Thanks for another great video. The basic idea was fairly familiar, but showing how one can mix in accidentals for modulation or colour was a real eye opener.
Some lovely examples of the Ascending Fifths Sequence with 4-3 Suspensions: His Yoke is Easy - Messiah (Handel) Symphony No. 40 (2nd Mov.) (Mozart) Piano Concerto in A minor (3rd Mov.)(Schumann) 🙌
Dear Maestro Gareth: I have a question, I ask you to pardon my ignorance; Sequences is that how classical Music piece is written and this is the formula(s) to learn. You have given us an insight that is indispensable. Please let me know and if possible what are the kind of Sequences that need to be learned by someone like me. Respectfully and gratitude, A
@@MusicMattersGB My first two results are "Suspension or Appoggiatura?" and the Bach video series, everything else seems to be not related (next two are Augmentation and Diminution + Adding Elegance to a Melodic Line). I was looking for a dedicated suspension video that explains the concept from scratch, but I just peeked into the first video and see that you explain it there too. I also own the music composition course where it's being explained, I just thought that there are dedicated videos on the channel specifically that I somehow missed :) Anyways, thank you!
@Voidermusic As you say it’s explained in various videos but I think you’re probably correct that there isn’t a dedicated video to exclusive explanation of the subject.
When I studied rising sequences in college music theory, we were taught to skip III in major and II in minor to avoid awkward harmonies and to stay in the same key. See Handel's Sarabande in D minor for a minor key example (th-cam.com/video/u-qHtYfktiQ/w-d-xo.html) and bars 419-423 (skip to around 25:00 in the Barenboim video) of Beethoven's "Waldstein" Sonata, third movement (th-cam.com/video/J3l18HTo5rY/w-d-xo.html) for a major key example.
We don’t necessarily need to skip those chords but we certainly need to handle with care. II in a minor key, like all diminished chords, is usually much more effective in first inversion.
Hello sir , thanks for all what you do . I have a question : I'm a good pianist (only when i play from the music score) , when i play without the score of any piece , i start hitting wrong notes (especially in left hand) and forget things and can't perform the piece . could you tell me what might be the cause of this problem? and could you please suggest some ways to avoid it .
No i don't think so , because when that happens to me i'm still able to remember how the melody sounds but i find it hard to produce without any mistake (especially in left hand) , so i play wrong note or some wrong random chords before i could reach the right one .
No it's not , i am aware of distances and notes on the piano very well. maybe i should concentrate on the harmonic analysis to make sure that every note i hit does really belong to the chord , do you think so?
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Lots of fun in writing rising and falling sequences.This is like riding a roller coaster !
Absolutely
Dear Gareth, A most excellent lesson, as usual! You are the best!
Enjoyed that video. Beautiful effect. Thank you!
A pleasure
Jesus…I’m a guitar player and I actually understand this. God bless you…
That’s great. Much more at www.mmcourses.co.uk
The right hand alone also sounds incredible. Possibly because it’s less obvious with respect to tonal movement.
😀
Thank you for teaching so clearly
A pleasure.
Much more at www.mmcourses.co.uk
Thanks for another great video. The basic idea was fairly familiar, but showing how one can mix in accidentals for modulation or colour was a real eye opener.
A pleasure. Much more at www.mmcourses.co.uk
Thank you! I often forget to like you vids because they trigger a bout of thinking.
😀
The best as always, thanks a lot for another great lesson
Most kind. Much more at www.mmcourses.co.uk
Great presentation. Thanks for this most informative session.
A pleasure
That was really interesting. It reminds me of the technique used in many film scores to build tension. I love that bass line movement.
It works well
Some lovely examples of the Ascending Fifths Sequence with 4-3 Suspensions:
His Yoke is Easy - Messiah (Handel)
Symphony No. 40 (2nd Mov.) (Mozart)
Piano Concerto in A minor (3rd Mov.)(Schumann) 🙌
Great examples
Dear Maestro Gareth: I have a question, I ask you to pardon my ignorance; Sequences is that how classical Music piece is written and this is the formula(s) to learn. You have given us an insight that is indispensable. Please let me know and if possible what are the kind of Sequences that need to be learned by someone like me. Respectfully and gratitude, A
Sequence is one compositional technique. It’s particularly useful.
Class❤
😀
Thanks. Not sure what the 4 and 3 refer to. Are these scale degrees? If so should all not be F going to E in the key of C major?
Suspensions when one part above the bass moves from the 4th degree above the bass to the 3rd degree above the bass.
I can't seem to find any of your videos about suspension, how are they called?
Search for suspension and they should come up. The full story on suspensions comes in our Advanced Theory course at www.mmcourses.co.uk
@@MusicMattersGB I have! But there are no videos with that subject coming up, that's why I asked for the specific name of one of these videos :)
If you search suspensions music matters on TH-cam quite a number turn up, especially as part of our ‘Inside the mind of Bach’ series.
@@MusicMattersGB My first two results are "Suspension or Appoggiatura?" and the Bach video series, everything else seems to be not related (next two are Augmentation and Diminution + Adding Elegance to a Melodic Line). I was looking for a dedicated suspension video that explains the concept from scratch, but I just peeked into the first video and see that you explain it there too. I also own the music composition course where it's being explained, I just thought that there are dedicated videos on the channel specifically that I somehow missed :)
Anyways, thank you!
@Voidermusic As you say it’s explained in various videos but I think you’re probably correct that there isn’t a dedicated video to exclusive explanation of the subject.
When I studied rising sequences in college music theory, we were taught to skip III in major and II in minor to avoid awkward harmonies and to stay in the same key. See Handel's Sarabande in D minor for a minor key example (th-cam.com/video/u-qHtYfktiQ/w-d-xo.html) and bars 419-423 (skip to around 25:00 in the Barenboim video) of Beethoven's "Waldstein" Sonata, third movement (th-cam.com/video/J3l18HTo5rY/w-d-xo.html) for a major key example.
We don’t necessarily need to skip those chords but we certainly need to handle with care. II in a minor key, like all diminished chords, is usually much more effective in first inversion.
Hello sir , thanks for all what you do . I have a question : I'm a good pianist (only when i play from the music score) , when i play without the score of any piece , i start hitting wrong notes (especially in left hand) and forget things and can't perform the piece . could you tell me what might be the cause of this problem? and could you please suggest some ways to avoid it .
Is this a memory issue?
No i don't think so , because when that happens to me i'm still able to remember how the melody sounds but i find it hard to produce without any mistake (especially in left hand) , so i play wrong note or some wrong random chords before i could reach the right one .
Maybe it’s a matter of enhancing your spatial awareness.
No it's not , i am aware of distances and notes on the piano very well. maybe i should concentrate on the harmonic analysis to make sure that every note i hit does really belong to the chord , do you think so?
That’s a great plan