanks a lot for these videos. Please make more harmony videos. You make it easy and interesting 😍
Guess I'm the only person who is lucky to start studying tonal harmony from this channel. Thank you for the simplicity and clarity🥰
Thank you so much for taking the time to make these visualizations they are great, and help so much!
superrr
Brilliant clarity by my fav online theory teacher. Thank you for taking the time to make these remarkable videos. Great voice, excellent visuals and outstanding music examples. I’ve learned so much from you Greg. This video is exceptional in particular but I’ve listened to many of yours yet I like the functional harmony videos in which you discuss the roles of scale notes and their resultant chords. Great inspiration for writing! Many thanks!
Jazz must be a huge workout for the brain.
Excelente aula! Gostei do método visual, me ajudou a elaborar melhor a harmonia funcional. Vou aplicar algo semelhante na minha igreja.
12:18 - had to open up my sequencer and draw a C Major after that B flat five to get a closure 😂
thank you so much, this is EXACTLY what i was looking for!
Beautiful! Thank you!!
Nice Who is this!.?
13:50 and on Huh? That’s a replay!
Wow
Thanks
Underrated art. I'm sorry it took 12 years for you to get this comment, but I appreciate this. I hope your life's good, wherever you are :)
Thank you so much for all your lessons on chords and harmony!!! They are very informative and extremely helpful. 😊
I graduated rom CSU last year and took your class two years ago and I still come back to these clips for reference. Thanks Greg!
Mind blown. Best video on youtube foe this topic
Excellent stuff! Keep it up
6:05 is there a hierarchy or formula to oddness similar to what you demonstrate in part 1 with the interval ratio relationship with consonance and with dissonance and dissonant tendency tones and chord functions?
7:11 can someone help explain the point about the augmented second due to consecutive letter names? I'm having trouble understanding that and why it isn't just a minor third? what are the letter names? TIA!
He means simply the names of the notes: either letters C D E F etc., or do re mi fa etc. for latin people. Every scale, in any key, is some permutation of these note names, which can be natural, sharp, flat, double-sharp etc. but the scale DOES NOT skip or repeat names. So in A harmonic minor we'll call the raised degree 7 a G# and NOT a Ab, otherwise we'd have a scale with no G and two As (one flat and one natural). For that same logic, we must call the interval between F and G# an augmented second, not minor third (though they both contain 3 half-tones), because they are two consecutive notes.
Because in tonal harmony its about the tonic ,and by that the 4 has the 3 nagging at its side,otherwise they're both perfect, the resolve should be alike
How is the 4 disonent and the 5 consanent, how does that work if they're both "perfect "
If the mind perceives simple ratios of frequencies as more consonant, shouldn’t the fourth, which is close to ratio of 4/3 with the tonic, be perceived as having less dissonance with the tonic than the third which is close to a frequency ratio of 5/4 with the tonic? The video says near the beginning that simpler ratios are more consonant, but later on says that the fourth is highly dissonant with the tonic. If an interval of a fourth is “highly dissonant”, why is is also called “perfect”?
thank you Gabe Newell for making the best video games and also teaching me music
Wonderfully explained, thank you 🙏 In a side note- incredible the amount of information, good and clear information one can retain in youtube
Sir, great video 😊 Thank you very much. 🙏 : ) Ps. You have a new Subscriber ☝: ) Just keep going the great work. All the best, Filip Pivec.
Thank you for this explanation. This understanding has alluded me for so long.
Wwhhhhooooaaaahhhhh!!!!! Fantastic explanation. Thanks for your sharing knowledge. Looking forward to part 2 please 😊
All you have to remember is ... Lydian: ♯4 Mixolydian: ♭7 Dorian: Minor with maj6 / or like Mixolydian with ♭3 Phrygian: Minor with ♭2 Locrian: Minor with ♭2, ♭5
Thanks. This was extremely helpful.
Awesome
A MUST WATCH! Such an informative video, where is part 2? Still working on it? Please post it.
Part 2 forthcoming?