Wow, I’m speechless. Well, the presentation was awesome. Also the example you demonstrated in the end. I also like your tag questions 😁 Keep it up Mr. Music Matters.
If you ever get the chance, please could you do a video where you analyse the modulation in the song “Say I’m Your Number One” by Princess. It has always got me stooped.. (if that’s the right word..) Thank you, David
You could have made 3 even trickier, by putting an Eb5 between the A and D in bar 1. If there's no 7th of the minor scale to alter, then you wouldn't expect the corresponding 6th to be altered.
Are the modes Keys? I believe there are 24 keys, 12 major (Ionian) and 12 minor (modified Aeolian) and their enharmonic equivalents. However, I find many musicians , in particular popular and jazz musicians conflate the term key with that of " tonal centre" and assign keys to music that is clearly modal, such as found in blues, and to much rock and folk music. Classical harmonists on the other hand don't seem to, we don't designate Renaissance works in say the Phrygian or Mixolydian as being in a minor "key" or major "key", they're described as modal. Any comment?
That was very informative, thank you. Could I persuade you to demonstrate a similar bit of detective work on determining which mode a particular (modal) melody is in? As in: here's a melody with no sharps or flats; should we think of it as D Dorian or E Phrygian, F Lydian, etc. What I'm getting at is that I understand how the different modes work, but what I still don't really get is: what then fixes the root note? I get that the mode is determined by where the semitones are in relation to the root, but other explanations I have seen then define the root by its relationship to the semitones, which is circular. There must be something else that makes us hear one particular note as the important one, to which all the other notes stand in some relation. Is it as simple as "the note that appears most often" or is there some more complex reason we fixate on that one note?
There’s usually a sense of tonic or homing in note. The melody may begin and/ or end on that note. There may also be a sense of dominant ie the 5th note of the mode. Musically when you sing or play the melody which is the note that it all pulls towards?
@@MusicMattersGB Thanks. I think what I'm after may well be the psychology of _why_ there is "a sense of tonic or homing in note". What is it about the music - or our perception of the music - that causes us to focus in on that note, rather than any of the others? Sorry, my question may well be better suited to studies of human cognition and psychology than to music theory. It just fascinates me and I have not yet come across an explanation that is not, at some level, circular. Anyway, thanks for your time and for your excellent videos.
It’s a good question. In any scale there is a hierarchy of notes eg the 1st note of the scale (the Tonic) is always the homing in note, therefore top of the hierarchy. The 5th note is known as the Dominant and is the most significant note after the Tonic. This is the basis of a musical answer to your question.
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Great video! Very informational and easy to understand. As an added challenge, try to sight read the passages after finding the key : ) It's fun!!!
Go for it! Much more at www.mmcourses.co.uk
Wow, I’m speechless. Well, the presentation was awesome. Also the example you demonstrated in the end.
I also like your tag questions 😁
Keep it up Mr. Music Matters.
That’s most kind. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
wow I really like this. I watch Rick Beato sometimes but often wonder off because I feel he goes over the subject too fast. This is perfect pace!
Most kind. Much more at www.mmcourses.co.uk including details of our 25 online courses and details of our exciting Maestros programme.
Such a useful Aha! point about the anacrusis in no. 2!
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Gosh that’s the first time I’ve heard this explained and done so really well. Thank you , David
A pleasure. You can find the rest of this course at www.mmcourses.co.uk
Pls make videos about harmonization Bach choral. I sang in the Copenhagen boys choir and I love back music.
Hi. That’s great. See the Bach courses we’ve made at www.mmcourses.co.uk
Are there coming new composing videos in the future?
Hi. Yes there will be. We also have a Composition course at www.mmcourses.co.uk
Enjoyed the way you explain music. Subscribed
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Yeah, I’m due back on planet earth now
😀
Very good video, thank you very much.
A pleasure. Much more at www.mmcourses.co.uk
If you ever get the chance, please could you do a video where you analyse the modulation in the song “Say I’m Your Number One” by Princess. It has always got me stooped.. (if that’s the right word..) Thank you, David
Send me a copy of the relevant bars in the score and we will do that.
E, C sharp minor, and f sharp Dorian.
😀
You could have made 3 even trickier, by putting an Eb5 between the A and D in bar 1. If there's no 7th of the minor scale to alter, then you wouldn't expect the corresponding 6th to be altered.
😀 Much more at www.mmcourses.co.uk
Because I’m like that 😅
😀
Do you have any more advanced music theory vids ?
Have a look at this course. www.mmcourses.co.uk/p/advanced-music-theory-grades-6-7-8
Are the modes Keys?
I believe there are 24 keys, 12 major (Ionian) and 12 minor (modified Aeolian) and their enharmonic equivalents. However, I find many musicians , in particular popular and jazz musicians conflate the term key with that of " tonal centre" and assign keys to music that is clearly modal, such as found in blues, and to much rock and folk music. Classical harmonists on the other hand don't seem to, we don't designate Renaissance works in say the Phrygian or Mixolydian as being in a minor "key" or major "key", they're described as modal.
Any comment?
I would regard keys as a separate category from modes, as keys belong to a specific tonal system.
@@MusicMattersGB I agree and thank you for the reply.
😀 Much more at www.mmcourses.co.uk
Nice thanks for the clarification it all came together at the end for me!
Excellent
Love your videos
A pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
ty
😀
I’m not even giving an exam but this was fun to work out (easy tho) 😊
That’s great. Much more at all levels at www.mmcourses.co.uk
Music Matters Thank you. You’ve created a great channel which is really helpful!
It’s great to hear that you’re finding it helpful.
That was very informative, thank you.
Could I persuade you to demonstrate a similar bit of detective work on determining which mode a particular (modal) melody is in? As in: here's a melody with no sharps or flats; should we think of it as D Dorian or E Phrygian, F Lydian, etc. What I'm getting at is that I understand how the different modes work, but what I still don't really get is: what then fixes the root note? I get that the mode is determined by where the semitones are in relation to the root, but other explanations I have seen then define the root by its relationship to the semitones, which is circular. There must be something else that makes us hear one particular note as the important one, to which all the other notes stand in some relation. Is it as simple as "the note that appears most often" or is there some more complex reason we fixate on that one note?
There’s usually a sense of tonic or homing in note. The melody may begin and/ or end on that note. There may also be a sense of dominant ie the 5th note of the mode. Musically when you sing or play the melody which is the note that it all pulls towards?
@@MusicMattersGB Thanks. I think what I'm after may well be the psychology of _why_ there is "a sense of tonic or homing in note". What is it about the music - or our perception of the music - that causes us to focus in on that note, rather than any of the others? Sorry, my question may well be better suited to studies of human cognition and psychology than to music theory. It just fascinates me and I have not yet come across an explanation that is not, at some level, circular.
Anyway, thanks for your time and for your excellent videos.
It’s a good question. In any scale there is a hierarchy of notes eg the 1st note of the scale (the Tonic) is always the homing in note, therefore top of the hierarchy. The 5th note is known as the Dominant and is the most significant note after the Tonic. This is the basis of a musical answer to your question.
@@MusicMattersGB OK, thanks again.
😀